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

Op-ed: Fostering the artist-fan relationship in the digital world

25 Oct 2022 - 13:45

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By Jason Johnson

Once upon a time, rock stars and celebrity artists were positioned as unreachable idols who came down from their lofty positions to play concerts and grant interviews for regular mortals to experience. And while that’s still mostly true today, we see global superstars like Cardi B and Davido now comment on fans’ Instagram pictures, while Adekunle Gold writes and sends personalised newsletters to fans.

Audiomack senior vice-president for marketing and brand strategy Jason Johnson.

While an artist's personality is a great factor in the level of connection with fans, you may be wondering why they have made themselves so accessible to the level of common social media users. Well, it is most likely because they have to.

In today’s wired marketplace, artists have to forge a personal relationship with their audience to keep their fans’ interest. And for many, that means creating opportunities for fans to have an inside look into all aspects of an artist’s life. Save for major mainstream stars, the days of artists being put on an isolated pedestal are long gone; fans are far too savvy and options are far too many for an artist to appear to be operating in a different universe. Fans demand access at unprecedented levels, so artists must either provide this access or be skilled at creating the illusion of it.

With a huge push from digital technology, music is zipping around the world at the speed of light bringing artists, fans, and cultures together. Due to the ease of accessing music on streaming platforms like Audiomack and YouTube, fans have become less invested in the artists who create the songs they enjoy. Hundreds of songs by hundreds of artists are added to a playlist by the average user. As a result, artists must do more to grab a fan’s attention and get them to listen to more of their work.

The importance of fan engagement

What has caused this shift toward fan engagement? The simple answer is the internet. The more complex answer is that the internet has become so woven into the fabric of our culture as to create a sense of immediate fulfilment and enable complete access to almost anyone and anything.

Never before have consumers had more choices on how to entertain themselves. The avenues for information are exponentially greater than even 10 years ago. With this has come a massive sense of empowerment for music fans. No longer are they limited to what access or content an artist deems worthy to mete out. The physical technology and the conceptual structure of the internet have given fans the ability to craft their own online experiences. If one artist is not providing the type of engagement a consumer seeks, the odds are very high that some other comparable artist is. This puts the fan in a position of greater power and influence than ever seen before in the music industry. In addition, the coronavirus pandemic ushered the world into a technological evolution, fundamentally changing the way fans engage with artists and their content

But this isn’t necessarily bad news for artists, labels, managers, or anyone else in the chain. Savvy artists that tap into existing and developing technologies can deliver something to their fans that satiates their demand for an insider glimpse – while also keeping control over the band’s image.

Harnessing digital platforms

Today’s artists have something that they’ve never had before, and that’s a direct line of communication with their audience. Direct streaming platforms like Audiomack provide listeners with the ability to support their artists from their homes, cars, beds, and virtually anywhere. In addition to democratising music and making it accessible to all, Audiomack has also stepped forward to foster artist/creator and fan relationships amidst the technological boom.

In December 2021, Audiomack launched Supporters, an exclusive feature that gives users the power to support artists by directly contributing to their favourite songs and album releases. This not only provides artists with a new revenue stream but also allows creators and their fans to form a direct connection in this digital world. Providing further insights on the feature, Audiomack co-founder and CEO Dave Macli said: “Through Supporters, fans purchase support badges for an individual song and album releases that are then memorialised on their Audiomack profile and the artist's individual song or album page. The purchase also opens fans up to ‘exclusive’ direct messaging options with artists, which artists could, for example, use to grant early access to merchandise, music, or behind-the-scenes footage”. Since the launch of the feature, over half of all independent artists using the Supporters feature have since increased their earnings by at least 30% via direct fan contributions and over 25 000 artists on the platform have received direct assistance since the feature’s inception eight months ago.”

Leveraging exclusivity to bridge the gap

Recently, Laycon, a Nigerian rapper and songwriter generated five times the revenue via streaming alone for his song ‘God Body V2’. This groundbreaking result was recorded less than a month after Audiomack announced the debut of Premiere Access, an industry-leading feature that allows artists to reward their biggest fans by making unreleased projects available on Audiomack before the general release. This first-of-its-kind feature not only provides a new way for artists on Audiomack to generate revenue beyond the traditional form of streaming but also deepens the connection between artists and fans.

The importance of fan engagement has been established and if it’s important for household-name artists to connect with their fans on digital platforms, how important is it for lesser-known artists to connect with their fans on this platform? Very. The problem with all of this is that many artists are introverted, creative types who have pursued music instead of social relationships

Tapping into Africa’s burgeoning talent

To support the growth of upcoming artists across Africa and further deepen the relationship between artists and fans, Audiomack launched the Open Verse Challenge, which sees upcoming artists deliver renditions of a more established artist’s song. It ran a successful course considering Adekunle Gold’s recent 5 Star challenge which received over 800 entries from across the continent for a chance to be discovered by millions of people on Audiomack, home studio gear, a top 20 trending placement on Audiomack, an editorial playlist feature on Audiomack as well as a push notification to their winning entry to all of their Audiomack followers.

Digital technology has played a major role in making different types of music accessible to fans, listeners, music aficionados, and downloaders all over the world. The world of music production, consumption, and distribution are no longer the same, and the shift is placing the power back into the hands of the artists and fans. There are now solutions available for artists to distribute their music directly to the public while staying in total control of all the ownership, rights, creative process, pricing, release dates, and more. As technological innovation continues to sweep the music industry, direct streaming platforms have become an increasingly important component of artists’ promotional arsenal, and Audiomack provides a platform for artists to grow their careers while fostering artist-fan relationships.

Jason Johnson is Audiomack senior vice-president for marketing and brand strategy.

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