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

Cho Cho is a showcase for Zlatan’s noisy relentlessness

30 May 2021 - 15:28

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Sometime around 2016, Nigerian pop music achieved a less frantic state. Its chief architects were the Ghanaian producer named Juls and the Nigerian singer popularly known as Mr Eazi. An obliquely connected strain of mellow productions was also popularised by Tekno around the same time. In time, it won over many converts: Davido, Runtown, Falz, Olamide. 

Zlatan.

That cool state of affairs, as imported from Ghana, wasn’t destined to last  –  even its eventual name “pon pon” had a certain ruggedness that the sound, in its initial stage, lacked. So pervasive was this sound and the hits it produced that it felt like it would never really end. But it has had to. If everything that rises in pop music takes the shape of its most important city, then, by default, Nigerian pop must be of a high tempo. And so it was that less than a half-decade after pon pon’s peak, zanku killed it off. From pon pon’s easy swaying of bodies in clubs, Nigerians were thrown into a frenzied hopping on-one-leg-and then-the-other dance.

The sound/dance’s chief proponent, Zlatan, appeared on songs with Nigeria’s biggest artists: with Burna Boy, he made ‘Killin Dem’, with Davido he made ‘Bum Bum’. None of those songs can be said to be mellow. But as the sound’s popularity began to dwindle, it appeared its main act was about to disappear. The unexpected rise of Naira Marley, with whom Zlatan shares an artful recklessness, delayed that decline further, as they starred in videos that kept both in circulation. And then earlier this year, Zlatan released ‘Lagos Anthem’, a minor hit track that showed that he was far from a spent force in Nigerian pop music.

He has now teamed up with Davido again on ‘Cho Cho’, which takes his rhythmic noise to a relentlessly intense level. The song proceeds at breakneck speed and has a video that captures the song’s energy with jerky cuts featuring people dancing. What is the song about? Who cares! Its major purpose is to convey Zlatan’s artful noise and make its listeners move and there is hardly a link between the song’s three verses by Zlatan, Davido, and Mayorkun. But yeah, who cares?

By leaning heavily on one end of the tempo spectrum, it seems unlikely that ‘Cho Cho’ would become one of Zlatan’s bigger hits. In fact, its major utility, besides keeping up with the prolificity the streaming era demands of some artists, is its tribute to Zlatan’s affinity for frantic sounds. To his credit, he has made his career work way past some expectations, proving that reports of his musical demise were quite exaggerated. It turns out that Zlatan is as relentless as his music.

Song: Cho Cho
Artist: Zlatan ft Davido and Mayorkun
Label: Zanku Records/The Plug Entertainment

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