NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud to announce 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 launching a new national programme designed to create jobs, address skills gaps, and strengthen 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 will recruit and train participants, match them with host organisations, and place a minimum of 1 000 workers across the country. 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 has stamped its authority as Africa’s leading music trade event. At the 2019 edition in Accra, the conference brought together more than 1 200 delegates from about 50 countries on the continent and beyond. The conference also hosted 76 showcasing artists from Africa and the diaspora, who got to perform for an influential audience at two top live venues in the Ghanaian capital. Apart from live showcases, the event features panel discussions, presentations, exhibitions, pitch sessions, Q&A sessions with prominent musicians and visits to key music industry hubs in the host city. Many of these activities will be planned for ACCES 2021, with the ACCES team already exploring a tailor-made programme that will cater for the specific needs of the local music industry amid the pandemic. ACCES is organised by the Music In Africa Foundation, a non-profit and pan-African organisation, in partnership with Siemens Stiftung and Goethe-Institut.

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 claire@musicinafrica.net. 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

Aburi rocks to Rocky Dawuni’s Afro-roots

29 Apr 2024 - 15:50

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“It’s been a great pleasure to share tonight with you,” Ghanaian singer-activist Rocky Dawuni, charged and drenched in his own sweat, declares towards the end of his set. The sentence is greeted by loud cheers. The thumping resonance of ‘Afro-roots’ – the fusion-based sound he pioneered in the ’90s – has been strongly felt. Does he not caution “There will be no cure when you get it” on his 2010 hit ‘African Reggae Fever’?

Rocky Dawuni performing in Aburi. Photo: Life In Lens

Twenty-four hours prior, audiences at a jazz festival in Ghana’s capital Accra had received their dose. Tonight’s crowd has had to convene at a recreational park tucked in the mountains of Aburi in the Eastern Region, for the Ghana Export Promotion Authority’s first annual Adinkra International Arts and Crafts Show. Observing his spirited skanking onstage, his dreadlocks bouncing on his shoulders, it is clear that the man is high on his own supply.

Mic in hand and backed by a solid live band, Rocky, a three-time Grammy nominee, is a lion – majestic in charisma and truly, truly unstoppable. Indeed, there are moments throughout this evening when he grins with pride, well aware of how effectively his musical spell is proving. His stagecraft is defined by practised mastery, and his interactions with the crowd flow and are instantly memorable. By ‘Jamming Nation’, the second song tonight, he descends from the stage to join fans in dance.

Rocky’s discography, infused with superior poetry and social consciousness, spans eight albums, commencing with 1996’s The Movement. He is also behind 2020’s EP Voice of Bunbon. The set, lasting about an hour, offers a rich array of Afro-roots music, including Rocky essentials like the reggae-leaning ‘Beautiful People’, ‘Extraordinary Woman’ and ‘In Ghana’, along with highlife gems like ‘Woara’ and ‘Kyenkyen Bi Adi Mewu’, originally performed by Alhaji K Frimpong.

There’s also contemporary Afrobeats in ‘Wickedest Sound’ featuring Stonebwoy, and a rendition of ‘Get Up Stand Up’ by Bob Marley and the Wailers, driven by Fela-esque Afrobeat, complete with pidgin, percussion and brass. Occasionally, he pauses the band to deliver brief speeches advocating patriotism, African unity and women’s empowerment.

“The thing is that music is energy, people will feel what you’re feeling,” Rocky tells me during a brief chat after the show, but only after the crowd clamouring for photos with him disperses. “When I’m on stage, it’s about me getting out of the way and letting that one energy that connects all of us work through me. I’m more of a vessel of communication, and I honour the moment and the reverence of the opportunity to sing to people and they sing back to you, creating a communion that’s based on music. It’s also based on the appreciation of being alive at the moment.”

For him, tonight’s performance is important in how it serves to inspire and uplift everyone, stressing resilience, hope and a focus on what brings people together. There isn’t much of a difference between performing for audiences elsewhere and performing for a home crowd, Rocky says. However, here it’s “effortless because there’s just so much joy to do it here and honour who we are.”

When I enquire about his mid-show exhortations, he highlights music’s capacity to reshape society and improve our collective well-being. “I believe that music can be weaponised positively to spark a constructive mindset,” he adds, making air quotes when saying ‘weaponised’.

“Once we’re in the realm of celebrating together, singing and dancing, there are also messages that, without being preachy, we can share; things I feel are close to my heart and will make our society move forward. We need a conscious, intentional message. For me, that’s what it is all about. It’s about performance, conversation, entertainment and at the same time taking us to a new place of enlightened awareness.”

When you boast a catalogue that spans something like 30 years, choosing which songs to perform on a given night must be taxing. Tonight, Rocky is led by “vibe”. “I wanted to do something that was more Afro and at the same time positive and spiritual. Additionally, “we’re a dancing people”, so that’s also key. Reggae and highlife favourites are also important today, as are Afrobeat fusions.

“It’s about showcasing that sound of our future and now. It’s very important. I choose the songs based on how I feel. And tonight I just wanted to make the heart of Ghana smile.” Well, I speak for everyone at the show tonight when I say, mission accomplished, Rocky.

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