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

Nigeria honours its finest at the 2014 Headies awards.

15 Dec 2014 - 09:58

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Report on the 2014 Headies Awards, held on Sunday 14 December 2014.

Headies nominees flyer. Image : The Headies

The Headies awards ceremony, organised by the Publishers of Hip-Hop world magazine. Nigeria's oldest and biggest Hip-hop publication. This years ceremony, was as usual, held at the main hall of the Eko Hotel, Victoria Island Lagos. The Headies had over the years become the most prestigious award ceremony in the Nigerian Music calendar and the stars, seemed to reinforce this by turning out in force for thus years event, needless to say the red carpet paparazzi were kept busy. Jesse Jagz, Eva, Victoria Kimani, Kcee, Phyno and comedians Okey Bakassi and Julius Agwu, were early entrants.

The event proper kicked off with the Rookie of the year competition, with amazing young talents, Slide, Yung Greyc, Reekardo Banks, Mr Songz, Nikki Laoye, Cynthia Morgan and Lil Kesh, the artise behind the hit "Shoki" completing a seriously impressive set of performances, from Nigeria's best young stars. Hosts Toke Morgan and Basketmouth then emerged and announced the first award of the night, for the best R&B single, which went to perennial award winner, Tuface Idibia , who though absent was represented by his wife Annie.

Other awards were to follow, with highlights being Phyno's "Parcel" which won Best Rap single, Timi Dakolo's "Iyawo mi", which won Best male vocal performance, and Niyola's "Love to love you" in the female equivalent. Sean Tizzle won the Best R&B album, for his 2014 effort, "The Journey". Bad-boy PatoRanking surprised few with his winning the Best Reggae/Dance Hall single with his "Girlie o". West African talent was fully represented on the stage, with Ghana's mega-star Sarkodie winning the accolade for African artiste of the year. The Mavin crew equally received well-deserved plaudits, with Don Jazzy winning the Best Producer award and Bets Pop single for the infectious "Dorobucci".

The veterans were represented with stellar performance from Highlife legends, Sir Victor Olaiya and Sir Victor Uwaifo. Olaiya was to later receive an induction into the Hall of Fame. Also technically a veteran now, 1990's Dancehall act, Blakky showed he still had the magic with a masterful performance.

Other winners included Oritsefemi for his viral "Double wahala" in the Best Street-Hop category. The much anticipated Artiste of the year award went to a young artiste, who has been relentless for the last 3 years in forging his path, none other than the man Davido. The event finally ended with fire-cracker of a performance from masters of the game P-Square.

The Headies promised much in 2014 and delivered conclusively. Congratulations to the organisers and artistes, we look forward toeven bugger and better in 2015. A complete list of winners is published below.

Best R&B Single – Let Somebody Love You by 2face Idibia.

Best Pop Single – Dorobucci by The Mavins

Best Rap Single – Parcel by Phyno

Best Street Hop – Double Wahala by Oritsefemi

Best Vocal Performance (Male) – Iyawo Mi by Timi Dakolo

Best R&B/Pop Album – The Journey by Sean Tizzle

Best Vocal Performance (Female) – Love To Love You by Niyola.

Best Rap Album – Baddest Guy Ever Liveth by Olamide.

Best Reggae/Dancehall – Girlie O by Patoranking

Best Collabo – Emergency by WizzyPro featuring Skales, Runtown and Patoranking

Best Recording of the Year – Ordinary People by Cobhams Asuquo

Best Alternative Song – Bolaji by BOJ.

Producer of the Year – Don Jazzy

Lyricist on the Roll – Jesse Jagz

Next Rated – Patoranking

Hall of Fame – Sir Victor Uwaifo

African Artiste of the Year – Sarkodie

Rookie of the Year – Reekado Banks

Best Music Video – Ada Ada (Flavour) by Clarence Peters

Song of the Year – Aye by Davido

Album of the Year – Baddest Guy Ever Liveth by Olamide.

Artiste of the Year- Davido.

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