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

Amid several star absences, Wizkid wins big at AFRIMA

13 Nov 2017 - 12:01

cc-img flag-img

For many Nigerian fans at the All Africa Music Awards (AFRIMA), which took place last night, Nigerian artists should have won every category.

Wizkid was the night's big winner at the 2017 AFRIMA awards. Photo: StarBoy

The unease in the Eko Hotel Convention Centre in Lagos was finally broken when the Best Western African Artist was named. Wizkid won the award. The popstar was absent but later showed up in what seemed immaculately rehearsed as shortly after he won the night’s biggest two awards and appeared to leave immediately.

Between his first win and the announcement of those last two categories, Wizkid and his countrymen lost several nominations in the general categories, sparking murmurs at the venue from aggrieved Nigerians. Nonetheless several nominees were absent. Olamide, Cassper Nyovest, Yemi Alade, Ali Kiba, Eddy Kenzo, Sauti Sol, Mr Eazi, Diamond Platnumz, Sarkodie and many others failed to show up.

The regional categories for which Nigerians were ineligible saw most of the audience cheer only artists who had featured Nigerian acts. Emtee, who featured Wizkid on a hit song, won the Best South African Male Artist. “I feel like a legend but I’m only 25,” he said, holding his trophy. Among those he had won over were rapper AKA and the great Hugh Masekela.

Thandiswa took the Best Female South African category. And when the Fans’ Favourite category was won by Namibian act The Dogg, fans of Olamide, who had been nominated, were unhappy. Ali Kiba won the Best Collaboration award, and someone asked, “What is this?” It didn't matter that Nigeria's MI Abaga was on the song for which he won. (Abaga was absent in the video.)

Simi won the songwriter award to cheers. “I love writing as much as I love singing my songs,” she said. Toofan took Best Group and later performed ‘Gweta’ and ‘Tere Tere’ magnificently. The duo’s performance—with 15 dancers—was one of the night’s highlights and a great introduction to their music for anyone who hadn’t heard of them before. Ghana's Becca was impressive, singing two songs including the hit ‘Na Wash’ though her co-singer Patoranking was absent. Zimbabwe’s Oliver Mtukudzi gave the night's best performance, armed with nothing but a guitar and his marvellously mobile lower limbs. Along with Salif Keita, he received a lifetime award.

The most heartfelt speeches on the night came from two sources. Orezi won the Best Video award for 'Cooking Pot' and breathlessly told the audience, “It is my first award this year and I know it’s the beginning of everything.” Unlike many of the night’s winners, he looked visibly elated to hold his trophy.

The Kenya-based Israeli musician Gilad won the Best Rock category. “I promised 45 million Kenyans that I’m bringing this award home,” he said, thanking a long line of people, but somehow forgetting his wife. Fortunately, he won a second award, for Best Male Inspirational, and corrected his mistake, saying he had been saved.

Unfortunately, the ceremony was full of glitches, two moments standing out in a sea of errors that saw presenters repeatedly call out the wrong category of nominees. First: 2Baba and Jimmy Jatt came on to announce a category but their microphone stopped working long enough for a stage hand from backstage to give the men a new one.

Second: As Wizkid came on to take the first of his last two awards, the launch of sparks and confetti simultaneously caused a small fire, which Jimmy Jatt and a few other men had to stamp out. Wizkid drifted backstage and apparently was asked to return, presumably for the sake of editing. He did and gave a different speech. “I just want to thank the legends over here 2Baba and Jimmy Jatt,” he said the second time, adding that they had done their part for Nigerian music and now younger ones like himself were pushing ahead.

Wizkid then contributed to the event’s strangeness. Only minutes after Wizkid took the last two awards available, Tiwa Savage closed the show by performing a few songs, two of which, ‘Bad’ and ‘Ma Lo’ were recorded with Wizkid, but the ‘Ojuelegba’ singer didn’t join her onstage. Savage, who mimed to her own music, did her part, saying, “Shout out to Wizkid!”—but he was nowhere to be seen.

Given the logistical disappointments on the night, perhaps the statement that best captured a night of highs and extremely low moments was made by 2Baba, who won the Best Reggae Award for ‘Holy Holy’.

“This award is going to get bigger and better,” he said. “Let’s support what’s ours.”

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