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

# Afro House

Are These Best Afro House Music Products Of The Last Decade?

18 Jun 2020 - 17:47

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The million-dollar question is, which Afro House record can be said to be the best when it comes to popularity, creativity and quality in the last ten years?

 

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I was gently sitting on my couch in my parents home early 2018, browsing through YouTube and suddenly I saw a South African music video with a couple of million views and a very tempting thumbnail, usually, most successful songs from South Africa don't have many views on Youtube. And I was like umm... Won’t hurt to check what people see in this particular music video they are watching so bad, in my mind, I was thinking it will probably be a non-melodious song with a bunch of strange South African languages I don’t understand. I clicked and watched, at first, I noticed the colourfully crafted visuals, I was gradually enjoying the melody of the chorus in a language that I, of course, don’t understand. As it moves on towards the end I realized that I found the beat and melody very pleasing, coupled with very crispy visuals I repeated it two times more and then I realized I was in love with the song already. That is the story of how I got stuck with the House music of South Africa. just in case you are wondering which song I was talking about above? It is "Inde" by Heavy K, Bucie and Nokwazi.

Since then I have been on to so many Afro House hits from the South African music scene, the likes of Master KG and singer Zanda Zakuza's duet Skeleton Move, King Monada's Malwedhe and many more. This made me remember the popular music group Mafikizolo's continental hit back in 2013 with their popular hit "Khona", it was early into the new decade and that was the beginning of South African house music growing wider than usual, most successful songs in the country only reach majorly countries in the Southern Africa but not continental-wide.

Khona was the first major continental hit from South Africa since the days of the legendary singer Brenda Fassie, she was the only one to do it several times with her music, songs like 'Vulindela' were anthems across Africa, from West Africa to East Africa she was called the female version of Michael Jackson in Africa. 'Khona' by Mafikizolo did it again, and once again the whole continent was rocking the same song. For the last couple of months, looking at my obsession with South African house music I have struggled with myself thinking 'which Afro House song is the best in the last decade'? is it 'Inde' by Heavy K, Nokwazi and Bucie a song I am still in love with, Prince Kaybee's Banomoya, Mafikizolo's Khona, or the other continental hits like King Monada's Malwedhe, Master KG's Skeleton Move and Jerusalem, the recent Afro House anthem by DJ Zhinle 'Umlilo' and others, I ask again which is the best House Music product of the 2010s based on popularity and quality?

Then I took my time to listen and reminisce these songs all over again, and surely I realized they are all great songs with great musical contents speaking of the beats the lyrics and how perfectly these vocals were laid. I then realized there were some that felt more house music than the rest, what do I mean by this? Well, many of these songs have been grouped under dance and electronic but speaking of the term house music we all know there is a specific feeling attached to this sound, that deep electric feeling you get from the beats heaviness to the instrumentals, melodies and the vocals I feel some of these house songs I mentioned earlier, slightly move away from the qualities I mentioned above.

Banomoya is great, but many believe it to be a Gqom song, I beg to differ, It is a great Afro House record but I believe it is not "pure enough" to be an Afro House record but one can't help but appreciate the creativity behind its creation. also, Master KG's Skeleton Move is more of a dance song which if a foreign house music consumer hear they will surely not call it a house song, his other single Jerusalem with singer Nomcebo sure has the patterns and sounds of an Afro House record which I believe is a very good song with so much popularity, but it just does not give me that feeling I should get from a House song same with "Malwedhe" By King Monada. Which leaves me with these three beautiful songs, Dj Zhinle's Umlilo, Heavy K's Inde and Mafikizolo's Khona. Which among these songs is the best Afro House music product in the last ten years?

Like I said above Umlilo is great house song with great beats and contributions from three brilliant artists, Dj Zhinle, Rethabile and Mvzzle but why is the song not that huge? I mean it is arguably the song of the year in South Africa for 2019, outside the country it is not much of success, but why? I think the song's lyrics being all local language made it not that appealing to the outside world, in many cases of musical success to the outside demographics, something about the lyrics must have these foreign audiences stuck on the song, a particular set of phrase they heavily connect or relate with. Since the lyrics could not reach them the beat is supposed to do that magic, which hardly happens and I guess the beat wasn't that appealing to foreigners for them to get stuck on it, it would have been a total success though, if a successful social media challenge was attached to it just like King Monada's Malwedhe.

Now, between Heavy K's 'Inde' and Mafikizolo's 'Khona' you want to know which is the perfect Afro House piece of the decade? Last time I checked the music videos of these two songs on Youtube Khona has over 15 million views while Inde has over 10 million views. Like I have mentioned before for a song to be huge outside its original demographics the lyrics have to get to them or the beats must do. For this song by Mafikizolo, it was the beat that did it, I could remember like a lot of remixes were made from the song's instrumental back in 2013 which became local hits in Nigeria it is surely one of the most remixed South African songs ever. Every night club across must rock this particular record on that dance floor it was a huge favourite amongst Disc Jockeys continentwide which made it more popular. But did the song really get to music listeners in a personal way? I think it was more of a vibe people loved and it sounded so unique and new, people outside South Africa were taken away by that beat and flow.

And for "Inde" by Heavy K, Bucie and Nokwazi this I am totally convinced is one of the most brilliant masterpieces from the South African music industry ever. Starting from that perfectly crafted beat by Heavy-K filled with a great melody, the kick all subtle and heavy at the same time without the vocals the beat was practically screaming "I am an Afro House product look at me! Listen to me! Dance to me!" yes that is what the beat says to me every time I hear it, I believe there is no House music lover across the world that would not be able to tell this is a House music beat, they will only wonder what is the mystery behind its uniqueness since most house music consumers worldwide are not really exposed to Afro House that much yet.

And now let us talk about those brilliant vocals, the song lyrics are amazing! The English phrase from Bucie just saying "I am a queen, I'm such a queen" is a killer she later went on to talk about her life in her verse, there is nothing that could be more deep and full of life than this. Singer Nokwazi later went on to wow us with that great use of her vocal strength spitting her dialect in the most appealing way ever. This song is a major hit across all top Southern African countries. Based on reports, I hear it has some popularity amongst European and North American House Music DJs. Which means, it would be a sure commercial success in those regions and even more, if some promotion was done to reach the House Music audiences on these other continents, why? because this particular record has all it takes to capture anyone who is a consumer of great music. "Inde" by Heavy K, Bucie and Nokwazie is the best Afro House record of the last ten years and in case you disagree I ask you with complete indulgence please go listen to that record again and you will surely know where I am coming from. And maybe agree with me and others who believe this to be true.

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