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

Olamide and Don Jazzy clash over 2015 Headies

04 Jan 2016 - 11:55

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The year in Nigerian music was set to close with the Headies award ceremony in December 2015. Instead it opened with controversy in 2016 after the event was shifted and held 1 January.

Olamide and Don Jazzy clashed at the 2015 Headies

The event started off several hours late, with nominees and other music artists gathered at the Landmark Event Centre in Lagos for the Nigerian music industry’s most respected awards. Comedian Bovi and dancer Kaffy helmed the occasion. As the night went on, performances and awards went to artists deemed to have performed admirably during the period under review.

A few awards went to expected winners including the Best Collaboration award which was won by the trio of Reminisce, Olamide and Phyno for the song ‘Local Rappers’ off Reminisce’s Baba Hafusa album. Olamide’s ‘Bobo’ won the Best Street-Hop category. 2face Idibia was inducted into the Hall of Fame for his “Special recognition for excellence and outstanding impact to the entertainment industry.”

Things became controversial after Reekado Banks won the Next Rated category—which comes with a car prize. Upon receiving the award, Banks, a protégé of producer Don Jazzy and member of the MAVINS crew, noted that some persons would be unhappy with his win.

YBNL Boss Olamide was one of those unhappy persons. When his signee Adekunle Gold took the prize for Best Alternative Song, the rapper, with a cup presumably holding alcohol, expressed dissatisfaction with the Next Rated category. He claimed Lil Kesh, his protégé, deserved the award based on a steady release of hits. He was cheered off stage as he slammed both mic and cup onstage. Cameras showed him with both middle fingers raised.

Thereafter Don Jazzy, receiving a Special Recognition Award, said to Olamide, “If you want the car, come and collect it.” He, too, was cheered by the audience.

The ceremony continued and by the close, Wizkid had two awards, Best Song for his hit song Ojuelegba and Best Pop Album for his sophomore album Ayo. Producer Legendury Beats also won for the song Ojuelegba.

The highest individual winner was the singer Timi Dakolo had won three awards on the night, including Recording of the Year.

He was unable to bask in the attention as Olamide after the ceremony tweeted a series of insults at Don Jazzy, sparking a bout of online controversy. He appeared especially angry at the car reference. "He said if I want the car I should come and take it seriously? Do I look like your maids?" he asked in one tweet. Within minutes his tweets had been retweeted several times. Fans took sides as Don Jazzy maintained a silence. Hours later, he posted an apology to his fans on Instagram.

“I want to apologise to my fans for my conduct,” his statement began “including swearing on Live TV, at The Headies event some hours ago. I recognise that you all are the most important part of my work and my journey so far, and I would not have come this far without you. Therefore, you deserve better from me. I promise to conduct myself in a more respectable manner in future.”

Several hours later, a photo of Don Jazzy shaking hands with Olamide showed up on the Instagram pages of both Don Jazzy and Olamide. The two had apparently reconciled. “We are very sorry for the wahala,” they both wrote. “Make una no vex ooo. It is our responsibility to lead but then again we’re only human and we all make mistakes.”

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