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

Features

Ruby Gyang and company go live in Lagos

27 Jul 2018 - 19:37

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At a recent edition of the new concert series O’Live, which took place at the hangout spot Backyard in Lagos, Ruby Gyang came on singing ‘Feeling Good’.

Ruby Gyang performing at O'Live. Photo: C City

Usually, she said afterwards, artists are invited to sing “two or three songs” but as this was her show, she would be singing “a lot of songs”.

Already her first two songs on the evening had demonstrated a fact long acknowledged by anyone aware of her music: that Ruby Gyang possesses one of the best pairs of lungs owned by a contemporary Nigerian musician.

She introduced Jessica Ikwue. The big-haired daughter of celebrated 1980s musician Bongos Ikwue possesses a rather remarkably husky voice and kicked off her set with Adele’s version of 'Make You Feel My Love'. Hers was more rock than Adele’s.

"The next couple of songs are from my album," she said before launching into songs with sounds heavily influenced by the west, at one point incorporating a few lines from Corinne Bailey Rae.

Soon after it was the turn of Dija, who sang a number of songs including her hit 'Awww'.

A theme was emerging: the songs and artists at this edition of O’Live seemed to exist on a continuum of western influence. The excellent backing band on the night was adept at playing music along this continuum.

Dija dropped the microphone and was briefly enveloped in a hug by Gyang. In the audience sat Aramide, who duly received a shout out from Ruby before it was the turn of Lindsey Abudei to perform. Lindsey Abudei is “the only person whose voice I wish" I could trade mine for, said Gyang.

This high praise was duly proven as deserved by Abudei who went on to deliver a performance so good, her vocals sounded even purer on her 2017 debut album And the Bass Is Queen. She transformed Asa’s ‘Jailer’ into something celebratory at the end, as though the song’s narrator was glad knowing that doom awaits her jailer and herself.

After Abudei’s exit came Nonso Bassey. His first song ‘411’ was a ballad in 1980s style, all earnest declarations and uber-demonstrative gestures. He moved on to the present with a medley of Frank Ocean’s ‘Thinking About You’, Beyoncé’s ‘Drunk in Love’ and Drake's ‘Hotline Bling’. His own songs followed, each as good as the last, as was a few songs performed with Jessica Ikwue. His sole unsatisfactory moment came when he attempted ‘Purple Rain’. Prince's low growl eluded him and the required earnestness for the song was of a different vibe than Bassey could supply.

To close the show, Ruby performed MI Abaga's ‘One Naira’ and her own ‘Shakara’, the former featured the rapper himself. And as the man rapped his verses, Gyang banged a tambourine on a thigh. Both have known each other since their pre-fame days in Jos.

"This song is about love, about friendship," said Abaga.

The evening too could be said to be about the friendship between the performing artists, all of whom seemed happy to be in a space with one another sharing microphones, bands, and a commitment to singing good music live.

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