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

band performance

5 ways to ruin a live show

11 Apr 2016 - 05:44

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With the decline of album sales, live music performances has become a high-touch business for any artist who knows how to capitalize on live performances. However time and again artists seem to ignore the reasons why audiences go for live performances and do mistakes that make live performances a painstaking adventure for fans.

Fans at a live event. Photo by Quaint photography

Audiences go to a live concert for three reasons: to be captured and engaged, to experience moments, and to have their lives changed in some way. Artists therefore have to know how to use their charisma, stage banter, and jokes among other things to make the live performance worth for their fans. Here are some of the mistakes that artists do that put off music fans:

Failure to maintain a balanced level of energy through a performance

It is only human to get tired after going at something for a while. However when a live act starts strongly and ten minutes he can’t sustain that level of energy the show is often bound for a disastrous end. This is an experience with new acts that are venturing into the live performance scene. It is not only frustrating for music enthusiasts to keep up with what appears to be an acts failure to know how to balance their energy levels through a live performance. The end result is disappointed fans who always remember how frustrating a certain act is.

Not fully engaging all members of the band

From time to time artists will try to appeal to a certain market segment. Whether the band wants to be identified as a traditional band when they are entirely a pop music group or trying to bring a new experience to their fans, each member has to count. Having a member of the band chanting a few lines and totally nothing else to the entire performance leaves fans wondering whether that particular member is part of the group or he is filling in for someone. If a band is trying to create an impression of a traditional musical band it is only advisable to have someone who can seamlessly perform traditional songs as well as what the band is accustomed to and avoid a situation where one member is left doing nothing when they switch the performance to something other members are not well versed with.

Having a front-man who is not strong enough

Sometimes it’s not how great the song lyrics are that make a memorable live performance. Sometimes it’s having on a member who understands the art of engaging the audience to sing along to the band’s music that makes a show worth remembering. Sometimes a live performance is watered down by a band lead that lacks the charm to fully engage the audience. Each effort is only painstaking making it a frustrating affair for both the lead and the audience as the chemistry can’t be felt. If it is necessary for a band to engage fans to sing along to their songs it is only advisable that someone who can easily wow the crowds is taken if not the band should focus on other elements that will make their show memorable.

Not taking enough risks to become better

There's no thrill if the performer isn't taking a risk. Perhaps an artist has held a series of live performances and has realized what the audience needs. This makes it comfortable for the artist because they are assured that all will be well. However, doing things over and over again starts to become a dreary. A good live act should try to become better by taking on new challenges, no need to overdo it but take on new challenges that make each performance unique in a way.

Understanding the music that you are playing

Probably most artists have understood the fact that their earlier performances are never going to be as polished as they would like them to be. Failure to practice constantly leaves an artist at crossroads. While rehearsals might come in handy a day or two before a live performance, it is not the same as when an artist constantly practices their music. Rehearsals are great but practice enables an artist understand new tricks and ways to overcome challenges that they anticipate with certain performances.

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