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

CCTV consolidates King Promise’s appeal

19 Jun 2018 - 16:49

cc-img flag-img

A King Promise album, when it finally arrives, will be disruptive for sure—not the aggressive kind of disrsuption, but the seamless sort, like seduction preceding consensual congress.

King Promise has gauged Ghana's 'social temperature...accurately'.

How can one tell? By the artist’s previous work: 'Thank God', 'Oh Yeah', 'Hey Sexy', 'Selfish'. A strong wind announces a downpour, no?

Every record that LLE singer King Promise (Gregory Bortey Newman) has put out since he first tasted mainstream success in 2016 has been outstanding. And while he bears the specific 1990s lover-boy persona that attracts female admiration, Promise’s most prized (and vital) asset is his voice, that exquisitely tidy apparatus through which he conveys his truths—intimate emotional experiences that are just as valid to the listener.

With 'CCTV', his latest offering and now most prominent song, he reiterates via the unique silky texture of his singing the widespread assertion that he’s a leading name among the new generation of vocal specialists on Ghana’s airwaves. Evidently honed since childhood, the voice retains effortless R&B magic. Man and voice have remained allies for a significant period, and have fashioned a technique so reliable that today Promise can break into awe-inspiring a capella sessions amid running the length of a stage during performances.

When he says, “So make you no cry o, no cry o, say e go be, make you still try o”, adding that the grace of God is sufficient, or concludes his first verse with “Baba God dey for my side so no shegey”, one feels deeply. Making music is a mysterious process—the artist creates in private, but his work is for public consumption.

The balance is always chancy, but honesty to one’s self is a good place to start. 'CCTV', like most truly abiding tunes, invades the listener’s inner nerves in a manner that is both shocking and comforting because these are not unfamiliar sentiments, but again, they address the consumer’s battles which have yet to be said to anyone. “How did King Promise know I am battling such and such?"

Ultimately, that’s how you know we’re all connected beyond our skin tones and last names. The song is therapy for both its creator and user: “Make you do your best / Use your sense / I shun the stress since I put God first, chale.” A two-edged blade, Promise navigates inspirational themes as effectively as he treats love stories. In both spheres, a commanding vocal is his strength.

Production-wise, 'CCTV' retains churchy piano, violin and xylophone sounds, and features victorious drums and claps. King Promise’s regular creative sidekick, Killbeatz (who produced 'CCTV'), is a living legend—evidence of his competence as a maker of hit records litters radio locally and across international markets. Sarkodie, Kuami Eugene, Ed Sheeran, Fuse ODG, R2Bees, Wizkid, among other Afrobeats influencers, have all benefited from his wizardry. Indeed, Killbeatz (born Joseph Addison) is a major player in branding Tema as a melody headquarters. He’s sensei at marrying party and temple as shown in R2Bees’ 'Life' (2012) and his own 'Bokoor' (2016), both of which are good for dance as for spiritual reflection.

Lyrically, King Promise has always stuck to simplicity, confident in it’s psychological puissance. But the apogee of 'CCTV'—and this is not a comment on Promise’s delivery, which is flawless anyway—may have come from elsewhere though. Specifically, how (unsurprisingly) well Mugeez’s hook-making gift comes to play. The singer-half of R2Bees is respected for his genius with a chorus. That flair is displayed on the joint. Sarkodie then sprays an inspirational guest verse with the precise wit which has made him an African superstar.

Promise’s game plan coming into the industry was not to detonate abrupt hits; it was to win his way into the hearts of music lovers in a style that was deliberate and unrushed, so that, now, an organic trust has been fostered, and trending on YouTube for an entire month, and racking up a million views in that period, feels like the natural order of things.

'CCTV' became a hit the very second it was published. It is the song we had been waiting for, for though it deviates from popular subject matters of love and boogie (the trusted formula for radio success everywhere), it speaks to a prevailing, albeit overlooked situation: We may dance to music of flamboyant instrumentation and smile at overused lines which characterize Casanova pitches, but we cannot also be starved of motivational spiels. That it was instantly latched unto like ticks on a preferred host, is incontrovertible proof of the power of inspirationals. To be able to gauge social temperature this accurately, and meet it with such a masterpiece, is a tribute to King Promise’s craft.

Buy 'CCTV' by King Promise on iTunes

Artist: King Promise ft. Mugeez, Sarkodie
Song: CCTV
Label, Year: Legacy Life 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