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

News

Piracy in Kenya drives songbird into gold mining

01 Sep 2015 - 07:09

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Music of the here and now often reflects an obsession with what is hot, new and young. However, from budding artists bursting onto the scene to established artists who have been around for decades, today’s music artist is faced with many challenges, among them piracy. Kenya’s Benga songstress Lilian Auma, 45, alias Princess Jully (or Alily nyar Jogina) is its latest victim. She has resorted to prospecting for gold in Migori County after piracy drove her out of the music business. 

Princess Jully with some of her awards. Photo: www.sde.co.ke

After the death of her singer husband Prince Jully in 1997, she moved to Nairobi to do business and produce music. She released 'Dunia Mbaya' in 1998, which propelled her music career at a time the country had declared HIV-Aids a national disaster. Through the song, she greatly told the stories of the HIV scourge and advised people to avoid the deadly disease by all means. During her formative years she often released new music frequently. Her 19th album Aneno Lek was released in March 2007. She also set up her own production house, Jully Productions, to promote emerging artists. In 2010 she released another album, Joluo Migingo to Dhi, its title referring to the disputed Migingo Island between Kenya and neighbouring Uganda.

Speaking to The Star newspaper recently, Princess Jully said she prospered and even opened a distribution shop on Mfangano Street in Nairobi, through which she distributed music across Kenya and across the border into Tanzania. "Business was booming," remembered Jully.

But lately the singer has fallen on hard times and has resorted to prospecting for gold in Migori county after piracy drove her out of business. She said she moved from her Sh30 000-a-month rental house in South C, Nairobi, to her rural home in Bondo Nyironge, Suna West subcounty. The artiste now lives in a mud house she built on her own and does not have to pay rent. The once high-flying artist now travels more than 50km to Komito goldmines in Rongo subcounty to earn just KES 300 (about $3) a day. "Most people get shocked when they find me in mines and can't believe it is really me," Jully told the press in Migori recently.

Other artists, having learnt of her plight, have offered to give her a lifeline to her musical career. Led by Suzanna Owiyo, who once performed with Jully in the group Divas of The Nile, alongside Jaguar, another musician who now sits on the board of the National Authority for Campaign against Alcohol and Drug Abuse (NACADA), the artists have offered to give her a sound system, among other things.

Her son, musician Makajully, took to social media to show support. "Mama wanted to make the world a better place. She invested in hundreds of people, paid school fees and housed orphans," he said. "I am proud to be the son of such a great woman."

Despite the drastic career change, Princess Jully is not giving up on singing just yet. “My dream is to redefine the Luo traditional music by bringing back the traditional instruments. I plan to record a song on terrorism attacks in the country and send a message to al-Shabaab to end radicalisation," Jully told the Kenyan newspaper of her future plans.

Learn more about about Princess Jully's current plight in the news report below.

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