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

Amanda Black: New album is about taking back my power

24 Oct 2019 - 16:46

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During a relatively short time in the spotlight, South African singer Amanda Black has had her fair share of challenges, which almost brought her blossoming career to a halt following legal battles with her former record label Ambitiouz Entertainment.

Amanda Black's second studio album will be released on 25 October.

The musician went on a ‘sabbatical’ for almost two years, which saw the former Idols SA contestant battling financial constraints and emotional breakdowns. This period of her life nearly destroyed the livelihood of an artist who shot to fame shortly after the release of ‘Amazulu’, the biggest single off the album of the same name. The album was certified platinum and garnered Amanda Black four South African Music Awards.

The singer releases her second studio offering Power on 25 October, after giving her fans a sneak preview of the 18-track album with the singles 'Afrika', ‘Thandwa Ndim’, ‘Ndizele Wena’, ‘Egoli’ and ‘Hamba’. The highly anticipated album is expected to be one of the biggest releases in South Africa this year and features guest appearances from Anthony Hamilton (US), Adekunle Gold (Nigeria), the Soweto Gospel Choir (South Africa), Ami Faku (South Africa) and Kush Mahleka (South Africa).

Music In Africa spoke with Amanda Black about her new album, the challenges she's faced during the break-up with her former label, and how she's been able to regain her power.

MUSIC IN AFRICA: What inspired the title of your new album?

AMANDA BLACK: The title of the album was inspired by a song that I made called 'Power’, which features on the album. I wasn’t in a very good space and I didn’t want to be in the studio, but ended up in the studio that night. I have a home studio by the way. When I was laying on the couch, my producer was playing a beat and then I started singing 'power’ [sings].

There was a point in the past two years where I felt powerless and hopeless and not being able to do anything about my situation. So this song is me taking back my power. The song is about my past experiences in the industry and everything I've been through, and how I'm in the process of overcoming the challenges that I went through.

Can you share some of the experiences you went through in the past two years?

Some of them are already in the press. These include my challenges with my previous label, expectations, and financial constraints due to a breakdown in relationships with my management and the record label. It felt like it was over for me.

Some personal challenges that I went through were doubting that I wanted to do music because of the situation I was in. They were moments when I felt like I didn’t want to go onstage and I felt like this wasn’t the way I had imagined things would be. You know, coming from the outside and having dreamt of this career for so long and then having basically all of it taken away from me was really hard. But music chose me and I like to think that I chose it. Music chose me since I was very young. Every challenge I have gone through has led to me doing music. Every single time where you think life is going this way, music has always won.

Take our readers through the making of Power.

It was crazy! There was a stage where we were making the songs and not the album and I think after ‘Thandwa Ndim’ that’s when I said, 'Well, we are actually going drop an album.' Making another album was something I always had in mind but there were still some legal issues I was going through with the previous label so we were still sorting out those things.

Some of the songs and stories were already in my head and just waiting to come out. They were lots of back and forths; it's very stressful. The mixing and mastering stage has been an incredible journey for me and it was also part of my healing process. I compiled the tracklist myself, even going song by song trying to paint the picture for the listener.

During the making of the album, I wanted to make sure that I tapped into all the parts of me that had been hidden. I had to basically be vulnerable, so I sat down and I told myself, ‘You need to deal with all these things’ and this is how I got all those 18 tracks, which could have been more but I was like, 'If I add more songs, I will end up with a double disc.'

I feel so privileged and happy that I am at this point, where I'm a huge part of the business itself such as decision-making. It might sound like very small things to someone else, but for me those are part of my power, being able to say, ‘This is how I want it, this how I want the photo shoot to be.' Those type of things are part of my victory because there was a time where I thought I couldn’t do it.

You've already released a few singles off the new album. Based on the performance of these singles, how do you think your album will do when it's released?

[Laughs] So there is ‘Thandwa Ndim’, the official single, and ‘Egoli’, ‘Hamba’, ‘Ndizele Wena’ and 'Africa'. ‘Thandwa Ndim’ touched on different emotional levels in a lot of people. For me it did well because the feedback I have been getting from a lot of people has been very positive. People also loved ‘Egoli’ when it came out. In the past two weeks we made available ‘Ndizele Wena’ and ‘Hamba’.

I think people have been excited. Like I said, I have been quiet for two years and for me it was overwhelming because there was a time when I thought no one would care if I released new music or not. So I went through those psychological and emotional difficulties as well.

Do you intend to shot videos for any of the 18 songs on Power?

Yes! ‘Power’ is one and there are a few others, and if I had it my way, I would do videos for all the songs on the album. I am finding the importance of translating the message in a song and having it portrayed in the video so that people can fully understand. Sometimes people have their own interpretations but when they get the video they will understand better.

Who wrote and produced the songs?

I wrote all the songs and the album was produced by Christer. Christer is the main producer but we collaborated with a few other producers and instrumentalists.

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