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

How Solidstar built a career on Tiwa Savage collabos

06 Jul 2017 - 09:56

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In the seven years since his debut, pop singer Solidstar has been in the studio with half the Nigerian music industry.

Solidstar has secured wider audiences for his sound through collabos.

These collaborations, borne out of a pressing need to secure wider audiences for his sound, are certainly more strategic than organic. But don’t punish him just yet. He has garnered evidence to keep him toeing this path. His first taste of mainstream success was with the remix to the single 'One in a Million', from his debut album of the same title. 2Baba spruced the single and more people began to pay attention to the dreadlocked singer.

For his latest album, the improbably titled W.E.E.D (Witness Everything Exceptionally Different) from 2016, Solidstar attracted the biggest contemporary male names to his cause. Flavour, Phyno, Timaya, Burna Boy, even Diamond Platinumz from Tanzania.

If there is any marquee name female act whom Solidstar enjoys a clear and present connection with, it is Tiwa Savage. Both acts first hooked up three years ago on the Masterkraft produced 'Baby Jollof', a charming but uneven love song that manages to successfully plant a social network friend request as metaphor for a budding romantic relationship. Solidstar then goes ahead to do the expected. He ties everything he is feeling to a sumptuous dish of jollof rice. The Nigerian kind, of course. All of this goes down in the chorus:

She no want to connect….connect
She say my love carry machete….machete
And she put me for pending oh…Janet
I go wait oh till you accept….accept
Baby jollof oh oh oh
To my love oh oh oh
You too sweet like jollof oh oh oh

Put out to ignite some spark just as the reception for Solidstar’s sophomore record Grace & Glory was beginning to taper off, 'Baby Jollof' is as unpretentious as it was useful back then. Arranged to a clatter of drums and packaged to a highlife feel, it goes about its business without drama. The clubs welcomed it, so did top 20 radio.

The video for 'Baby Jollof' opts for a friendly, wholesome vibe. Set in a resident neighbourhood with children playing football and rope-skipping merrily, most oblivious to the infatuated adults responding to their hormonal awakenings. The risqué-est thing going down here comes surprisingly not from Ms Savage—who is capable of raising the temperature of any set with barely a smouldering glance—but from a shirtless Solidstar making goo goo eyes at his love interest.

Solidstar must have been satisfied with Savage’s contribution (or maybe he was impressed with her unwavering hit making ability). He invited her back for another merry go round. This time, for the refix to 'Wait,' a previously released duet with Davido. Both versions appear on the W.E.E.D.

'Wait' does the odd thing for a pop song in advocating celibacy in romantic relationships. Produced by P. Banks who does the bulk of the work on W.E.E.D, the song leans towards the dancehall spectrum of pop. Patoranking, whose chemistry with Tiwa Savage produced 'Girlie O' remix, completes the lively threesome.

Of both Solidstar-Tiwa Savage collaborations, 'Wait refix' is the catchier one but the jury is out on which one makes better sense musically. A dance-ready confection that worms its way into ears and playlists from the very first notes, 'Wait refix' is quite busy, benefitting from drums, synth riffs and a melodious electric guitar.

There is a reason Solidstar’s biggest hits cast a shadow on him. It is the same reason he continues to make these duets with Savage, Flavour or whoever is hot at the moment. He has a famous name, a recognisable face but near zero artistry, and no serviceable backstory. His voice while adequate does not exactly stand out and he has no extra factor going on for him as an artist. Seven years after breaking out, his personality remains bland and there is really no compelling reason to get excited about his presence.

But these songs keep Solidstar's finger on the pulse of Nigerian pop. He follows trends carefully and is able to shapeshift convincingly to keep up with the times. These may not be ingredients for an enduring career but they make him a decent enough contemporary artist. One whose career can get by well enough on solo material. At least, until the next Tiwa Savage duet.

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