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

Peru affirms Fireboy DML’s Afrobeats intelligence

04 Nov 2021 - 16:59

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The sweeping success of Fireboy DML’s ‘Peru’ brings the singer’s Afrobeats intelligence into sharp focus. 

Fireboy DML.

The single, released in July, has spawned numerous covers, including those from fellow Nigerian artists Maleek Berry and Buju. It currently enjoys ubiquitous presence on radio and major digital streaming portals, as well as video-sharing platforms like TikTok, which, in the Gen Z era, is an indicator of critical success.

‘Peru’ contains advertisement about a forthcoming LP – something I suspect is the goal of the song: “I’m not playin’ with you, I’m not jokin’ (jokin’)/ My third album is loadin’”.

Mission accomplished, then: Anticipation around the final piece of his trifecta is at fever pitch. Laughter, Tears & Goosebumps and its successor Apollo have distinguished Fireboy among his peers. On both projects, the singer’s probing lyrics, enduring melodies and instant traction made him a songwriting poster child. The new album is expected to expand the 25-year-old’s cachet as a dynamic and clinical composer.

‘Peru’ points to its author’s Afropop wit. Whether they are constructed around recurring themes of love, dance and struggle held together by catchy melodies, or undergo the soulful retooling Fireboy refers to as ‘Afro-life’, the singer has risen to the occasion. ‘Peru’ is anchored in the former, imbued with infatuation and vulgar lust, but also ambition and success that has led to his globetrotting adventures.

Won ni wan wa mi
Won ni wan wa mi
I'm in San Francisco jamming
Won ni wan wa mi
Won ni wan wa mi
I just flew in from Miami

Were this another artist, the record would be dismissed as Afrobeats pathology. But this is Fireboy. He knows what he is doing. “Sometimes, it’s about the melodies, it’s about the vibe,” he told me in July. “You don’t have to compromise your songwriting and I have proved that a lot of times – but also, sometimes you do have to compromise lyrics for melody and vibes depending on the kind of song it is. I’m just bringing my own different spice into it.”

‘Peru’ was produced by Shizzi, who is popular for his extensive work with the likes of Davido and Wizkid. It is steeped in lasting groove invoked by spare percussion work and ultra-fine melody. The song is a lean two minutes long but leans heavily to the replay button. African pop is constantly fleeting, and so new songs will come. Still, one gets the sense that this song’s shelf life will be long, and even after it has finally been knocked off the charts, ‘Peru’ will rear its head regularly in conversations recalling Afrobeats’ golden age. “That song was a solid jam,” interlocutors would say with a nostalgic smile. Fireboy himself will revisit ‘Peru’ from time to time, patting himself on the back for the track’s magical simplicity.

Fireboy’s albums arrive a year apart, so a 2021 LP is more than likely. An Afrobeats revisionist, his new work will not only grow his influence but also prove a valuable addition to the genre, which now boasts Grammy recognition, chart-topping records and an ever-expanding global audience.

Artist: Fireboy DML
Song: Peru
Label: YBNL Nation/ EMPIRE
Year: 2021

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