NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud to announce 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 launching a new national programme designed to create jobs, address skills gaps, and strengthen 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 will recruit and train participants, match them with host organisations, and place a minimum of 1 000 workers across the country. 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.

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 claire@musicinafrica.net. 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

Fatoumata Diawara honours West African history on new single ‘Djanne’

21 Mar 2026 - 08:26

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Grammy-nominated Malian singer-songwriter and guitarist Fatoumata Diawara returned on 27 February 2026 with ‘Djanne’, a warm, groove-led single that looks backwards in sound while confronting a painful chapter of Malian history. The track is linked to her forthcoming album, Massa.

Fatoumata Diawara pays homage to her county's history through music.

Diawara has long been admired for the way she fuses West African musical traditions with rock, blues and pop textures, and ‘Djanne’ continues that instinct with confidence. Built around a tight funk guitar loop, lively bass and crisp rhythmic movement, the song carries an unmistakable retro feel. It has the loose shimmer of 1970s funk, but its purpose is more than stylistic nostalgia.

At first listen, ‘Djanne’ feels bright and easy to move to. The guitar is nimble, the rhythm section never sits still, and the arrangement has a buoyancy that makes the track immediately inviting. Yet that lightness masks something heavier. Beneath its infectious groove, the song reflects on drought, displacement and the upheaval experienced in northern Mali during the 1970s and 1980s.

That contrast gives the single much of its power. Diawara does not approach history with solemn heaviness alone; instead, she frames loss through movement, memory and melody. The result is a song that sounds celebratory on the surface while carrying grief underneath. It becomes both lament and release, mourning what was lost while refusing to surrender to despair.

This tension between sound and subject is what makes ‘Djanne’ so compelling. The production is sleek and danceable, but the emotional undercurrent is unmistakable. In that sense, the song recalls the trick used by some of the best socially conscious pop records: delivering difficult truths in a form that draws people in before they fully absorb the weight of what they are hearing. The comparison is not exact, but ‘Djanne’ does something similar, pairing an uplifting musical palette with a deeper reflection on ecological and social rupture.

Even with its funk leanings, the track never loses sight of Diawara’s roots. The phrasing, the vocal interplay and the call-and-response feel all anchor it in West African musical language. This is not imitation retro funk. It is Diawara filtering history through a sound that is familiar, mobile and distinctly her own.

At just two minutes and 42 seconds, ‘Djanne’ is brief, but it lingers. The rhythm catches the ear quickly, while the song’s historical and emotional resonance continues to unfold afterwards. It is a deceptively light piece of music: catchy, elegant and shadowed by memory.

If ‘Djanne’ is any indication, Massa may well be an album that balances pleasure with reflection, using groove not as an escape from history, but as a way of carrying it forward.

Artist: Fatoumata Diwara
Track: ‘Djanne’
Year: 2026

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