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

Isaiah Katumwa brings smooth jazz to dance reckoning

09 Jul 2021 - 09:30

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Upon listening to Isaiah Katumwa’s remarkable smooth jazz album Dance Again, the first name likely to occur to a listener is Dave Koz. It’s a happy coincidence that the man himself is on the album. Except, well, it is not a coincidence.

Isaiah Katumwa.

Katumwa has expressed his debt to the American saxophonist, calling him his “long-time idol” – and indeed, his song with Koz is titled ‘Nsiima’, Luganda for “gratitude”. You may even consider the album’s superb, rousing eponymous track as a homage to 1999’s ‘Together Again’, which just may be Koz’s most popular original track across Africa – so that one could consider Dance Again a tribute album of sorts. But it is more than that.

Dance Again is a smooth jazz album with Africa in its DNA. It takes the call to dance seriously, a rather apt message given this present time. It is not quite preaching hakuna matata – your problems will not disappear – but it demands a reckoning with life through dancing. That insistence flirts with what appears to be one of African music’s raison d’etre: a soundtrack to the rhythmic movement of the body.

Of course, there will be questions as to the viability, these days, of jazz in any form. Does it still exist? Has it ever existed in Africa? Besides ancient fans of smooth jazz’s undisputed commercial king, Kenny G (along with Najee, Grover Washington, the aforementioned Dave Koz, and others), did anyone care even back then? Does anyone care now?

These are not easy questions to answer. And they may not be new questions either. After all, it was jazz music Fela Kuti elected to play upon his return to West Africa from the US. When it wasn’t quite working, rather than continue to play it pure, he created a hybrid genre called Afrobeat that found commercial success. Would that approach work today? It’s hard to say, but Katumwa, who has enjoyed some success playing live over the years, has forged his own path. He has had to repurpose the William Wordsworth dictum – create the taste for which he will be relished on the continent.

From song to song, despite the overall call to dance, Katumwa’s sax is super-tender – as though the dance it insists on is not the solo kind but of the romantic sort. The song ‘My Joy’, for example, offers percussive elements with underlying sax notes, all together achieving a lush effect. Anyone would be forgiven for imagining a delicately sentimental scene of cheek-to-cheek dancing while listening.

On the rare song featuring vocals, Katumwa makes it abundantly clear that the record belongs still to a smooth jazz artist. The vocals on ‘Nkwagala’ are there but not quite, usurped as they are by the saxophone’s melody.

On ‘What is Love’, the vocals, which only show up about halfway in, ask the titular question again and again, in the one song where a note just short of optimism comes to play. By the next song, the album’s sunny tone is back and conspicuous on the title and chorus: the sun will rise again.

That’s a sentiment we could all do with these days. In Katumwa’s new album, it becomes more than a sentiment. It is a creed.

Listen to and buy Dance Again here.

Artist: Isaiah Katumwa
Album: Dance Again
Year: 2021

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