NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud of its partnership with the Industrial Development Corporation (IDC) as a Strategic Implementing Partner (SIP) for its Social Employment Fund (SEF). Through this collaboration, MIAF is running a national programme that is creating jobs, addressing skills gaps, and strengthening South Africa's creative industries — in line with the SEF's overarching goal to generate work for the common good and build community value through employment, social contribution, and inclusive economic participation. Operating under the banner NEFCISA (National Employment Facility for Creative Industries in South Africa), the initiative is recruiting and training participants, matching them with host organisations, and has already placed 1 500 workers across the country — surpassing its original target of 1 000. NEFCISA is delivered through a network of 20 host organisations spanning five provinces, who are actively hosting participants and contributing to work for the common good across South Africa's creative and cultural industries. Key Objectives: Support employment and entrepreneurship in the creative industries. Offer skills development and training programmes. Foster partnerships between public and private creative sectors. Promote South African creativity at both provincial and national levels Foster community development through social contribution.

ACCES
ACCES

ACCES Conference and Showcase Festival is Africa's leading music industry gathering, bringing together the people shaping the future of the continent's music business. Artists, entrepreneurs, executives, investors, policymakers and cultural leaders from across Africa and around the world come to ACCES to build partnerships, exchange ideas, discover talent and create new business opportunities. Since its launch in 2017, ACCES has become the continent's premier platform for professional exchange and music market development. Combining a high-level conference with a curated showcase festival, networking, exhibitions and industry programmes, ACCES offers a unique space where creativity meets business and where African music connects with the global industry.

Gender@Work
Gender@Work

Music In Africa Gender @ Work is a three-year training programme aimed at upskilling and increasing the participation of female professionals in the African music sector. Launched by the Music In Africa Foundation (MIAF) in April 2019, the programme is connected to the MIAF’s ACCES music conference – a pan-African event held in a different African country every year. This connection enables the programme to reach new participants in a different African country every year. The programme marks the beginning of a more concerted effort by the Foundation to support the participation and inclusion of women in all facets of its programmes and the music sector in Africa as a whole. Over the three years, the programme will aim to address gender imbalances in the sector through training, lobbying, facilitating knowledge exchange and dialogues that foster the interest of women. The broader objectives of the programme are to: Provide industry training for women on critical music industry skills, focusing on: Stage management Electronic music production and recording Music business management Technical knowledge Provide an opportunity for both professional and aspiring women to benefit from the Music In Africa network and its broad range of activities in 2019, 2020 and 2021. Provide a solution-based platform in the form of a round table at ACCES with a view to identify challenges, discuss opportunities and lobby for the interests of female practitioners. Offer participants the opportunity to benefit from programmes offered by MIAF’s partners. Increase access to educational materials. Integrate participants in the broader ACCES programme to maximise experience and exposure to the industry. Record and present training materials on the www.musicinafrica.net, including but not limited to tutorials, templates and other best-practice materials. Communicate women-based themes that support the initiatives and messages of the programme. MAIN TRAINING ACTIVITIES Training in first country (Ghana): In the first year, participants will be trained on all aspects of stage management by a team of experienced stage managers from 10 to 17 November 2019. The programme will offer robust classroom training as well as practical, hands-on training in which participants will also be given the opportunity to manage various aspects of the ACCES performance programme. Training in second country: The second training iteration will take place at ACCES 2020 when the programme will diversify its course to include music production lessons and training on other music business topics. A round-table platform will also be introduced to coincide with the ACCES programme. Training in third country: The third training iteration will take place at ACCES 2021 in a different country, offering an advanced course. HOW DO YOU GET INVOLVED?  As a participant, facilitator or trainer: The programme enrolls up to 12 trainees every year. All opportunities are advertised publicly on this website, and will be added to this page. Please keep checking this page for new calls (below under UPDATES & CURRENT OPPORTUNITIES). As a partner Please contact Claire Metais at [email protected]. APPLY The call for applications for 2020 will be announced soon. The Music In Africa Gender @ Work programme is made possible with the support of the Prince Claus Fund, Siemens Stiftung and Goethe-Institut.

Sound Connects Fund
Sound Connects Fund

For cultural and creative practitioners and organisations operating in southern Africa, access to funding remains a major challenge. The COVID-19 pandemic has also had a massive impact on government policy, spending and the economy in general, and has seen spending on culture being moved further down the list of priorities. Further, the cultural and creative industries repeatedly cite four main areas where investment is needed for growth, which are increased visibility, mobility including access to new markets, finance and support structures.

Instrument Building And Repair Project
Instrument Building And Repair Project

Experience the Vibrations African Instruments Exhibition online in 3D

Features

10 tracks that defined Sound Sultan’s life and career

13 Jul 2021 - 16:26

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A typical song from the late artist Sound Sultan is insightful, melodious, and humorous. His long career yielded seven albums, several singles and many collaborations. His death on 11 July, which has rocked the Nigerian entertainment scene, came after a lengthy illness. This playlist below, of 10 of his very best songs, commemorates the talent and productivity of an intensely patriotic Nigerian original.

Sound Sultan.

10. Koleyewon

Sound Sultan was among a group of young men who took to the recording booth to realise their musical dreams in the early 2000s. He became affiliated with Nelson Brown of Dove Records, who also played a role in the career of Tuface (2Baba), then a member of Plantashun Boiz. As can be perceived from ‘Koleyewon’, Sound Sultan was a conscious artist right from the start of his music career.

9. 2010

This track was a reminder to the political class about the promises made concerning transforming Nigeria into a country with better electricity supply by 2010. Sound Sultan could have updated this song any year between its release and his recent death without much rewriting. It features rapper MI Abaga.

8. Kokose

This playful song saw Sound Sultan collaborating with Wizkid and showing his ability to mix it up with a younger generation of popstars. It became a hit. Along with the singers, several famous Nigerians feature in the video, including younger versions of comedians Obus and Princess, as well as Banky W, John Njama and actresses Aduni Ade and Yvonne Jegede.

7. Mathematics

An early favourite, ‘Mathematics’ showed Sound Sultan’s way with wordplay by using mathematical concepts to talk about the issues plaguing his country. He did all of this with his trademark winking humour.

6. Natural Something

Sound Sultan took his humour to relationships on ‘Natural Something’. On this song, he played a hapless man who declares he has no problem paying the bills for a woman who doesn’t date him. The music video is a funny one, substituting loser boyfriends (mugu or maga in Nigerian lingo) for alcoholics attending an AA meeting. In his telling, he loses a million dollars while wooing a woman and is rendered bankrupt. He receives a slap when after his story he says, “But I love her”.

5. Bushmeat

One of the most popular activist tracks of its time, ‘Bushmeat’ predicts a time when the abused citizenry decides to ridicule its leadership. “One day, bushmeat go catch the hunter,” he sings.

4. Orobo

This song (featuring Xcel) and its remix (featuring Flavour) praised the full female form with humour. Accordingly, the video features women who are not usually associated with the average Nigerian music video.

3. Campus Queen

Although Sound Sultan is associated with activist music, this early cut shows him in loverboy mode. The song features members of two of Nigeria’s most popular music groups of the early 2000s, Eldee from Trybesmen and Faze of Plantashun Boiz.

2. Human Being

Sound Sultan’s stellar songwriting meant that musicians could always count on him to deliver on collaborative projects. On ‘Human Being’ – alongside MI Abaga, who owns the song, and frequent collaborator 2Baba – Sound Sultan created a truly remarkable song about the darker parts of celebrity. “Somebody tell them say I cry, somebody tell them I hurt, tell them say I bleed,” he sings.

1. Motherland

Sound Sultan’s activism and consciousness wrote several songs about Nigeria’s leadership. But the subject of one of his most popular songs, ‘Motherland’, was the average Nigerian. The song mentions some of the deplorable actions of the immigrant Nigerian both to the people he has left behind and to foreigners. The song insists that there is “no place like home”. “All these people when dey do laws make una try make Naija sweet so that people go come home,” he says at the end of the song. It stands to reason that because his advice went unheeded, when he took ill, he had to receive treatment outside of a country he so clearly loved.

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