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

Notable Nigerian albums of 2016

29 Dec 2016 - 14:44

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So much is made about the ascendancy of the single, but the album remains alive. 

Kiss Daniel had one of the year's best albums in Nigeria

Rap artists like Phyno, Reminisce, and Olamide, in particular, have built a career out of consistently releasing albums. And fans await the next Banky W and Timi Dakolo albums.

Even as Wizkid swept through the award season with only a handful of singles and no album, the 'Ojuelegba' singer has promised a third album. Tekno, whose song ‘Pana’ was one of the year’s biggest and is something of a hit-making machine, has promised an album as well. These artists understand that even with album sales diminishing, there still isn’t a music package with the prestige and capaciousness of the album in its ability to sum up an artist's mindset.

Perhaps the EP comes close, but it still is taken as a prefatory package. The question is not, when is the EP out? It is: When is the album release date? Still, the year in Nigerian music had remarkable EPs. To that end, we have also considered EPs in the years's notable albums listed below.

The list is dominated by first albums, leaving one with the impression that hunger (for fame, fulfilment or funds) remains a force in driving artistry.


Burna Boy—Redemption

Burna Boy's main work in 2016 was a brooding EP named Redemption, which redeemed the man after the sophomore slump of On A Spaceship.

What we said: “The Redemption EP leaves the listener with a minor fact of the Nigerian pop scene: Bad Burna Boy is merely bad; Good Burna Boy is almost always great.”

Read full review here.


Simi & Falz—Chemistry

Nigeria's fantasy couple, Falz and Simi, got together to offer their fans the next best thing to a confirmation of a relationship. The EP Chemistry demonstrates that its title is alive between these two—musically that is.

"It is this symbiosis of Falz’s bad-English-speaking Baba Taju act and his laid-back rap, together with the teenage naiveté of Simi’s voice that they both play to, with sweet results on Chemistry."

Read full review here.


Patoranking—God Over Everything

Patoranking has made hit songs. On God Over Everything, he makes an album of mostly wholesome, family-friendly fare.

What we said: “Patoranking’s emergence as a mainstream artist in the present climate of Nigerian pop is so unlikely, his debut album can be seen as nothing less than a win for his management. He is perhaps the only artist since General Pype's brief prominence to cling to reggae, more than pop, and succeed in appealing to a large percentage of the population.”

Read full review here.


Brymo—Klitoris

Klitoris may not be Brymo's best work—that would be Tabula Rasa—but it delivers the good still

What we said: “Klitoris, stripped and personal, is not quite as excellent as Tabula Rasa, Brymo’s broad masterwork, but it is a much happier album than its predecessors—already a video has been made for one of its happy tunes, 'Something Good is Happening'. Even so Brymo understands that in the Afrobeat genre, a happy beat is an ambiguous device.”

Read full review here.


Lindsey Abudei—And the Bass is Queen

After a lengthy spell in the industry, Lindsey Abudei put out an album of delicate beauty.

What we said: “Lindsey Abudei can sing. Lindsey Abudei can write a song. In the Nigerian music scene, those two qualities are too radical for a single artist. The album that confirms both statements is named …And the Bass is Queen. It is Ms Abudei’s debut album, and is possibly the very best album released by a Nigerian in 2016.”

Read full review here.


Kiss Daniel—New Era

Every award comes with controversy. There is always someone else who deserves a trophy. No such complaints this year when the Headies handed its Album of the Year award to Kiss Daniel. That should be enough of an acheivement, but it is secondary to what newcomer Kiss Daniel manages to achieve on the album itself.

What we said: “'Lord, I have a feeling I’ll be here for long,' goes the hook from New Era’s penultimate song. Somewhat presumptuous? Yes. But then New Era proves Kiss Daniel can back it up. Any of the younger acts thinking to release a better album this year may have to invent a genre.”

Read full review here.

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