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

opportunities

Call for entries: BandLab July 2021 contests

08 Jul 2021 - 11:36

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Singaporean collaborative digital audio workstation (DAW) BandLab is calling on all music makers to enter its three new contests in July for a chance to win up to $500.

The deadline for entries is 31 July.

The contests will run under the hashtags #YouGoatThis, #CometMeBro and #ForkOfJuly. Founded in 2015, BandLab is a free app available on iOS and Android in more than 180 countries.

How to enter

Entrants should publish a track on BandLab and tag it with the contest’s hashtag in the song description, or fork the relevant track linked to a contest, and the track will be entered automatically.

You Goat This contest

  • This contest is open to all subgenres and styles.
  • Participants can publish any beat or groove.
  • Each track can be from any genre.
  • The track must have vocals on it.
  • Entrants must write their most inspirational track, and indicate what motivates them.
  • Each track must be set to Fork.
  • The contestants must have the stems and individual tracks (guitar/drums) in their entry.
  • All the winners are guaranteed a feature in BandLab’s inspirational playlists such as Hot Beats and Jam Tracks, among others.
  • Participants who do not make it to the top four will also stand a chance to get featured on the playlists.

Enter the #YouGoatThis contest here.

Comet Me Bro contest

  • BandLab wants participants to create an original Sci-Fi-inspired beat that is about unidentified flying objects (UFOs) and the mysteries behind them. The song should sound “out of this world”.

Enter the #CometMeBro contest here.

Fork of July contest

  • In this contest, contestants must fork one of the beats and tracks available in this collection of tracks to create and shape a song according to any genre, whether jazz, hip hop or world music, among others.

Enter the #ForkOfJuly contest here.

The deadline for all entries is 31 July.

Note:

  • Entries must be published for the first time during the competition period. If entrants have a private track created before their entry period that they would like to submit, they can do so when they publish it – but unpublishing an older track and republishing it will not work.
  • Editing an existing song’s description with the hashtag will not count either. For forking contests, participants must make sure they fork directly from the contest page or linked blog post to ensure their entry makes it to the general contest feed.
  • Submissions don’t need to be created during the entry period, just published for the first time – so even if the contest hasn’t started yet, you can prepare your tracks now to make sure you have a head start when the contest opens.
  • Entrants are encouraged to read the terms and conditions. Users found to be in violation of the BandLab Community Guidelines or contest rules during the contest period will be automatically disqualified from the winner’s selection process. Interested participants can read the contest rules here.

Prizes

The winners will be awarded the following cash prizes:

  • Grand prize: $500
  • 2nd to 4th place: $100

How the winners will be selected:

  • All the finalists will be shortlisted by the community voting on their favourite tracks, in the form of total likes attributed to the eligible revision during the contest period.
  • A judging panel from the BandLab team will then select the winners for all contests based on originality, artistic style, marketability and technical quality of the eligible revision(s).
  • The judges’ decision will be final, and the winners will be confirmed based on a combination of the metrics detailed above. Contestants are encouraged to get creative and promote their entries.
  • Entrants can enter as many times as their like with different tracks, so long as they are published for the first time during the competition period.

View the original call here.

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