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

Black eyed peas

Do you have to sell out to go Mainstream ?

04 May 2018 - 21:49

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Music and art in general is about free expression, but the business of art is about selling what people like. The sad reality is that people are free not to like your free expression; so if you actually want to make real money with art you have to compromise. That compromise however, comes at a cost when the loyal fans who were with you from the beginning throw you under the bus. Commercializing art literally requires the artistes to sell themselves to the highest bidder. The question I have always asked is, how do you sell out your album without being a sellout, how do you strike the balance between making authentic music and making music that will make you money?

Nicki Minaj was actually a hardcore rapper but she sold out when she went mainstream. Photo: Dailymail

Just about everyone in mainstream music today has been accused of selling out from Taylor Swift, Aerosmith, Black eyed Peas, Maroon 5 to American Punk rock band ;Green Day. Believe it or not, Niki Minaj , was a hardcore rapper back in the day when she was signed with dirty money. She had tight rhymes and a flow that would disseminate the hardest rapper any day of the week. Not only did she sound like a hip hop head she dressed like one to. https://www.youtube.com/watch?v=14-8zWzPpbw https://www.youtube.com/watch?v=w56UQK7QpBw

However, after her smash single Super Bass took her mainstream in 2011 she sold out a good one. She went all the way soft and dumb down her flow to retarded. As for wardrobe, she went from ghetto princess to uptown Barbie doll in record speed. https://www.youtube.com/watch?v=4JipHEz53sU

The dirty little secret in showbiz is that once you sign the contract and clear the cheque your music is no longer yours. In fact, your life is no longer yours; once you are famous, you are public property. Fame and privacy are mutually exclusive because the public get a vote on just about everything from your weight, waist size to the colour of your shirt. A piper is free to call their own tune until someone starts paying them. Occasionally, they will allow you to go off script but dare tarry too far from the reservation and you will feel the full force of the taskmaster. Consequently, the more the zeros pile up on your check the harder it gets to keep it real.

The only way to sell out venues and music downloads is to be a sellout. There is no balance to be found, no easy way around it. Mainstream music is usually light on lyrics, composition, and complexity; so one has to dumb down to move up. Electronic Dance Music star, David Gauetta, put it so well when he was defending himself against dance purist who were accusing him of selling out.

“I am not trying to be credible; I am trying to be incredible.” Gauetta said In an interview with the guardian

If you really want to remain true to your artistic expression then remain underground. The best way to do music on your own terms is to do it as a hobby where playing for fun is the main objective. Purists don’t always do very well in the mainstream, so if you are one better stay in the niche market. It is unrealistic to expect that a record company will invest millions in music and have no say in its production. It is unrealistic to expect fans to pay for music and have no say in it. It is also unrealistic to expect a record company to release a song they don’t think will sell just so the artiste can keep it real. In a fantasyland somewhere near never land, there are artistes who produce the music they want and sell millions, but in the real world, people have to pay bills.

It is a bitter pill to swallow I know, but it is one that every creative must embrace in order to put food on the table. When you create for the public, you must put aside your personal preferences and consider the market realities. Occasionally, you will get lucky and produce something that is truly authentic and commercially viable, but it will be far and in between.

There is no death more excruciating than to watch a brilliant song die because it won’t sell, but it is a funeral one must attend in order to live the dream of being a professional musician.

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