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

Music of Botswana ‘most unique’ – study

09 Jan 2018 - 14:31

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Researchers from the Queen Mary University of London in a recent comparative study on outliers in music found that Botswana has the most distinct catalogue of recordings compared to other countries in the world.

Botswana seems to have maintained an undiluted musical identity.

The research aimed to identify unique musical traits in 8 200 recordings from 137 countries by using signal processing to retrieve musical information. The study looked at rhythmic, timbral, melodic and harmonic content in recordings, and recordings with unique characteristics were called ‘the outliers’.

The retrieval process also involved datamining as well as spatial data to identify the geographical outliers in relation to their neighbouring countries.

“This is the first study to investigate outliers in world music with such a large scale and tracing the geographic origin of these recordings could help identify areas of the world that have developed a unique musical character,” Queen Mary’s School of Electronic Engineering and Computer Science PhD candidate Maria Panteli said.

Researchers Panteli, Emmanouil Benetos and Simon Dixon used 6 132 audio recordings of folk and traditional music from the Smithsonian Folkways in the US, which has a corpus of 40 000, and 2 068 from the British Library Sound Archive.

The study focussed on 30-second sound segments from each of the 8 200 recordings because Smithsonian Folkways only allowed a preview of that length of each song in its archive. Each country in the study was allocated a minimum of 10 and a maximum of 100 recordings.

Some 1 706 out of the 8 200 recordings were identified as outliers.

The study found 61% of the Botswana recordings as outliers. The study says the high outlier percentage of Botswana’s recordings was contributed to by “solo performances of the mouth bow and dance songs featuring group singing accompanied with handclapping or other percussion”.

Other African countries with a high outlier count include Côte d’Ivoire (60%), Chad (55%) and Benin (54%).

The spatial statistics were used to compare each country’s recording to its neighbours. In this part of the research, China, which borders 12 countries, had 21% of its records identified as outliers from recordings of the butterfly harp string instrument and singing examples from the Han cultural group.

Countries that had the most outliers in the individual categories included Zimbabwe (melody), French Guiana (timbre) and Benin (harmony and rhythm).

“There is a lot to be explored yet and we believe continuing on this line of research will help us understand better the music cultures of the world,” Panteli said.

Read more about the research here.

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