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

News

Call for scores: Red Note New Music Festival in the US

22 Sep 2020 - 10:52

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Red Note New Music Festival at the Illinois State University in the US is calling on composers around the world to submit entries for its composition competition.

US composer Charles Peck is a past winner of the competition.

The week-long festival features outstanding performances of contemporary concert music. The competition is open to all composers regardless of age or nationality. The competition has two categories: Category A (Works for Chamber Ensemble) and Category B (Works for String Orchestra).

Interested composers should submit their scores here under the 'How to Enter' section. The deadline for submissions is 1 November.

General guidelines (applicable to both categories)

  • Works may include non-interactive electroacoustic elements (e.g. CD playback).
  • Works may have been performed before, but should not have been composed before the year 2000.
  • An entry fee of $25 must be included with the first score submitted, regardless of category.
  • There is an entry fee of $20 for each additional score submitted, regardless of category. For example, a composer who submits one score to Category A and another to Category B must submit a $45 entry fee. Composers may submit as many works as they like in either category.
  • Previous winners in any category of the Red Note New Music Festival Composition Competition may not enter.
  • Students, faculty, staff and alumni of Illinois State University may not enter.
  • In the unlikely event that no entry is worthy of the award in a given category, the university reserves the right to award no prizes or prize money in that category.

Additional guidelines

Category A (Chamber Ensemble)

  • Submitted works may be scored for any combination of one to seven instrumentalists (no vocalists).
  • Works must not exceed 15 minutes in duration.
  • The final round of the competition will be judged by nationally and internationally recognised composers.
  • The results will be announced on 15 December.
  • The composer of the winning work in Category A will receive a $1 000 prize, and the winning work will be performed by faculty members of the Illinois State University School of Music at the Red Note New Music Festival in Normal, Illinois, in February 2021. In the event that a performance is not possible in February 2021 due to the COVID-19 pandemic, the work will be performed during the 2021-22 season.
  • The winning composer must agree to provide parts by 1 January 2021, in order to guarantee performance.

Category B (String Orchestra)

  • Submitted works should be scored for wind ensemble, with the following maximum instrumentation: eight first violins, eight second violins, six violas, 10 cellos, six double bass keyboards and two percussionists.
  • The composer of the winning work in Category B will receive a $750 prize, and the work will be performed by the Illinois State University Symphony Orchestra, conducted by Glenn Block, in Normal, Illinois, on 7 February 2021. In the event that a performance is not possible in February 2021 due to the COVID-19 pandemic, the work will be performed during the 2021-22 season.
  • While the ISU Symphony Orchestra is an advanced graduate and undergraduate ensemble, judges reserve the right to consider playability in their deliberations.
  • Works must not exceed 12 minutes in duration.
  • The final round of the competition will be judged by Glenn Block, conductor of the ISU Symphony Orchestra.
  • Results will be announced by 1 December.
  • The winning composer must agree to provide parts by 10 January 2021, in order to guarantee performance.

How to enter

  • Entrants should submit an anonymous PDF and audio file (MP3 or MIDI) of each score to the Red Note website here.
  • The submitted PDF and audio files must be free of all names and identifying marks, other than the work's title.
  • Questions may be addressed to Professor Carl Schimmel at [email protected].

View the original call here.

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