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

Lagos: Love and respect dominate MI Abaga concert

06 Mar 2017 - 12:31

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On Thursday 2 March, at Freedom Park Lagos, the rapper MI Abaga staged a concert ahead of the release of his forthcoming projectThe Love EP.

MI Abaga, right, looks on as Loose Kaynon performs.

To set the scene for MI Abaga's music, the Chocolate City in-house DJ, DJ Lambo, played ballads made by Seal, Boyz II Men, Nosa, Chris Brown, Whitney Houston and others. The crowd sang along.

While the publicity material called the show an "exclusive performance", onstage Brenda Uphopho of the British Council by way of an introduction, said, "Wecome to...I don't know what we'll call this thing. MI what do we call this thing?"

The rapper, ostensibly preparing backstage, offered no response. When he got onstage, he informed fans the EP wasn't ready. "We are waiting for the visuals," he said, and then added. "I think I take too long to work on music. I'm 35 years old. I don't have too much time to make music. [But] this project is something I've had in my heart for so long. The Love EP is my story and other people's stories."

The music started. A singer identified as Debbie Romeo stood beside the rapper providing backing vocals. Behind both artists, scenes from the films 'Anomalisa', 'Frida' and others were projected on a screen.

First song of the night was titled 'I'; the next, 'L'; and so on. Together the song titles spelled I Love U. 'V' was the most up-tempo of the songs, and had MI dancing at intervals. The last song, 'U', said MI, was written for a love interest a dozen years ago. The EP what with its peculiar titling continues a schtick that has seen MI release songs on a sophomore album, MI 2, all of which were arranged to mimic the structure of a motion picture. His third album, The Chairman, had songs in pairs, one a word or phrase, the other its opposite; the unpaired middle song was titled 'The Middle'.

In between the six songs from The Love EP, two actors showed stages in a relationship. These scripted interludes presumably will be transformed into skits when the EP is released. While the songs seemed to celebrate love despite challenges, the acted scenes ended somewhat ambiguously: From an initial meeting, the amorous pair travel to a break up and then the lady finds another lover. Whether this means she is doomed to repeat romantic failures or maybe this means love is eternal was unclear. Whatever the case, the songs were well received by a cheering audience. It was easy to believe the 'Number 1' rapper when he said, "The Love EP is going to be so beautiful. I promise you."

Thereafter MI Abaga performed older songs. First off was 'Short Black Boy'; then 'Action Film' whipped the audience to a frenzy. 'Undisputed' and others followed. Then members of the Chocolate City family Loose Kaynon and Koker came on. Yung L as well. The calmness of what had gone disappeared. MI Abaga's younger brother, Jesse Jagz, and the rapper Vector came on briefly.

"Me and Vector came to pay homage to the king," Jagz said.

"Don't listen to Jagz," responded MI. "That's how he scams me everyday."

Vector performed an unaccompanied rap. Tec of Show Dem Camp, and Poe performed. And then Ill Bliss. Most of these unexpected artists paid respect to MI who tried to deflect their praise with jokes. While Tec of SDC said MI was the first artist to work with the rap group, Ill Bliss spoke about MI's encouragement when his music was yet to find an audience. Ruby Gyang sang the night's last song and spoke about knowing MI since he was a young man, back when he was known more by his given name, Jude Abaga.

The "exclusive performance" was supposed to be the night of a concert featuring forthcoming material from one of Nigeria's most loved rappers. It turned out to be more: A night fans were reminded of MI Abaga's quality, and then reminded of the respect the man and his music command within the Nigerian hip-hop music community.

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