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

#Simi

The Remix: Simi takes on Ebenezer Obey

13 Feb 2018 - 15:56

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It is without denial that Simi’s original, thin, sultry vocal has given her, from a few other qualities, an admirable definition in an industry where style and musical prowess run into each other, and originality goes through a somewhat tiring recycling, until it gets quite hard to distinct between personalities.

Simi remade the Ebenezer Obey juju classic 'Aimasiko'.

Born Simisola Bolatilo Ogunleye, Simi kick started her career as a gospel Singer, and went on to release her first album; Ogaju. Although this output would not be said to have soared, however Simi embodies an inspiring sense of persistence as she didn't start to make waves until 2014, at the release of her famous single ‘Tiff’, which would be six years after her official step into the Nigerian music scene.

One could easily assume that her haitus was a time for reeducation, unlearning, and self - discovery as she has been able to carve a tender niche in the ears of her avid listeners; perhaps because of her intentional appendage of a soulful Yoruba accent running in undisturbed tandem with her Pidgin/English lyrics, or her exciting relaying of mundane issues as in the antics of love as seen in ‘Jamb Question’ and ‘Soldier’ both respective wave makers, it could of course come back to being her soulful, birdy voice, but whatever it is, Simi sure understands her capabilities, just as she isn't afraid to use them.

This comes with authentication through her most recent self-titled, second studio album ‘Simisola’, with only Adekunle Gold as a featured artist, and from where her version of Chief Ebenezer Obey’s epic tune ‘Aimasiko’ finds a pleasurable modern twist.

A twist that is yet, very conscious of the wisdom the original song is meant to convey, while both artists approached this in different ways; seeing as mainstream music allows only for snappy, straight forward, and minimalistic lyrics in production, the vintage counterpart is free ranging, allowing for the band to weave artfully through intermissions, and in a more relaxed manner, as opposed to Simi’s party friendly tune, it seems quite hard to not be in awe of what Simi has done with this absolutely fine song.

The title/ theme of the song ‘Aimasiko’ the ignorance of time( specifically one’s time for breakthrough) being slightly obsolete in a mentality redesigned world, can take only the guts of a genius to give it the urgency it needs to match recent times.

While Chief Ebenezer Obey rode free on the sleighs of wise sayings and Yoruba proverbs, Simi gives it a widely receptive touch up by setting things off in pidgin (laced of course with her almost playful accent)

“you dey work ooo, you dey pray,

You dey push ooo, everyday,

You dey try oo no be play.. But your hustle never pay..”

This here cuts across to the everyday man, a friendly advice of sorts, to hold on, to persist, yet take things easy, to believe, and to keep hard at work because one’s moment of breakthrough is known to none.

Although many have attempted renditions, it would be safe to say that this is one exceptional tune where attention is paid to every detail; where things like her use of a band might suggest caricature or a sort of parody familiar with renditions, on the contrary, everything plays out flawlessly, such that the revamped tune could be mistaken for the original one, the back ups (just as they were in the vintage version) giving the song a lively, party friendly boom, and the overall arrangement telling of a serious artist with a serious appreciation for age, and excellent work.

With this jam, this powerful fusion of wisdom and talent, it is certain that even the aged wouldn't feel left out of mainstream music, and without doubt Chief Ebenezer Obey must be exceptionally proud of this redefinition.

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