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

Date Ur Fada review: Ebony courts controversy

25 Sep 2017 - 14:29

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The new single from Ebony continues her documentation of the sexual terrain.

Ebony Reigns is threatening on 'Date Ur Fada'.

On ‘Sponsor’, she was caught between an older man with money and one of those "broke guys" with "lots of energy". She was the one you can’t let go because of what she does in the bedroom on ‘Poison’. Those songs were controversial mostly because of her image as a sexually confident young woman. With ‘Date Ur Fada’, she is almost wilfully seeking controversy with her lyrics. Already, there are complaints: a relationship counsellor has called her “a disgrace to femininity.”

Perhaps no publicity is bad publicity. And Ebony has herself said her image is no show. “The bad girl brand people see out there is a true representation of me,” she has said. “This is how I have been even before coming into the limelight.”

On other songs, Ebony has been sultry and inviting; she is threatening on ‘Date Ur Fada’. Her opening line—“If you break my heart, I go date your father!”—is dire and direct. Break my heart, she says, and I'll break up your family.

That’s a rather scandalous sentiment to say aloud. But Ebony's music is crafted for the confessional age of social media: Her lyrics are salacious; her songs are very danceable; her attitude is incredibly sassy. Ebony is singing songs as much as she’s providing viral content.

This, of course, might lead to her being dismissed as all show, but she’s a talented pop act. While it’s unclear if her songs are written by someone else, she has proven to be a decent interpreter of those lyrics. Though she came on clearly claiming dancehall music on her first single ‘Dancefloor’, she has since shown that her voice is a flexible instrument fitting for the broad field of pop.

Because Ghanaian pop is thought to be conservative, at least compared to Nigerian pop, Ebony might be thought to be quite the alien in her country. Yet, Ghanaian pop has seen its share of sexually bold women in pop, the most prominent in recent times was perhaps MzBel.

Yet the current female pop stars—Becca, Efya to name two—are more prone to talking love and heartbreak or, like, Sister Deborah, cradling crass lyrics in comedy. Becca served some sass on ‘Na Wash’. But she was more or less the commentator. She was watching others. Ebony is both narrator and subject in her videos. Her sass is not limited to her words. Even the production on ‘Date Ur Fada’, heavily percussive, is suggestive.

As a result her popular peers in the contemporary moment are not in Ghana but in Nigeria. On ‘Kupe’, her best song, she cleverly references Davido's ‘Aiye’—“Me I no like Versace, and I no like designer,” she says—but her directly sexual lyrics elects her to the Tiwa Savage and Seyi Shay sorority.

Ebony is bolder than both on ‘Date Ur Fada’. (It is almost unimaginable to think of either Nigerian act singing these words on a single: “If you break my heart I go date your father. You gonna be my son; you go call me your mother.”) Despite their sexual lyrics, Tiwa Savage and Seyi Shay are vendors of monogamy. Ebony talks taboo, and convincingly. Her latest single will draw flak. It will also draw fans.

Buy ‘Date Ur Fada’ on iTunes

Artist: Ebony

Song: Date Ur Fada

Label, Year: Rufftown, 2017

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