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

Diamond Platnumz breaking barriers with Waka

11 Dec 2017 - 16:08

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Diamond Platnumz's latest collaboration, ‘Waka’, which was released on 7 December and features American rapper Rick Ross, shows how hard he’s working to break down international barriers.The Tanzanian artist is known for tracks that speak of love and heartbreak. However, ‘Waka’, which is a 180-degree shift from this norm, is about popping bottles and getting high.

Diamond Platnumz.

In this song, Ross, who is known for his unhurried style, raps about running with the young kings – such as Diamond – who are taking over the music industry and getting high on Belaire Rosé champagne.

‘When you see black bottles it’s time for lift off... / Belaire here, Belaire there / We got to have Belaire everywhere / Bottles on ice, balling all night / Black Ferrari boss stepping out in all white / No it’s not a secret meet me at the top / Black bottle boys we’ll never stop’.

The video opens with a shot is of a blue sky lined with palm trees, which is followed by an aerial view of a sprawling mansion. Ross slowly steps out of it holding a champagne bottle. He makes his way to the pool where Diamond, who is surrounded by women clad in bikinis, is singing.

The scene changes to an entertainment room in the mansion – most of the shots in the video alternate between this room and the pool. At one point, Diamond is cosying up to a woman on the couch and, on a table in front of them, several bottles of champagne are chilling on ice. At another, he’s seated on the counter holding a bottle of Belaire Rosé as women dance around him.

This is a party song and Moe Musa, a Nigerian director, didn’t pull any stops. Drinks are flowing and the artists and the women look like they are enjoying themselves. They were going for prestige, which the mansion represents. For dramatic effect, Musa used slow motion in some scenes.

‘Zigo’s’ video, which was a collaboration between Diamond and fellow Tanzanian artist AY, was banned by Tanzania Communications Regulatory Authority. ‘Waka’ might suffer the same fate as there are scenes, like the one where a woman in a bikini is repeatedly slapped on her bottom as she dances, that might be frowned upon.

With its bass-heavy beat, you know that this is going to be a club banger. However, some lyrics on the track aren't original. ‘Oh you should let me love you / Let me be the one to’ is a line from Mario Winan’s song, ‘Let Me Love You’. There are also fragments of The Fugees’ ‘Oh La’ in ‘Waka’. From the line, ‘F*ck*ng like nobody / Sucking your whole body’, it is clear that some of the song’s lyrics need to be censored. Thus, the track should be R-rated.

This collaboration shows Diamond’s versatility, but other than waka, the track has very few Swahili words which include: ‘Bao kwa kila mechi kama Maradona / Na tukishawaka then we sing along’ (Scoring at every match like Maradona / After getting high we sing along). Unlike ‘Number One’, ‘Marry You’ and ‘Love You Die’, some of his big collaborations, this track lacks that bongo flava feel, which is the magic sauce that makes Diamond stand out. It is heavily influenced by American hip hop, rather than bongo flava, which the Tanzanian artist is associated with.

Ross has an endorsement deal with Belaire Rosé and Diamond was recently unveiled as its brand ambassador. Even though it is a party song, they went overboard with product placement in the video. Companies pay artists to mention their brands in their songs. American artists such as DJ Khaled and P. Diddy are known to include their own products in their music. DJ Khaled promotes his headphones while P. Diddy pushes Cîroc vodka. Waka looks like a video that was purely made to promote Belaire Rosé.

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