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

Kumerica radio: The anthems shaping Ghana’s drill scene

25 Nov 2020 - 10:28

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This year, the Ashanti Region's capital of Kumasi has become the cradle of a new pop craze known as Kumerica. Spearheaded by the Ghanaian city’s urban youth, the trend, like many other modern cultural persuasions, is largely inspired by the US and fused with local influences. The result of that fusion is the portmanteau Kumerica. 

Sometimes referred to as ‘Kumerica rap’, the sound is a unique local interpretation of the Chicago drill. Back row (L-R): Reggie, Yaw Tog, Jay Bad and Kawabanga. Front row: City Boy and O’Kenneth.

The Kumerica vibe is apparent in the restyling of suburbs in Kumasi by Kumerica enthusiasts after states in the US. So, Abrepo is now Georgia, Aboabo is Massachusetts, Abuakwa is Chicago and Manhyia is Washington, DC.

The trend also bares itself in fashion, with Kumerica-branded paraphernalia in high demand. But it is asakaa music that has proven to be the biggest marketer of the trend, its singles dominating local radio and digital streaming charts. It has even caught the attention of dancehall firebrand Shatta Wale, who has announced a project to highlight hardworking young musicians practising the genre. Sometimes referred to as ‘Kumerica rap’, and often coming across as bristly love letters to Kumasi, the sound is a unique local interpretation of the Chicago hip hop subgenre of drill.

Below is a playlist of songs that serve as a beginner’s guide to the blooming drill scene in Ghana. Because of how fast the sounds is gaining momentum, this list will be updated regularly, so do check back from time to time on the new additions that have made the selection.

Akatafuc by Kawabanga ft. O’Kenneth, Reggie and Jay Bahd

Kumasi’s new sonic wave often revolves around the rappers in this song, who have largely dictated the sound's creative tone in recent months. This number, spearheaded by Kawabanga and set in the chest-thumping ethos of hip hop, benefits from the vocal energies of O’Kenneth, Reggie and Jay Bahd.

La Hustle Remix by Medikal ft. Joey B and Criss Waddle

‘La Hustle’ is the first major attempt by a mainstream act to take on the style. Rapper Medikal, often the architect of catchy anthems characterised by humorous street jargon, strikes again with incisive precision. The message? A lack of hard work leads to “death”. Joey B and Criss Waddle secure guest spots on the remix, drawing in added traction.

Sore by Yaw Tog ft. O’Kenneth, City Boy, Reggie and Jay Bahd

Since its release in September 2020, this Chris Rich-produced anthem starring teenage sensation Yaw Tog rallies fellow asakaa forebears O’Kenneth, City Boy, Reggie and Jay Bahd. It has swiftly shot up local charts and courted international acclaim, including an impending remix by US rapper Vic Mensa. ‘Sore’, which translates from Tog’s native Twi as ‘get up’, touts its authors’ abilities while rousing its listener to keep on the hustle.

Suzy by Jay Bahd ft. Kwaku DMC and City Boy

Jay Bahd’s ‘Suzy’ has also been widely referenced in the asakaa rap debate. As the title suggests, ‘Suzy’ listens primarily as a lustful salute of a woman’s curves.

Otan Hunu by Dead Peepol

Rap duo Dead Peepol aim direct shots at their detractors on ‘Otan Hunu’, declaring that they convert hate targeted at them as a launch pad. Using witty lyricism and a blasé stance, the men whip up quite the anthem. The song was updated with fresh verses from GH music mainstays including Fameye, Medikal, Kuami Eugene and Bosom P-Yung.

Kumerica by Zion Felix ft. Reggie Rockstone, Lilwin, Yaa Jackson, Ypee, Amerado, Brenya, Rap Fada, Oseikrom Sikanii and Phaize

The Kumerica craze has been so infectious that celebrity blogger Zion Felix could not be left out, the movement serving as his foray into music. An ode to the city of his birth, ‘Kumerica’ celebrates the majesty of the area that is also nicknamed the Garden City. It features a full house, including hiplife founder Reggie Rockstone.

Oseikrom Vibe by Strongman

Oseikrom is another nickname for Kumasi. Strongman, formerly signed to Sarkodie’s SarkCess Music, celebrates the city with a high-octane flow that is also dance-ready. Long renowned for his lyrical mettle, the rapper continues to situate himself as the heir-apparent to the country’s most revered names in hip hop. Oseikrom’ was released in August 2020 as a stand-alone single published ahead of his maiden full-length 10am, also due for a 2020 release.

Oseikrom Geng by Flowking ft. Stone Phaize Gh and Obey Tunez

Like Strongman, Kumasi vet Flowking Stone touts the city unapologetically, which he argues has played second fiddle to the country’s capital Accra for many years. ‘Oseikrom Geng’ is taken off the rapper’s latest collection, BRA (Best Rapper Africa).

Straight Outta Kumerica by Archipalago

For controversial US-based socialite-turned-rapper Archipalago, Kumasi is best described as “a nation within a nation”. It is the core message of his October 2020 song ‘Straight Outta Kumerica’. Replete with youthful recklessness, the attending video for the song, directed by Creative House, also glistens with the polish of 'shot abroad’.

Idi Koko by City Boy ft. Jay Bahd and Reggie

Released in June 2020 and named after the veteran Ghanaian comic actor with the same stage name, City Boy’s ‘Idi Koko’ reiterates the rapper’s street credibility, which is essential to real success. Here, too, usual suspects Jay Bahd and Reggie make an appearance.

Ekorso by Kofi Jamar ft. Yaw Tog and Ypee

Rapper Kofi Jamar recruits Yaw Tog and Ypee on the instantly catchy ‘Ekorso’, which honours street hustle and drums home the need to celebrate every step of one’s journey. Whilst Jamar is behind a number of moderately successful local releases, it is ‘Ekorso’ that has courted him international appeal and an unshakable presence within the country’s most respected charts.

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