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: What next after Tusker Nexters?

04 Nov 2022 - 14:08

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It certainly lived up to the hype, but the question that can only be answered in the coming years is: did it deliver on its promise?

Tusker Nexters finalists Zaituni, Lexxie and TK Lyon with Kenyan music star Nadia Mukami (middle).

After eight months, the curtain came down on what was without a doubt Kenya’s best music competition in 2022, when TK Lyon was pronounced the winner of Tusker Nexters on 29 October.

The announcement made smack in the middle of Tusker Ocktobafest’s jamboree at the Ngong Racecourse in Nairobi, where an estimated 20 000 partygoers stomped the three-day event, was in itself a statement of intent from the organisers. TK Lyon’s fellow contestants Zaituni and Bakhita were declared second and third, respectively.

The winner walked away with a Ksh1.5m (about $12 355) cash prize and a recording, management and distribution deal worth Ksh500 000, while the first runner-up took home Ksh500 000 and Ksh400 000 for similar purposes. The second runner-up was awarded Ksh250 000 and Ksh150 000.

A tidy sum indeed if you also take into consideration the amount the organisers poured into the talent search programme right from the auditions across the country to its bedazzling finale.

But then again, only a handful of such programmes can match a Kenya Breweries Limited-backed show. And given that the contest was being held to celebrate 100 years of its flagship beer brand Tusker, make no mistake, the brewer was not going to spare any expense.

Money matters aside, it is admirable that at inception, the initiative sought to identify and reward the next generation of musical and esports talent – mainly 18 to 24 year olds.

Besides giving them a platform to shine, the organisers also ensured that participants received key business lessons such as ways to build personal brands and how to monetise their content.

So with that in mind, are we likely to see another Eric Wainaina in the making? Could Sauti Sol’s heirs emerge from this group?

While it’s not a cultural wasteland, Kenya is a minor player in the African pop music scene. As West Africans blow up continental charts and sell out European arenas, Kenyan artists have been consigned to the bar circuit.

There is no question about the level of talent exhibited on Tusker Nexters but it’s worth noting that such initiatives, including the highly popular Tusker Project Fame, have never produced superstars in the mold of, say, Tanzanian bongo flava artist Zuchu.

Many graduates of the Tusker Project Fame academy have had little commercial success with many changing careers and others fading into obscurity.

This is something every Kenyan musical enthusiast will be hoping to see change given that KBL rarely puts a foot wrong in planning these initiatives – from selection of trainers, mentors, producers and even studio facilities.

Days before its end, the seven Tusker Nexters finalists announced their official debuts as Kenyan music industry players with the release of three singles they produced in collaboration with top Kenyan artists Khaligraph Jones, Nadia Mukami and Mejja.

The first single titled ‘Flying High’, sees Nexters Angachi and Bakhita fusing their energies in a collaboration with Kenyan hip hop heavyweight Khaligraph Jones. The lyrics are laid down over super producer Joe Mutoriah drill beat, whose sliding bass, hard-hitting kicks, and sinister melody are punctuated by some high-energy electric guitar riffs that take the song to the next level.

The second single ‘Champe' has Nexters Lexxie, Zaituni and TK Lyon teaming up with Nadia Mukami in what will likely be a dance-friendly club anthem. This is a more story-driven track, with the protagonist, a guy, presumably TK Lyon, finding himself in a love triangle with Lexxie, Nadia and Zaituni.

‘Dala Wa’ is the third and final offering from the Nexters. This song, which means “at home” in Dholuo, sees Kamwana link up with Veryl Mkali Wao and gengetone godfather Mejja to deliver a benga-inspired hit.

All these songs are available to listen to and watch on all streaming platforms. Hopefully, this won’t be the last time we hear them.

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