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

Emerging Rwanda: EDM producer Eloi El

14 Sep 2021 - 09:41

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Eloi El is relatively new to the Rwandan music scene, but music is not new to him – it’s long been his creative weapon of choice. As a tastemaker and EDM producer, he has been making a name for himself and getting noticed in the capital Kigali, by fusing modern electro with Afro-house through high-quality productions that rival those on the international dance scene.

Eloi El amassed about 7 million streams on Spotify in 2020, making him one Rwanda’s most streamed artists on the platform.

In 2020, he was one of the most-streamed Rwandese artists on Spotify with more than 7 million streams. His debut EP Africa to the World, released last year, has almost 6 million streams on Spotify. His most recent success came with the single ‘Belong to You’ alongside French artist Vowed, which was added to the Fresh EDM playlist on Amazon Music.

The 22-year-old music maker has also collaborated with American singer Daria V and worked with record labels like Get The Sound (France), LoudKult (Sweden), Spectrum Recordings (UK) and We Are Diamond (Germany). Locally, he has produced well-known artists such as Dany Beats, Rita Ange Kagaju and Mike Kayihura.

We caught up with Eloi El to learn more about his music and career.

LUCY ILADO: How would you describe your sound?

ELOI EL: It’s layered, contrasting and a hybrid. I am biased towards Rwandan sounds and house, which I fuse with electronic music. Some of the musicians that I look up to are Black Coffee and Sun-El Musician because they brought their own brand of music to the world and continue to showcase the sounds of Africa.

How has your sound been received locally?

To be honest, my music is not getting as much attention as I would like, especially from the media. I understand it’s because my style is new and unique to them. The media is more inclined towards pop music. But given my potential, I believe this attitude will change.

What support is needed from the local industry for artists like yourself to thrive?

There are many talented and hardworking artists around. The problem is that Rwandese people themselves miss out on a lot of music because of what the media feeds them. The media should be supporting new artists like myself to showcase their unique sound so that listeners can become acquainted with them. We also need music promoters to book us as is the case in countries like South Africa and Kenya. In Rwanda, we need established record labels to support and guide local musicians. The absence of labels, contracts, marketing and branding teams devalues one’s artistic merit, although we have seen globally that independent artists can make it without label support. But this is Africa.

What’s your strategy to get a bigger local audience?

My strategy is to popularise my music through collaborations as a producer and mixing engineer. I have collaborated with a few established local artists, and the plan is to continue with this trend. My music is mainly established in Europe, the US and other countries in Africa, as I have been working with well-established international music labels. The record labels that I have worked with ensure that my music isn’t only being played in France or Sweden but other countries too. They understand the business and intend to give the best they can to promote their artist to the right market.

‘Belong to You’ is one of your popular tracks. What was it like working with Vowed?

Working with him was super awesome and he’s one of the most amazing EDM producers in the industry. We are both happy with the results of the track so far. The inspiration for the song came right after I listened to a Meduza [Italian production trio] track called ‘Paradise’.

Where do you see yourself in the next five years?

My desire is for my music to reach and carry on touching people’s souls from different parts of the world. I want to be an internationally touring artist. I also intend to build a network with music labels to help other EDM musicians, especially in Rwanda, to go far and introduce them to the bigger market.

What are the key lessons you’ve learnt about producing that upcoming artists could take note of?

The biggest lesson I’ve learnt in creating is embracing the freedom to express yourself. Experiment with who you are and what you truly are passionate about in life. Great things can come from that as long as you keep pushing on in the space of pure expression. Remember why you started and stay true to yourself. Never give up on your dream because you never know what tomorrow holds.

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