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

Exactly how tall is Burna Boy’s Twice As Tall?

15 Sep 2020 - 09:15

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Because Burna Boy currently stands as lord commander of pop from these parts, his albums are exhibits of how far our music has come, and how it fares against sounds from the other side.

Burna Boy.

About a month ago, the singer’s latest album Twice As Tall tided ashore. It was attended by an animated video titled The Secret Flame. As expected, the album was met with the pomp and gusto befitting of the man’s stature. Early reviews have poured with glamorous phrases pronouncing it a masterpiece. It has also performed exceptionally well on local and international charts, further proving his pop penetration. But exactly how good is the 15-tracker compared to his previous work, African Giant. More importantly, where does it fall in the wider pop conversation?

The album – whose collaborators include everyone from Youssou N’Dour to Timbaland, Anderson .Paak, Mike Dean and Coldplay’s Chris Martin – is perhaps appropriately listed as ‘worldwide’ on Apple Music. If Burna Boy’s portfolio is anything to go by, it shows that no single genre is sufficient to contain his sound  –  not even the label Afrobeats with its immensely broad connotation. As one who freely sprinkles his Africanness on everything he works on, Burna Boy has succeeded in dispatching a versatile catalogue that listeners of diverse origins can enjoy, without the singer being accused of appropriation. So, a description consisting of the words “global” or “world” will do.

Set in the Afro-fusion ethos that Burna Boy preaches, Twice As Tall is presented as a cultural bridge between his motherland and the rest of the world. The album's executive producer, Sean ‘Diddy' Combs, said as much in a letter to Africa posted on Twitter: “You have been heavy on my mind and my heart. I’ve been trying to connect to the motherland for a minute, but I never got a chance to do it properly. When I say properly, I mean in a soulful spiritual way ... I think it’s so important we all make it our mission to build a bridge to the motherland.”

Indeed, the album’s mission does not deviate from its Grammy-nominated predecessor. If anything, it aims to amplify it. The titles of Burna Boy’s last two albums do not merely suggest a continuum; multiple songs on Twice As Tall mirror those on African Giant – a rousing speech by his mother appears here, too, as do anecdotes criticising the scramble for Africa, and the lining of the album’s ambience with the transcendent horn placements that call up Fela.

These days, Afrobeats encompasses virtually all popular sounds from the continent. With his self-styled Afro-fusion, Burna Boy has given himself permission to touch anything without seeming out of pace. “I move with the spirit, and when it takes me,” he told Apple Music. “It’s not too calculated for me when I take my steps, but when I move I’ll know if it’s right.”

What’s more, he has mastered the formula for an effective song. This is why one can neither point to a bad song on the LP nor criticise the authenticity of his sonic range. On the song he shares with a Chris Martin, the protest anthem ‘Monsters You Made’, and ‘Naughty By Nature’, which features the American hip hop trio it's named after, Burna Boy passes the chemistry test with ease.

Again, Twice As Tall is trimmed down to the right quantity. This applies to collabos too. After several listens, one gets the sense that the best songs were either done with Africans ('Level Up' featuring Youssou N’Dour and ‘Time Flies’ alongside Kenyans Sauti Sol) or by Burna Boy himself (‘Onyeka’, ‘23’, ‘Way Too Big’ and ‘Wettin Dey Sup’).

However, as the album is not replete with as many dancefloor triggers as African Giant, it subtracts from the overall pop spice required to thrive in a climate that panders more to club rhythm than much else. ‘Comma' is Burna Boy’s closest attempt at an African club hit. His previous singles, including ‘Killing Dem' featuring Zlatan, ‘Deja Vu' and ‘Rock Your Body’, and a number of African Giant tracks prove that he has done better dance records. In fact, one could argue that aside from its clever global marketing strategies, the fact that Burna Boy’s previous album floated largely on dance is the reason it was a continental success and consequently became loved by the rest of the world, which in recent years has developed a healthy appetite for African dance rhythms.

Granted, it is possible to compose Afrobeats in a slower groove. Mr Eazi and Juls have demonstrated this in recent years. But the genre will always circle back to beats that inspire frantic legwork. And so, If Twice As Tall is deprived of this crucial element, exactly how tall is it? After all, in the words of Pat Boon, whose voice opens the album, Burna Boy would “have to be twice as tall at least to feel better than I do.”

Commercially, now that a Grammy nomination accompanies his name, Burna Boy has unlocked more doors to fame and fortune. With that has come the delicate task of catering to a global listenership without shedding identity – a real test of the philosophy of the Afro-fusion label.

Does Twice As Tall boast of more height than the record it draws comparison to? The answer is, probably not. African Giant is still Burna Boy’s magnum opus. It may not have won the Grammy, but it remains his best foot forward.

Artist: Burna Boy
Album: Twice As Tall
Year: 2020
Label: Atlantic

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