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

Pop music

Popular music in Sierra Leone

24 May 2019 - 17:54

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This article gives an overview of pop music in Sierra Leone.

Emmerson Bockarie is a pop artist from Sierra Leone. Photo: Salone Jamboree

The roots of contemporary pop music in Sierra Leone

Oral histories of the modern roots of pop music in Sierra Leone claim the genre came to being during the 1980s and 1990s. Before then, traditional music dominated almost every part of the country.

Olu Wyse, a pub owner in the 1980s says that even though it can be said that the advent of pop music goes back to the 1950s and 60s when musicians like Ebenezer Calendars and other popular musicians of there time existed, "one cannot comprehensively prove the extent of the popularities of their songs especially in the hinterland.”

In other words, their songs were pop only in Freetown and its environs. By the late 1980s and 1990s, the likes of Amie Kallon, a traditional Mende female musician, became very famous in the country for her energetic hour long singing and use of traditional instruments such as drums, sheah bureh and other instruments to entertain crowds of all ethnicities, even though she sang in the Mende language.

Israel Olorunfeh Cole, commonly called Dr. Oloh was another popular musician who played jazz and traditional music. He was the leader of a popular music band called Milo Jazz using bata (drum) and other traditional instruments to make music. Cole's music became quite famous and is played at big wedding ceremonies across the country. His lyrics often talk of how guests should be merry for the couples, address social issues affecting men and women and sometimes admonished couples to live in unity and love.

Pop music after the civil war

In early 2002, when the 11-year war ended, pop music no longer had a predominantly traditional face. Sophisticated western styled musical Instruments, radio stations and studios had emerged.

This creates a formidable platform for songs and artists to record and measure which songs hits most. More artists have been orientated in the western styled music. The likes of Paradise Studio, Studio J Music, Skyy Radio, the then Sierra Leone Broadcasting Service (SLBS) TV & radio now Sierra Leone Broadcasting Cooperation (SLBC) were among the giants that offered the Sierra Leone people both the opportunity to produce different class of music, and broaden the audience of songs and then create the forum for evaluating music, which one is a pop-based on the hits they generate in weekly shows and broadcast.

Skyy Radio runs the most popular weekly show (Salone Top10), between 2000 and 2010. It allows audience to vote for the song of the week. The SLBS use to run similar series on both TV and Radio.

Some of the most popular music that went on to top the charts for weeks include 'Bam-boat' by Kman, 'This World' by Vickie Fornah, 'Corruption' by Daddy Saj, 'A-Bo' by Yok 7, 'Grap N Clap' by Pupa Banja, 'Titi hold Me' by Manzu avec C Bolt, 'Borbor Belleh' by Emerson, 'Me Padi' by Matu, 'Wuteteh' by Jungle Leaders, 'In da Club' by Kao Denero, 'Money na Bank' by Laj and 'Angel' by Alonzo.

Popular genres in Sierra Leone

Afro-pop

Afro-pop is a richly diversified musical genre that entails the combined efforts and musical styles and instruments of various western and African music. Afro-pop became dominant in sierra leone in the early days of the year 2000 when recording studios and music production had it dawn. It is a style of music that combines the rich melodies and energy of traditional African music with popular music genres like blues, jazz, afrobeat, salsa, zouk, rumba, funk, and rock music. Emmerson Amidu Bockarie stage name Emmerson is one of the most popular musician as far as Afro-pop is concerned. He is well known in and out of the country for his conscious lyrics often directed at bringing social and political change in the country. Over the years, his songs are believed to have influenced voting patterns in about two major elections including the just concluded 2018 elections.

Bubu

This is a music genre very unique to Sierra Leone. It is a type of music played by several men (music band) using self-made instruments containing mainly bamboo pipes of different sizes, to produce various a heavy and peculiar melodious sounds. Ahmed Janka Nabay is the pioneer of this music genre. He took it from low and rarely popular music roaming Temne people’s (an ethnic group in Sierra Leone) villages in the hinterland, mixed it with the required energy to make it cool and more acceptable by everyone.

Hip-Hop

This genre like Afro-pop is the most alive music genre in the country. More rappers are coming up every year since the likes Kao Denero, Yok 7, Star Zero and others light up the genre in the early 2000s. Unlike the rap music of other countries, hip-hop music in Sierra Leone contains a lot of krio (the common language spoken in the country) and bilingual (krio and English or krio and indigenous language) lyrics. Kao Denero, Laj, Yok 7, Star Zero and most recently Samza and Krack Twist, Prodigy, Empress P, Young Sal and many others are the most popular hip-hop musicians in the country.


References
https://en.m.wikipedia.org/wiki/African_popular_music
https://www.last.fm/music/Janka+Nabay/+wiki
http://www.thepatrioticvanguard.com/musician-of-the-week-amie-kallonmusic of the week Amie Kallon
https://en.m.wikipedia.org/wiki/Dr._OlohDr. Oloh
https://en.m.wikipedia.org/wiki/Emmerson_BockarieEmmerson
Interviews conducted personally

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