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

#afro beat

Rikki Stein on why Fela is so popular during lockdown

18 Aug 2020 - 15:15

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Knitting Factory Records' fifth box set of Fela Kuti's vinyl reissues will be curated by the Afrobeat icon's eldest son, Femi Kuti, and Chris Martin, the frontman of British rock band Coldplay. The box set is slated for release at the end of the year or in early 2021. The two musicians have handpicked seven albums from Fela's massive catalogue. The audio has been restored and remastered from Fela's original recordings, and the artwork has been reworked.

Rikki Stein.

The upcoming box set will be Femi's second collaboration with Martin after the release of 'Arabesque', which appeared on Coldplay's 2019 album Everyday Life. The previous releases were curated by Questlove (2011), Ginger Baker (2012), Brian Eno (2014) and Erykah Badu (2017). For the ultimate Afrobeat collector, this one is a must.

Fela's last manager, Rikki Stein, believes that having other musicians curate Fela's sprawling catalogue has maintained the Afrobeat musician's legacy and widened his influence. During the lockdown, data from major streaming services and companies pointed to an increased preference for music that is comforting, familiar or nostalgic. A survey on music streaming in the US conducted by Nielsen Music/MRC Data said that people were "seeking comfort in familiar, nostalgic content". Stein says that Fela's listener base also widened across streaming platforms, especially on YouTube.

"The simple answer is that people are home and they are listening to their favourite music," he tells Music In Africa. "Fela's message is being listened to, and it does unfortunately connect to what is going on in the world, no question about it. But I don’t think the hike in stats is unique to Fela. Generally, people are unable to freely wander into music stores and browse for records as they would have done previously."

Stein says Fela's music is a catalyst for consciousness. This is why he is as relevant today as when he was alive. Music, Stein says, cannot only be for entertainment – it must challenge and expose the hideous truths hidden behind closed doors. "Fela created this extraordinary music. He used to say, ' I am not playing for you o. I am playing for myself.' Nowadays, people listen to what he sang 20 years ago, and they say, 'It's still relevant." And I say, yeah!

"There is only one Fela. You know, sometimes I hear artists being described as Fela and I'm like, 'Come on, get out!'" he says laughingly. "I do like some of them, like Burna Boy and Falz. Falz particularly is socially conscious and uses his music as a means of getting ideas across. So I have to respect him for that. However, if I were to sit down with Falz and ask him, 'Do you think you are Fela number two?' He would just look at me.

"I also have a lot of time for Mr Wine [Bobi Wine]. I respect him as an activist and musician. I met him two years ago, and all I can say is we immediately became friends mainly because I was familiar with the story of a musician facing up to the military junta."

But Stein believes the idea that every musician should be an activist speaking truth to power is naive, and says musicians should be free to choose what themes to zero in on while doing so from a place of passion. "I run a digital music service called Okaymusic, and when artists send me music I do offer them some advice and say, 'Perhaps you should spend less time worrying about what you think people want to hear and more time showing us what you have in your belly.'"

Following the death of Tony Allen in late April, the obituaries, including Music In Africa's, paid homage to the drummer by labelling him as the co-creator of Afrobeat. But Stein says this senitment is historically incacurate.

"During that period when Tony Allen was part of the band, Fela could compose his music and during rehearsals give parts to everybody, including the drummer. But the master plan was Fela. But look, I wasn't there. I came in after Allen had left, and he and I later became good friends. But I know enough people of integrity who were there and were able to describe to me how it was at the time. I know for sure that that was the reality. The fact is, Allen was head and shoulders above all the drummers I have heard in my life and a fantastic musician, so he would take the same beats that Fela gave to whole band and interpret Fela's instructions."

Each year in October, Stein travels to Nigeria from his home in the UK to attend Felabration. With the COVID-19 outbreak and the subsequent shuttering of music venues, it remains to be seen if the 2020 edition of the celebration of Fela's life will take place.

"Look, people are going to find ways to play music. So if this pandemic is to continue for a while, I would say that online activity is going to continue, and also, what I see increasing are collaborations between different artists, which I always thought was a wonderful thing to happen," Stein says.

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