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

Kenya musicians missing out on endorsements

30 May 2018 - 11:06

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Corporates are increasingly choosing comedians, actors, social media influencers and media personalities as their brand ambassadors. But despite having the numbers, most musicians lack the reputation, professionalism and brand relevance that companies look for.

Radio presenters Adelle Onyango and Maina Kageni with Kenya Breweries managing director Jane Karuku (middle).

Top Kenyan radio personalities Maina Kageni and Adelle Onyango were named as Johnnie Walker brand ambassadors at an unveiling ceremony last week. The two will represent Kenya in the ongoing Experience Formula 1 with Johnnie Walker promotion. Their first order of business as ambassadors was to attend the Formula 1 Grand Prix in Monaco at the weekend together with other endorsees signed to Diageo, the multinational company that owns the Johnnie Walker brand.

An endorsement of this magnitude is a clear indicator of the growing influence of the Kenyan entertainment and media industry.

“Today’s consumers are increasingly sophisticated and seeking new experiences. Therefore, such partnerships are welcome since they will enable our consumers to associate with the brand in an unconventional way,” Kenya Breweries managing director Jane Karuku said at the unveiling ceremony.

The entertainment and media industry feeds off advertising and marketing budgets. As such, where and when companies choose to spend their money is of grave importance to the industry. According to a PwC outlook report on African entertainment and media, total advertising revenue in Kenya reached $1bn in 2016. That amount is set to grow 8% by 2021, mainly due to a 13.6% rise in Internet advertising.

Considering Kenya's relatively small economy, the report says the East African country has the largest radio advertising market in the region and the 14th biggest in the world. It is hardly surprising that Kenyan radio personalities have risen in stature and influence to become a marketing force. Kenyan Breweries, which distributes Johnnie Walker, is a top advertising spender. Its latest deal with Kageni and Onyango will be watched closely by its competitors.

Touted as the queen of radio, Onyango has risen through the ranks to capture the youth market. She is known for her activism and the Kiss 100 morning show, and has steadily built her brand with countless trending hashtags. Her faithful following of fans is nicknamed #TeamAdelle.

“I'm really excited about this deal," she told Music In Africa. "I’ll get to travel to various global destinations and experience Formula 1 action live. I’ll also get introduced to the world of whiskey and get to understand it better. What’s great is that people have a chance to win a paid trip to watch Formula 1 races live as well.”

With the No 1 morning show on the airwaves, Kageni is arguably Kenya’s leading radio personality. He's had a long and successful TV and radio career. His ability to sell just about anything has earned him a string of successful endorsements and brand activations.

“I'm excited to be part of the inaugural Johnnie Walker Formula 1 campaign in Kenya,” Kageni said. “The brand perfectly fits into my character and personality so I'm looking forward to executing my role.”

Patrick Githinji is a PR and communications expert who has worked on numerous campaigns for blue-chip companies in Kenya. He says most companies use musicians only for concert-related activations, and only when there is a credible event organiser available. Githinji contends that many artists are difficult to work with and lack the professionalism required to be effective brand ambassadors.

“Kenyan artists are not getting these deals because of the character they represent,” Githinji told Music in Africa. “Corporate branding is all about the reputation of a celebrity and their relevance to the campaign. Take Maina Kageni for instance. He's not just a popular radio presenter, he’s a true Formula 1 enthusiast. He started various F1 fan clubs in Nairobi and he resonates well with the F1 fan base.”

Corporate endorsements are the big-ticket revenue generators that make the creative industry sustainable. Although they may be good at their art, Kenyan artists are yet to fully exploit the business end of their craft. To secure the aforementioned deals, artists need to cultivate their skills in branding, cooperate networking, proposal writing and boardroom negotiations.

Only a handful of musicians, such as popular band Sauti Sol, who enjoy the expertise of a professional management team, have scored and maintained long-term endorsement deals. As such, artists need to realise that even though their songs earn them fame, the stature of their name is what will earn them revenue.

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