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

Falz and Simi — Chemistry

02 Nov 2016 - 14:25

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Artist: Falz and Simi
Album: Chemistry EP
Label, Year: BahdGuys Records & X3M Music, 2016

Falz and Simi.

In the months leading to, and days following, the release of their EP, Chemistry, much of the chatter around Falz and Simi has been about the perceived romance between them.

This suspicion is what they’ve both mined, in what should be acknowledged as a fantastic PR/management move, to keep their names relevant in a Nigerian music scene that runs like it’s dependent on the attention span of a toddler.

With the focus on the speculation of a romance, it is easy to forget that the chemistry alluded to in the title of their EP was at first professional, following Falz’s appearance in the video of Simi’s 'Jamb Question' remix, before it became anything else.

Falz and Simi both fall into that constricting hip hop and pop class of young Nigerian artists who have gained a large following without actively courting the "streets". The dominance of local artists in the hip-hop and pop genres of Nigerian music has been noted by Oris Aigbokhaevbolo in his essay on Falz, who owes his popularity to his comedy act and the success of his debut album, Stories that Touch. Simi, however, owes her rising popularity to her covers of songs that spread via word of mouth, her girl-next-door image, which has been well cultivated since the 2006 release of her album, Ogaju, as an independent artist, and the success of her singles 'Tiff' and 'Jamb Question'.

Their fan bases collide more than they diverge. It’s the kind of fan base that can relate to the humour of 'Foreign', the first song on the EP, which playfully mocks the tendency of many Nigerians to pretend they’ve lived or grown up in the West, while they make statements that are the opposite of the experience in those countries, like travelling to the northern hemisphere in December to avoid winter.

The apparent artistic chemistry between Falz and Simi is also a result of the blend of their musical styles. They’ve both risen on the back of songs that were light-hearted, catchy, easy to sing and follow. They’re not given to the brooding melancholy of the many young Nigerian alternative artists whose fan demographic they both share. Even Adekunle Gold, who rose to fame around the same time as these two, sings his love songs with an earnestness that isn’t found in Falz and Simi. Gold takes love to heart, whereas they are quick to make self-referential jokes about it, as they do on 'Soldier'.

It is this symbiosis of Falz’s bad-English-speaking Baba Taju act and his laid-back rap, together with the teenage naiveté of Simi’s voice that they both play to, with sweet results on Chemistry. A song like 'Cinderella', with the opening of the chorus, "Cinderella, sugar, sugar", a sonic play on, "jingle over like a motor", a popular playground chant familiar to Nigerian millennials, is a product of this fine mix.

Chemistry is, for the most part of the seven-track album, a fan service, or more accurately, a troll of their fans and the will-they, will-they-not of their romance. Songs like 'Want To' and the titular 'Chemistry' are an overt play on this. All of the songs stick to the love-me, miss-me model. Even 'Shake Your Body', the obvious party song on the EP, is sung like a wedding reception jam.

None of the songs on Chemistry is potent enough to make Falz and Simi fans out of people who aren’t. Nowhere on the EP do they stray from their familiar musical territories, instead they dig in to sing songs that are sure to catch on with their fans. Nor do they do anything to make fans doubt their taste in music.

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