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

5 takeaways from the Forbes list of Africa’s 10 richest musicians

11 May 2017 - 15:46

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Forbes Africa has released its 2017 list of the 10 richest African musicians as part of its May issue, which features some of the continent’s biggest pop stars.

Sarkodie made the 2017 Forbes list of richest Africa acts.  Photo: NewsGhana

At the top of the list is Akon, who also topped a list of bankable stars by the magazine in collaboration with Channel O back in 2013. With the bulk of his revenue made in the US and with that country's superior currency, it might be some time before the 'Locked Up' singer is dethroned.

A few more names have been retained from that list. Producer and record label head Don Jazzy, who came in second, is now fourth. Wizkid, then fifth, is seventh, a sign of his success in the intervening years. Sarkodie is ninth, a step down from his former eighth.

Such acts as 2face, Anselmo Ralph, D'Banj, P-Square, Ice Prince and Banky W, part of the 2013 list, are out of the new one. In their place are Tinashe, Jidenna, Oliver Mtukudzi, Hugh Masekela, Davido and South African DJ Black Coffee, who has had a spectacular run of success in the past year.

This issue, according to the magazine, provides readers with a view into "how musicians deal with financial problems when they fall out of the limelight".

Music in Africa provides followers of African music with five key takeaways about the 2017 Forbes list of Africa’s 10 richest musicians.


1. Lack of female artists

It is well known that female artists struggle to attain any level of prominence in national music industries across Africa. While Nigeria and South Africa, the dominant countries on the Forbes list, have several famous pop artists, only a few of them are women. In Ghana, singer Wiyaala complained that her country’s music industry is controlled "by men for men”. The list reflects this disparity: Tinashe, the only female on the list, is based in the US.


2. The inclusion of US-based artists

The 2017 list shows how viable the American scene is compared to the African. Akon (1), Tinashe (5), Jidenna (6) are all based in the US. Though with some business concerns on the continent, their inclusion distorts Forbes’s claim to analyse the financial terrain of the African music scene, as these artists barely make music on the continent. This remains so even with the recent incursion into the continent by global music players like Sony Music.


3. Sony Music is already a force in African music

The Forbes list includes Wizkid and Davido, two of Africa’s biggest pop stars who both signed to Sony Music last year. With both artists doing well digitally, Sony might be on its way to conquering the African music market over the next few years as the digital scene becomes even more lucrative, according to a forecast by the last PwC report on African entertainment.


4. Nigeria and South Africa are still Africa’s powerhouses

The music powering the continent comes from these two countries. The same goes for the revenue that makes it all work – Nigeria and south Africa. Since half of the list is occupied by artists working in either Nigeria or South Africa, other countries like Ghana and Zimbabwe are sent to the margins, each being represented by a single artist. The other three spots are taken up by artists working mostly from the US.


5. Hugh Masekela and Oliver Mtukudzi prove the longevity of jazz

The 2017 Forbes list is almost owned by the pop genre, but the two jazz maestros sit comfortably on it. Both Hugh Masekela and Oliver Mtukudzi have been stalwarts of the African music scene for decades. Masekela, who at 78 is the elder by a dozen years, recently spoke about his last solo album. In comparison to Masekela's almost 50 solo albums, some of the names on the Forbes list have barely released two. Considering the absence of stars from other important genres other than jazz, Masekela and Mtukudzi deserve the legacy they've created for themselves. Together they provide proof that jazz is the eternal genre.

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