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

Reviews

Barry Jhay artfully engages the Yoruba concept of Aiye

19 Sep 2018 - 11:47

cc-img flag-img

The up-and-coming Nigerian artist, Barry Jhay, just might have found the perfect blend between trado-cultural relevance and pop with his single 'Aiye'.

Barry Jhay successfully navigates the ambiguous Yoruba concept of Aiye.

A rare combination of ancient wisdom and its rhythm fused with contemporary beats has, for a while, been the target of some of Nigeria's contemporary music stars. Asa, Simi, Adekunle Gold, Kiss Daniel and a few others have all tried to explore this elusive realm with different degrees of successes.

In some cases, as it is with Adekunle, there are moments of total misconception of the nature of Yoruba spiritual culture. But Jhay, having obviously gone back to the roots even as a modern artist, seems to have come across the exact elements that may spell a new and yet familiar path in Nigerian music.

The word "Aiye", which literary can mean "life" or the "world" (depending on the context of its usage in the Yoruba Language), is also a covert name, in the Western Nigerian spiritual belief system, for cults said to secretly run or influence humanity’s fate positively or negatively. Understanding Aiye, to the Yoruba people, is the provenance of all wisdom. In fact, the whole culture of the Yoruba people revolves around the interpretation of life with Aiye in consequential cognition: why does Aiye (a word used only in plurality) act or react; why do they give or take; enrich or impoverish? Without a clear understanding of Aiye’s ways, the people have concluded that Aiye is a mystery.

So in everyday life, when Aiye doesn’t mean the world or an individual’s life, it means mystery, events of the underworld, ways of the occult. Cinema, music, dance, painting, sculpture, literature and other art forms have consistently engaged Aiye in various narratives, making it the most talked about topic in Yoruba culture.

And this word, in all its ambiguousness, is what Jhay has seen fit to name his first major single. He courts the risk of being found wanting in what his understanding of the word is as a young artist. But wait till you listen to him not just put the word in context, but artfully engaging it in the track.

The song starts with a loud cry of the word "Aiye". The cry is similar to the real-life use of the word. It also shares a similarity to Alhaji Sikiru Ayinde Barrister's shout of the word in his track of the same title. The call comes with echoes, not dissimilar to those used in the soundtrack of the popular 1990s Yoruba film Koto Aiye. And then the beats: contemporary—slow-paced yet groovy.

The lyrics of the song, however, give the song its most valuable essence. Jhay understands Aiye not as the group Infinity’s shallow interpretation of the word in their track 'Aiye O le'—which is the Christian understanding of it—but in its most cultural and spiritual perspective. The gospel group says Aiye isn’t difficult, only for those who have faith in God. Jhay, on the other hand, says Aiye isn’t hard, only for those who are wise. And then he follows up his claim with aptly used traditional adages. He talks about Ori, which is believed to be one’s carrier of fate in the Yoruba cosmology, saving him from the mock of Aiye.

But what is this wisdom Jhay talks about? A clue might be found in the cover photo of the single: There is the artist's name Barry Jhay; in a bigger size of the same font, the word Aiye; and then cowries of the Ifa divination.

Nobody talks about Aiye literally; expressions are made in parables and adages. And Jhay—like the king of juju music King Sunny Ade, who used Yoruba idioms and proverbs like no other musician in history—drops his lyrics, line by line, in befitting proverbs.

The Yorubas say, “Oro po ninu owe kobo”, meaning: “There are plenty of meaningful words in a proverb that costs next to nothing." Barry Jhay has said a lot in under four minutes.

Buy Barry Jhay's Aiye here

Artist: Barry Jhay
Song: Aiye
Label, Year: Cash Nation Music Entertainment, 2018

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