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

Kenyan producer Jinku pushes the boundaries of electronic music

26 May 2016 - 12:59

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An unprecedented level of diversity on the Kenyan musical landscape continues to be witnessed day by day. More and more artists, producers and creative collectives continue to contribute to a growing wave of fresh sounds. Not only are these new artists re-imagining Kenya's musical identity and filling the existing gaps, but they are also breathing new life into old sounds that have been around for generations.

Kenyan electronic music producer Jinku. Photo: www.thefader.com

Alongside the likes of equatorial house progenitor Saint Evo and singer/producer Kagwe Mungai, electronic producer and DJ Jinku is among those Kenyan artists whose music is regarded as a breath of fresh air to the local music scene.

Jinku's DJ sets are flawless: his music cuts across various genres, appealing to anyone with a good ear for music. Yet Jinku is more than just a DJ; he is a performer who incorporates every part of his body into excuting his sets. If he's not dancing, his facial expressions speak a thousand words. On Saturday 28 May, Jinku was among a group of DJs playing at the second Meltdown party, an event hosted by Bad Mambo Productions that seeks to explore the latest in Kenyan electronica. True to form, his set at Meltdown got everyone on their feet.

When not DJing, Jinku (real name Jacob Solomon) is constantly exploring new production techniques to create unique music. Speaking recently to Music In Africa, Jinku says music sneaked into his life. “It was the last thing I expected, I wanted to be a fine artist and an illustrator, but music crept into my life in the sneakiest way. I started as the Creative Consultant for Saint Evo The Myth and Celsius Degree. Through working very closely with this musical collective, I soon developed a desire to make music myself," Jinku explains.

Over the years Jinko has become a sponge soaking up various musical influences, ranging from electronic to rock and classical. His music is therefore a hybrid of all these influences. He has been part of the Santuri Safari collective, an East African project that aims to forge a space for rising artists and producers in the region by bridging the gap between its musical heritage and the latest trends in electronic dance music. In 2015 he remixed Kenyan-based Ghanaian artist Delasi's single 'Afemakpor'.

[audio:https://soundcloud.com/delasi/afemakpor-jinku-remix autoplay:0]

The self-taught producer is also part of the East African Wave, a collective of artists that combine traditional East African elements with new genres. He says the EA Wave is a continuous journey about finding oneself while celebrating uniqueness. EA Wave is made of five members: Jinku, Ukweli, Nu Fvnk, Mvroe and Hiribae. Working in a group instead of alone can be tough, although Jinku says one of their main challenges is getting others to respect them as a collective. Making decisions can also be a challenge at times. “Since we are five, settling on one unified front does indeed take time in certain situations," says Jinku. "Nevertheless, the success so far is really inspiring, EA Wave is a new generation that cherishes collaboration, passion and art of financial gain!"

Named by the internationally respected magazine The Fader as one of the top 25 global acts to watch out for in 2016, Jinku recently finished his first EP, titled Amadeyo, which is being distributed internationally via Sofa Lounge Records. Speaking about the album, Jinko explained: "It proved that I could release a whole body of work myself as well as gel with other musicians. It was one of the funnest moments I have had in my life. The sheer will, passion and camaraderie was amazing. I have eight songs featured on the EP. Amadeyo truly is one of the births of 'Nu Nairobi'!"

[audio:https://soundcloud.com/jinkubeats/sets/amadeyo-ep autoplay:0]

Electronic music on the rise in Kenya

While computers and electronic instruments have long been part of Kenyan music production, it is only relatively recently that purely electronic tracks have found a loyal following in Kenya. Jinku believes that electronic music is the future. “Digital Audio Workstations (DAWs) are the new instruments," he says. "I expect a very large influx of electronic music, but now it’s becoming more experimental and organic; the boundaries are being stretched."

The producer says that music is all about innovation. “To an extent, music is now evolving as fast as technology itself. My only concern is, can we feel the soul and warmth through it? How can we make electronic music feel timeless?”

Looking ahead, Jinku says he is currently going through an experimental, chilled phase - as opposed to the more frenetic energy that can be experienced in Amadeyo. He says fans of his work can soon expect a new release, titled ‘Indigo’, which he is currently working on with Kenyan artist Lady Karun of Cosmic Homies, who is based in the USA studying electronic production at the prestigious Berklee College of Music in Boston. Jinku is also excited about his forthcoming collaborations with Kenyan talent such as Tetu Shani, Valentine Ziki and Prisca Ojwang', and a mixtape with Ghana's Jojo Abot dubbed Afri-Na-Ladi. Meanwhile as part of the EA Wave collective he is also working on some 'disco-benga' material with Nairobi band Yellow Light Machine.

Jinku believes that electronic music has never been more vibrant in Kenya than it is today, and that opportunities for anyone wanting to venture into music production are virtually limitless, particularly with rising standards in the media. “Many corporates and TV stations are understanding the need for high-quality sound productions in their projects. That's on the corporate angle. On the more creative side, Kenya is seeing the rise of DJ/producers as the new rock stars of the industry.”

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