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

Overviews

Opportunities for musicians in Togo

20 Oct 2016 - 12:21

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Togo has a vast and diverse pool of talent. Music, however, seems to be the forgotten sector. There are very few initiatives to support musicians, even though regional TV channels and radio stations introduce new artists every day. Those who last are not only talented but have taken advantage of opportunities available in the country.

(Photo) : King Mensah

The Fonds d’Aide à la Culture, established in 2013, is a government initiative focused on supporting artists and their projects in order to make them more competitive in local and international markets.

The fund covers five cultural areas, one of which is music. Some artists only make use of it to launch their careers.

The Bureau Togolais des Droits d’Auteurs (BUTODRA), a public institution established under the law No 91-92 of 10 June 1991, protects and manages the interests of authors. and pertains to the collection of royalties from TV and radio stations, bars and other sources on behalf of the authors.

This money, a derisory amount, is not necessarily paid to the beneficiaries. BUTODRA does not have the means to carry out checks and few artists know about the existence of this statutory provision. Fortunately, there are numerous private initiatives offering training, artist promotion, and production.

La Belle-mélodie is one of the most prominent music schools in the capital. Created in 1992, the school offers instrumental and vocal training. Eligibility requirements are basic music skills and the ability to play an instrument. The school offers fellowships to students taking the piano, guitar, trumpet, flute or accordion.

Clémentine Ayefouni, soloist of opera, a former student of the Belle Mélodie music school said: "We first make music because we have a gift. Then, it is necessary to go through a school or a vocal coach to polish up. We enable talent and we eventually enjoy our work."

When asked whether she makes a living from her music, Clémentine replies: "I have a full-time job. I am also an opera singer, a genre Togolese are not familiar with. However, tickets to my concerts are snapped up like hotcakes. If my passion is a revenue stream, it's for the best."

King Mensah, the king of Togolese music, introduced a music competition allowing him to spot new talents, coach them and allow them to benefit from his production house. The project started three years ago but is currently on hold.

228 T Factor organized by All That Production is currently the most popular talent competition. The TV show offers an opportunity to emerging artists. The winners receive support from the production house as well as promotion support.

The competition covers the entire country and has the support of several partners including the Télévision nationale and the telecommunications network Togocel.
There are also singing competitions organized by hotel groups. For example, last year, the Balkan hotel introduced the "Balkan Open Mic" competition. The rules differ slightly from karaoke, where participants receive prizes for their performances.

The Premium Esplanade establishment followed closely with a concept aimed at Togolese songs. Although these initiatives are applauded, they remain essentially advertising and mercantile.

Concerts and other events organized by big event communications agencies are more lucrative for Togolese artists. They offer a wider audience and remuneration for each performance. Unfortunately, these events are infrequent in Togo.

Telecommunications companies like Moov and Togocel are to this day the primary music event organizers. These two companies host events during the summer school holidays where local and international artists perform.

The Togolese music scene is not fully established to allow artists to make a living. There are many production houses but they are undermined by amateurism and a lack of vision. Another hurdle is that the Togolese public is not a financially viable market. Concert tickets are sold quickly, not albums.

The numerous pictures followed by hashtags posted on social media platforms do not reflect the harsh reality of many artists who are forced to wander from bar to bar trying to sell their albums to the consumer.

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