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

Reviews

An old message gets a makeover in Beyoncé’s Brown Skin Girl

07 Aug 2019 - 16:46

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Since 'Brown Skin Girl' was released about three weeks ago, Beyoncé’s nod to dark-skinned women has inspired the #BrownSkinGirlChallenge on social media, earned Blue Ivy Carter her debut on Billboard’s Hot 100 and has been adopted as an anthem by many who appreciate the beauty of being black or brown-skinned.

Beyoncé.

Featuring the vocal talents of Blue Ivy Carter, the singer and actress’ daughter, Guyanese rapper Saint Jhn, Nigeria's Wizkid, this track is delivered against a mellow reggae backdrop. Blue Ivy and Saint Jhn start the song by singing its now-iconic chorus: “Brown skin girl / Your skin just like pearls / The best thing in the world / Never trade you for anybody else,” while Wizkid comes in with the first verse. Queen Bey takes a backseat in this one, featuring from the song’s second verse.

Although this isn’t Beyoncé’s first women-centred effort, with hits such as 'Run The World (Girls)' and 'Single Ladies' to her name, 'Brown Skin Girl' takes on a significant component of an identity that many are yet to fully embrace and delivers a timely message in an age of colourism and skin-whitening products. It encourages women around the world to embrace their dark skin tones and specifically mentions successful, dark-skinned superstars such as Oscar-winning actress Lupita Nyong’o, supermodel Naomi Campbell and Beyoncé’s former Destiny’s Child bandmate, Kelly Rowland, to reinforce this message.

'Brown Skin Girl' joins a list of similar songs that have preceded it from around the world. In their Destiny’s Child days, Beyoncé and former bandmate Rowland sang the love ballad 'Brown Eyes'. There was India Arie’s hit 'Brown Skin', an ode to what today’s netizens constantly celebrate as black love and melanin appreciation, prominent from time immemorial in films like Love Jones, Soul Food, The Best Man franchise, Love and Basketball, Brown Sugar and most recently About Last Night and Think Like a Man. On the continent, 2Baba's classic 'African Queen' adores a black woman in all her beauty and elegance.

Before all these songs was the traditional Jamaican folksong 'Brown Girl in the Ring', made popular globally by Boney M.’s 1978 recording. Also originating from the Caribbean is Harry Belafonte’s Brown Skin Girl', a calypso tune about American navy personnel who abandoned their local lovers with mixed-race babies (so-called ‘GI babies’).

All these songs highlight some historical aspects of being black despite prevailing odds. Beyoncé and Co's current hit benefits, above all, from the socio-cultural currency of its message, her clout and that of her transnational collaborators, as well as the song’s timely ‘coupling’ with the 2019 reboot of Disney’s The Lion King. Take all or some of this away and 'Brown Skin Girl' might not hold a candle to its predecessors.

'Brown Skin Girl' may have become the film's standout track, but it’s just one of many tracks from an album that spotlights some of the continent’s most popular musical talents, including Burna Boy, Yemi Alade, Tiwa Savage, Tekno, Shatta Wale and Mr Eazi.

Artist: Beyoncé ft. Blue Ivy, Saint Jhn and Wizkid
Song: Brown Skin Girl
Album: The Lion King: The Gift
Label: Sony Music Entertainment
Year: 2019

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