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

Features

Dr Adaku wants to calm the world with her music

12 Oct 2020 - 07:55

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Dr Adaku is a London-based singer-songwriter of Nigerian heritage. She is the first black doctoral researcher to obtain a PhD from Loughborough University London. She is also the author of the poetry collection, Yours Sincerely. Dr Adaku spoke to Music In Africa about her debut song ‘Jisike’, which was released recently. She also discussed combining music with her academic work and staying hopeful in 2020.

Dr Adaku offers hope with her debut single 'Jisike'.

MUSIC IN AFRICA: Have you always been involved in music, or is this your foray into the art form?

DR ADAKU: This is the first-ever single I’ve released. Music, however, is everything to me and always has been. When I was younger, I would always gather my cousins and sisters to rehearse, sing, dance and create mini shows for our family in the living room. I’ve also been part of a number of gospel choirs both in secondary school and at university.

What was the creative process like for ‘Jisike’?

I recorded the vocals for ‘Jisike’ at home during the early stages of the COVID-19 pandemic. By doing so, I learnt a lot about recording myself and making the most of out the situation at hand. Knowing that I wanted to release this song to help people, especially during these hard times, was my key motivation. Recording at home enabled me to build up skills that I’ll continue to use throughout my music career. It was also really important for me to work with African instrumentalists based in African countries, and that is what I did.

What did you seek to communicate with the record?

I wrote this song to help the world relax during what has been an intense year of uncertainty and injustice. I want people to close their eyes as they’re listening, take deep breaths and relax. I believe that music has an undeniable power in improving everyone’s well-being and I wanted to create something that could truly make a difference. ‘Jisike’ means ‘take care‘ or ‘try your best’ in Igbo. The premise of the song is that everything will be okay, even when it doesn’t seem like it. It’s definitely a ‘close your eyes and relax’ chill vibe, which everyone needs right now.

How have you straddled academia and your interest in music?

One key aspect of my PhD studies was looking at how stress affects health – both physical and mental health. I also used the biopsychosocial model, so I always had a comprehensive view of these nuances. Music, for one, improves my well-being and there are actually several academic studies on this. In general, I am determined to make the world a better place with music and research.

Has your PhD influenced your creative process at all? If so, how so?

Creativity helps when doing a PhD: you have to think outside the box and essentially create new theories and contributions to literature. So, tapping into my creativity really enabled me to do so.

The core message of ‘Jisike’ is a strong emphasis on hope ­– that things will be fine even if they don’t seem so at present. Why is that mindset important, particularly in 2020?

It is extremely important because of the ongoing social injustice and uncertainty that has transpired, particulalry in 2020. It’s fundamental for us to be present and to take each day at a time. In ‘Jisike’ I sing, “Hold your head high, you made it to another day, and everything’s gonna be okay”, because ultimately, this year has been rough, to say the least.

‘Jisike’ also blends Igbo and English. Was that deliberate or did it happen organically?

I was born and brought up in London, where I reside, but the Igbo culture is a huge part of my life. It’s a part of me. Hearing the Igbo language and Igbo music feels like home. When people call me ‘Adaku’ it feels like home. There’s also something special about the word ‘Jisike’, which has always meant a lot to me growing up. While writing ‘Jisike’, I also imagined singing to my people back home in our mother tongue, so it means so much to me that I’ve been able to blend Igbo and English in this way.

You label your style of music ‘soulful Afro-lofi chill vibe.’ What does that mean?

I grew up with Igbo highlife music playing in my house, but I also listened to R&B and soul every day, especially the likes of Lauryn Hill. Naturally, my style became a blend of Afro and soul.

Though you are new to the industry, are there any artists you admire and want to collaborate with?

I’m so proud of the African scene, always and forever! There are so many artists that I’d love to collaborate with, and I’ve already started planning stuff, so watch this space.

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