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: Timeless tunes and how throwback songs bond Africans

14 Jan 2025 - 15:54

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By Spotify

Music has always been central to African culture, reflecting societal changes while connecting generations. In recent years, throwback hits have experienced a powerful revival, captivating African audiences with their nostalgic charm and enduring appeal.

D’banj.

At weddings, it is common to hear the latest hits, and party songs but it is also common to hear old throwback hits that parents and grandparents once danced to, creating a shared sense of love across generations. Throwback gospel tunes or timeless traditional chants provide a sense of continuity, emphasising that while individuals pass on, their cultural and spiritual legacy endures.

The nostalgic connection

From the soulful melodies of the 1970s to the vibrant rhythms of the 1990s, Africans are reconnecting with the music that defined past eras while finding new meaning in its timeless essence. This resurgence is evident everywhere, from new artists’ tracks, social media trends celebrating throwback tunes to electrifying live performances that honour the music of yesteryear.

Yesterday’s tunes still rock today

Spotify’s Wrapped data reveals the most-streamed songs in Africa over the past decade, highlighting the tracks that have defined the continent’s listening habits. CKay’s ‘Love Nwantiti (ah ah ah)’ stands out as a global sensation, blending heartfelt lyrics with captivating rhythms. P-Square’s hits like ‘No One Like You’, ‘Do Me,’ and ‘Personally’ continue to resonate, reflecting the golden era of Afrobeats.

D’banj’s ‘Oliver Twist’ remains a ground-breaking anthem, while Fela Kuti’s ‘Water No Get Enemy’ endures as a timeless Afrobeat masterpiece. The Lijadu Sisters’ soulful ‘Come On Home’ also found a renewed audience after being remastered and re-released this year. It became one of the 10 most streamed throwback songs.

Global collaborations such as Nas and Damian Marley’s ‘Patience’ and ‘As We Enter’ struck a chord with their fusion of hip hop and reggae, while Andy Bradfield and Boyzone’s ‘All That I Need’ showcased Africa’s diverse musical taste.

Spotify Wrapped also revealed African listeners’ love for timeless global hits across decades. The 1970s gave us Bob Marley’s ‘Three Little Birds’, and the 80s offered Alphaville’s ‘Forever Young’. In the 1990s, rap legends like 2Pac’s ‘Hit Em Up’, ‘Dear Mama’ and Coolio’s ‘Gangsta’s Paradise’ resonated deeply with fans.

More recently, tracks like Burna Boy’s ‘Location’ and Fireboy DML’s ‘Dealer’ from the 2010s and 2020s reflect a modern nostalgia, blending seamlessly with past throwbacks to showcase music’s enduring legacy.

Throwback Thursdays and beyond: social media’s role

Social media platforms are now flooded with throwback challenges, where users share clips of themselves lip-syncing to old songs or dancing to vintage choreography. Hashtags like #ThrowbackThursday and #OldSchoolVibes are constantly trending, as people reminisce about simpler times and share their favourite tunes with friends and family.

For many Africans, these moments are a source of comfort and inspiration. It provides an escape from the stresses of daily life and allows them to reconnect with their roots. The lyrics of these songs often reflect the hopes, dreams, and struggles of past generations, offering timeless wisdom and perspective.

A legacy that endures

Throwback songs on Spotify highlight the interconnectedness of African audiences to both their local and global musical heritage. For many, music from decades gone by is an emotional time capsule, offering comfort, cultural pride, and a sense of shared identity.

As Africans continue to rediscover and redefine what nostalgia means through platforms like Spotify, one thing is certain: the music of yesteryear will always have a home in the hearts of listeners today.

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