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

Features

‘Holy Holy’ is 2Baba’s response to the aborted political protest

05 Jul 2017 - 12:38

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In 2004, Tuface recorded a skit for Face2Face, his debut album. Named ‘Holy’, it targeted those vilifying him for the role he might have played in the Plantashun Boiz split. “Dem go dey worry like say I promise dem say I too holy,” he says.

2Baba has responded to his critics on 'Holy Holy'.

Following this skit is one of his more popular songs from the album. 'U No Holy Pass' goes after two sets of people: Those who criticise things so much it tells on their health and those who claim to know more than everyone else. “If you want to criticise me talk small small,” he says on the chorus. “You no holy pass my brother.”

Two years later on his sophomore album, he sings: “Nobody holy pass eh! Look into my eyes and tell me say you pass eh.” He preaches one love (like Bob Marley) as the recipe for the violent ethnic clashes experienced both locally and globally at the time. The word “holy” is no longer persecutory as it was in 2004. Instead it calls for an admittance of collective failures.

A decade later, the word reappears twice in the title of his new single. ‘Holy Holy’ is a response to criticisms 2Baba (as he is now known) faced after starting a storm he couldn’t tame in light of his aborted protest against the government. On the song’s chorus, he asks idle people judging others, “I hope say you holy pass Elijah sha? I hope say you holy pass the government sha?”

The public's reaction to the planned protest and its aftermath must have been as shocking to him as it was to his fans who, in defence, unearthed songs like “E be like Say” and “For Instance” as proof that 2Baba has made socially conscious music in the past.

2Baba’s disappointment at this mistrust of his intentions is clear on every line of the new single. “As you get opinion,” he says on the second verse, “make you know say other people get opinion too.” And to those he mockingly likens to Obama in their constant bellyaching, he asks if they are credible enough to run for office: “I hope the people vote you sha,” he scoffs.

The Clarence Peters directed video of ‘Holy Holy’ opens with Fela slamming the African’s complacent attitude to oppression and injustice, a speech a lot sadder than the song itself. School pupils are shown escaping gunshots, and every member of the society is represented—from judges, shown folding their arms, to artisans and military personnel. All of these people, these fellow citizens, including doctors and lawyers who in the past he has asked to “see me as your brother”, throw stones at him. 2Baba, they say, is on the other side and they are irate.

The idea, as carried on social media, that state funds might have been used to celebrate his elaborate wedding years ago angers them the more. How dare he protest in broad day when he dines with the enemies at night? But the stones don’t reach him. He's shielded by “Jaja’s love.”

With the video 2Baba is saying, "I may have strayed, but that is also because I am like you: I’m not holy. If you were in my shoes, you'd probably also apple-polish these enemies as well. You are all hypocrites, just as I am."

For an artist like 2Baba whose videography isn't as impressive as those of his contemporaries, D’banj and P-Square, the art direction of ‘Holy Holy’ is commendable. No doubt he is trying to reclaim some of his past glory (like D’banj who might have lost it completely) and force himself back into pop music’s limelight. What better way to do that than make meaningful captivating videos? If he missed it when he was younger, he's getting it right now, and more importantly, now that there's YouTube.

In song and video, 2Baba’s ‘Holy Holy’ is political and personal. It is the work of an old master taking on his critics. In returning to his political past, 2Baba has made a song of self-renewal.

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