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

News

Ghana: Ebony’s dad, label clash over unreleased songs

16 Aug 2018 - 11:15

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The release of previously unreleased songs from the late Ghanaian artist Ebony (also known as Ebony Reigns) might be delayed, as her label Rufftown Records has handed ownership of those songs to the deceased artist’s father.

Ebony's record label Rufftown Records has handed over ownership of the artists' unreleased songs to her father.

The decision to transfer these rights was announced by the label through an official statement signed by the company's CEO Ricky Nana Agyeman.

“Rufftown wishes to announce to the fans and the general public that the record label is no more interested in releasing unreleased songs of the late Priscilla Opoku Kwarteng, professionally known Ebony Reigns, who is the reigning VGMA Artist of the Year, as promised,” reads the statement.

“Rufftown Records owns 60% royalties of Ebony Reigns unreleased songs but we are giving away full ownership to her father, Opoku Kwarteng.

“All her unreleased songs that she wrote herself are owned by her father, Nana Opoku Kwarteng. But the ones written by other songwriters still remains their intellectual property. If you wish to know more about when those songs will be coming out, please contact her father.”

Agyeman’s statement comes just after the senior Kwarteng claimed to have received a small fraction of the proceeds from events leveraging on Ebony’s popularity. Besides releasing the statement, Agyeman (popularly known as Bullet) also tackled Kwarteng’s claims.

“I went around looking for funds to support the funeral…All the money they donated you took all and didn’t even say, 'Thank you, Bullet' (remember these are people you don’t know from anywhere but my own people who wanted to support cos of me”, the first of his numbered posts reads.

“There was a cloth deal and you wanted more percentage so I gave you 10% of my share. You didn’t say thank you.

"VGMA awards: Money I was entitled to my percentage but I gave all to you, you didn’t say thank you.

"Ohio tribute concert: I didn’t take my percentage I gave all to you, still you didn’t say thank you.”

He also said: “I wrote and own 95% of Ebony’s album. By law, Ebony is supposed to earn between 10 and 20% royalties but I gave her 40%.”

During a radio interview on 15 August, Kwarteng denied most of Agyeman’s accusations. He claimed he received only 2 000 Ghanaian cedi ($410) from an alleged 39 000 cedi made at the Ebony Tribute concert. But “the Ohio thing, I know nothing about it”, he said.

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