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

Femi One’s Greatness was worth the wait

14 Jun 2021 - 13:05

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Arriving seven years into Femi One’s career, her debut album Greatness excels as a multifaced, exhilarating and inspiring body of hip hop. It is bold and filled with a wild dose of personality and style.

 Greatness asserts Femi One as hip hop royalty.

Anyone bored of overused rap beats with rattling hi-hats, piercing snares and rumbling 808s should be refreshed by what Femi One has been able to accomplish on Greatness. Successful collaborations strew the 14-track record with artists from Kenya, Tanzania, Uganda and Zambia. If she has chosen to name her album this way, it is primarily to set the record straight.

Greatness carries her signature punchlines, locally comedic nuances, thought-provoking rawness and the sheng (slang) street language. On the title track she sends shots to her haters in every direction (“Bad bitch nyi mumecome jana, nyi ma puppy” [I'm a bad bitch, but y'all who came yesterday are puppies]) with the confidence of a woman holding court in a kingdom she conquered.

Femi One frequently bends her words to create unique rhymes and packs her verses tightly with clever wordplay and obscure references, with lines like “Kachumbari haitaki joto, haipashwi moto”(Kachumbari [a tomato and onion salad] can neither be heated nor cooked) on ‘Balance’. She has endless lines worthy of a laugh, highlighting the kind of quick wit and humour that earned her the spotlight in the first place. ‘Utawezana’, which claimed its share of fame on TikTok with the Utawezana Dance Challenge last year, also rides on a similar vibe.

‘Duru za Kuaminika’ featuring Tanzanian rapper Joh Makini displays the lyrical brilliance of the two artists. Joh Makini spits rhymes about his haters while Femi One talks about her journey to success, although she is also notorious for releasing furious and fiery diss tracks like ‘Pilau Njeri’.

‘Adonai’ taps into Femi One’s gospel roots as she thanks God for her booming career. For the chorus, she enlists singer and producer Bern Mziki to emphasise that if one is good at what they do, they should hold their head up high and accept the accolades. That said, she still delivers a twerk anthem with '100 Bob’. The track has a heavy beat and is best experienced as loud as possible.

The juxtaposition between ‘Sina’ and ‘Diva’ is a showing of fierce sexuality. The former, which features singer Sanaipei Tande, is as raunchy as it is empowering. The two artists’ sexuality is assertive while demonstrating the desire for absolute commitment in relationships. This collaboration is significant for Femi One, who is rarely caught on wax with other female artists and who considers Tande an inspiration. Other collaborators on the album include B2C, Oksyde, Feffe Busi and Jay Rox.

The 27-year-old Femi One is among a pantheon of rappers in Kenya. It’s why she was recently named Monster Energy brand ambassador, making her the first African female artist to be associated with the brand. Still, some deny her obvious talent and regard her success as a lucky break – led by industry power brokers who refuse to grant women their due in music. She has spent her career engaged in a battle against being boxed in and has on several occasions remarked that women find more challenges in the music industry than men: it’s harder to become known purely for talent than for looks. The Kaka Empire record label signee has contended with these double standards and expectations to emerge as a hip hop champion whose rapping skills have ensured her continued relevance in the genre’s conversation. Greatness asserts her as hip hop royalty, and nearly every song is glossy enough to be on rotation.

Stream Greatness here.

Artist: Femi One
Album: Greatness
Year: 2020
Label: Kaka Empire

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