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 Wizkid songs to mark fifth anniversary of ‘Superstar’

21 Jun 2016 - 17:35

cc-img flag-img

Superstar, the debut album of Nigerian popstar Wizkid (real name Ayodeji Balogun) turned five this month, on 12 June. 

Wizkid's 'Superstar' album turned five on June 12

It is an important album. If it was not entirely ground-breaking, it’s because Wande Coal’s Mushin2MoHits showed up a couple of years before. Still, Superstar extended what was possible within Nigerian pop. Before long, songs from Superstar entered the Nigerian club corpus.

There is some debate on who exactly discovered Wizkid, with Banky W positioned as the popular discoverer and OJB Jezreel, before his death, claiming otherwise. The matter may have to depend on what constitutes a discovery. Is it signing an artist to a label, as Banky W did? Or is it meeting and encouraging a young artist before he ‘blows up’, as OJB presumably did? In any case, Wizkid has his own label now, named StarBoy Entertainment after one of his nicknames.

To grasp the extent of his success in the five years since Superstar, it should be recalled that he has now signed a couple of African artists, all based in Ghana, onto his expanded StarBoy Worldwide Entertainment. These signed artists include the very successful R2Bees.

His reach has been extended even further. This year he has appeared on 'One Dance', a song by Drake, one of the biggest music stars in the world at the moment. He has performed onstage with Chris Brown. He has recorded a song with R.Kelly, British act Tinie Tempah and the Holland-based DJ Henry X. Recently, Wizkid has been photographed with the producer Swizz Beats, who months ago was seen dancing to his hit song 'Ojuelegba'. Wizkid has said that the American and himself have recorded a song together. On the local scene, he has done a song with newcomer Kiss Daniel.

These are recent successes, all of which had a beginning. In the list below, Music In Africa looks back to before Drake. What are the songs that established Wizkid as a pop artist of immense promise? Below we count down 5 of those songs, all from Superstar:


5. 'Tease Me / Bad Guys'

The most clearly derivative song on Superstar showed the audience that with little, Wizkid could do a lot. The beat was familiar and the core lyrics to ‘Tease Me’ could perhaps take up a single line. And yet, in the hands of Wizkid, it became a hit. For better or worse, a pattern was established: Give Wizkid a good beat and he'd transform it to a hit with the barest of lyrics. Over and over, the same method would yield the same results.


4. 'Oluwa Lo Ni'

Superstar was essentially a dance album concerned with girls and parties and the famous trip from grass to grace. Somewhere in the middle, though, ‘Oluwa Lo Ni’ showed the album could hold some God-centred meditation. With the benefit of hindsight, ‘Oluwa Lo Ni’ appears to be the forerunner of the retrospective smash hit ‘Ojuelegba’. The song was an indication that there is more to the Star Boy.


3. 'Don’t Dull'

On 'Don’t Dull', Wizkid took the slang of the time to radio. The song depends on Wizkid’s adaptation of fuji singing and producer Samklef’s percussion-based sound. Today ‘Don’t Dull’ as slang is dated but the song can still cause some chaos in clubs. A video for the single was never shot but it remains a fan-favourite. Just get good speakers and increase the volume.


2. 'Holla at Your Boy'

‘Holla at Your Boy’ is the quintessential song of early Wizkid. Released as a single a year before the Superstar album dropped, it proclaimed a major talent. The song’s crisp video, shot at a private university in Nigeria, proclaimed to viewers and fans that this major talent was in good hands, Banky W's. In a few years, he would leave those hands, setting up his own record label. Fortunately, the talent remains.


1. 'Pakurumo'

It was quickly established that Wizkid could make magic with pop music. With ‘Pakurumo’, a pop-out fuji song with hints of the talking drum, Wizkid established that he could do wonders with other genres as well. On his sophomore album Joy, afrobeat and highlife would come into play. By then though, ‘Pakurumo’ had already shown that the man’s great melodic gift could do almost anything it wanted. The song implores only girls named Tolani, Funke, Halima and Folake to the dance floor. But that hardly matters. Boys named Kelvin and girls named Ifeoma were already dancing. Soon boys and girls, men and women from across the world would join Wizkid's party.

Please log in to post a comment.

Most popular

Disclaimer: Music In Africa provides a platform for musicians and contributors to embed music and videos solely for promotional purposes. If any track or video embedded on this platform violates any copyrights please inform us immediately and we will take it down. Please read our Terms of Use for more.

newsletter banner

Subscribe to our monthly Newsletter

Follow us on social media