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

News

Kenyan musicians welcome new streaming service

14 Feb 2018 - 10:55

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Kenyan telco Safaricom has launched a brand new streaming service called Songa. Hailed as a game changer, the new app is expected to increase revenue sources for local, regional and international artists.

Kenyan artists Rufftone and Nyashinski.

The service will launch with a free 14-day trial. Thereafter customers will choose subscription plans ranging from 25 Kenyan shillings ($0.25) a day, Ksh 150 weekly or Ksh 499 on a monthly basis.

The app selects, codifies and classifies a music catalogue of more than 2 million songs from about 400 000 local and international artists.

“Our aim is to delight our subscribers with a carefully curated world-class collection, a fantastic user interface and a smooth streaming experience,” Safaricom consumer service director Sylvia Mulinge said.

The service has concluded agreements with major African and international labels as well as aggregators including Sony Music Entertainment, Africori, Africha, Ngoma and Expedia. Safaricom said it was also in negotiations with other major labels.

“In Songa by Safaricom, we see a unique solution that rivals international music applications,” Sony Music Entertainment Africa managing director Sean Watson said. “Sony Music Entertainment is proud to be associated with this unique product that we believe is well positioned to deliver on its promise to entertain and capture unique moments in our lives."

To drive consumer uptake and create awareness of the platform, Safaricom has engaged acclaimed Kenyan artists Nyashinski, Sauti Sol and Mercy Masika as Songa creative directors.

“As a creative director I’ll be able to influence how the app is run from a musician’s as well as an end user’s point of view. We are as also the face of the app and a big part of the promotion strategy,” Nyashinski told Music In Africa.

“The platform is great and has been a long time coming. Because it’s by Safaricom, in association with Radio Africa, it leverages on the huge infrastructure, customer database and financial muscle of both organisations. This means more people can easily access music legally, whether they buy it or stream it.”

Safaricom’s ring-back tone service, Skiza, is already making a huge impact on the music business in Kenya. Last year, Skiza paid out more than Ksh 1.4 billion to artists, and Songa is expected to add even more value to artists while countering music piracy.

“We always get inquiries from fans who want to buy our music legally but we have lacked the means to service the market,” Masika told Music In Africa. “This platform moves us from the CD era to the digital era and we are excited at the business opportunities it presents.”

Kenyan pop artist Nameless said: “Any platform that helps us get our music to our customers in a transparent way is a plus for our industry. Songa allows us to monitor sales and we are excited about that. We are still waiting to see how it goes, but we encourage people to get the app and continue supporting Kenyan music.”

Also speaking to Music In Africa, gospel artist Rufftone said: “Most of the ring-back tone platforms are not very open about presenting actual sales. It’s very hard to ascertain just how much you have sold. With Songa, however, I can track my sales by the hour. As Kenyan artists we just want a platform that puts the artists at the centre of it all. We can’t have middlemen making all the money as artists making peanuts.”

Rapper Fena Gitu said: “Let’s see how it goes. The fact that it’s owned by Safaricom is encouraging because it means it will have the financial backing to get us to international standards. Songa is the new wave now, so I encourage all my fans to get onto the platform.”

Boomba musician Big Pin said: “It’s a brilliant idea. We have always felt the need for a Kenyan platform that gives us control over our own music. I have already joined and I think it’s great both for artists and for music lovers.”

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