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

Just how rare is Odunsi (the Engine)’s debut?

22 Oct 2018 - 12:34

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The real innovators of the Nigerian music scene are its producers.

Odunsi poses with models on the Rare album cover.

They were slow to realise this but that has changed. Krizbeatz, who produced Tekno’s smash hit ‘Pana’, released his debut album ADM last year; Cobhams Asuquo, the man behind some of Timi Dakolo and Banky W's hits, released his album For You last year; Sess, the producer integral to Falz’s success, released his debut album Omo Muda last month. If putting out an album is the ultimate expression of a musician’s ego, then Nigerian producers might have egos as big as the country's performers in time.

The newest producer to make his album is Odunsi (the Engine), a peculiarly talented artist, who some consider the most prominent face of the so-called SoundCloud artists. With the loose group becoming somewhat famous over the past two years, Odunsi was thrust into the spotlight. He seems to have worked with everyone in the alternative music scene and earlier in the year turned up on MI Abaga’s Rendezvous.

Now that he has released his debut album Rare, it is no surprise that both sides of the music space appear. There is the unknown Duendita on ‘Angel’ and there is the ever-popular Davido on the groovy ‘Divine’. You get a verse from the enigmatic Tay Iwar and another from Afropop man Runtown. What this means is Rare can’t quite depend on its featured acts to give the listener a sense of an album’s cohesiveness.

Instead, what makes Rare an album rather than a collection of singles are three things: Odunsi’s half-awake vocals, a preoccupation with romance and the man's peculiar sonic sensibility.

In other words, you know it’s the same Odunsi singing throughout Rare often about an idealised romantic situation through a potpourri of sounds. In more words: although the type of sounds deployed here is a rarity in Nigerian music, the themes are commonplace enough. And as with most Nigerian music, Rare ends up proving that producer Odunsi—with his wondrous disco, trap and soul leanings—is vastly superior to songwriter Odunsi—with his navel-gazing and lust. The former is memorable; the latter barely audible from time to time. And it’s worth wondering if an awareness of his limits is why this 14-tracker album has only three songs over three minutes. (In some regards, this is unfortunate: It’s better not to overstay one’s welcome but I could do with an extra minute or two of the under-two-minute song ‘Take Me There’, which features a honey-voiced act named Hamzaa.)

There will be a second Odunsi album. For now, what can be said about the man is that while his debut album doesn't quite live up to its title, in terms of the bigger picture of Nigerian music, that doesn’t mean you can’t rock to his collection of sounds.

Buy Rare on iTunes here

Artist: Odunsi
Album: Rare
Label, Year: Kimani Moore Entertainment, 2018

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