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

Reviews

Runtown — Mad Over You

20 Jan 2017 - 13:16

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Artist: Runtown
Song: Mad Over You
Label, Year: Eric Many Entertainment, 2016

Art for Mad Over You by Runtown

Nigerian singer Runtown's voice was first impressed upon Ghanaian ears back in 2015. The song was 'Gallardo'; it featured Davido. The latter, because of what impact his 'Dami Duro' had on the streets of Ghana, was by now not merely a visitor, but a family friend.

His hyperactive demeanour, and the permanently wearied tone of his voice, were now fine to us. His sound, like many of his colleagues, was popular in Accra. So while 'Gallardo' was a glorious club classic by Runtown, Davido's contribution was added validation.

Produced by Ayodele Basel (known in Nigerian music circles as Del B, producer of such songs as KCee's 'Limpopo' and Wizkid's 'On Top Your Matter') 'Mad Over You' arrives wrapped in pukka West African warmth with a piano/whistle-y note and the familiar highlife percussion timing—all of which yields to replays.

The song is dedicated to the Ghanaian woman, ultimately. Now, there may be commercial intentions there—for an artist trying to make a living, that's just fair—but more than that, Runtown may be trying to connect with that liberal vibe of Ghana, if only because Ghana''s vibe is the gateway to all things afrobeats.

Local Ghanaian references pepper Mad Over You—not "chale", which has all but lost its essence as a result of overuse—but words like waakye (a loved staple made from rice and beans, garnished with spaghetti, tomato stew, gari, and an assortment of proteins), and shitor (pepper sauce which tops the meal).

Ghanaian food has always been accessible to the wider world, but have lately been enhanced afresh by Ghana-based and Nigerian-born Mr. Eazi, who came under a hurricane of verbal attacks for this observation of the Ghanaian groove in the "Naija sound". That controversy will take care of itself. On 'Mad Over You', these are the first lines:

Ghana girl ah say she wan marry me o
I hope say she sabi cook Waakye
Hope your love go sweet pass shitor

It is fair to ask why Runtown opts for waakye, and not jollof, in the song, even though jollof is the most sacred of all Ghanaian delicacies. The reason is simple: While both Nigeria and Ghana claim to be better custodians of a meal which originated from Senegambia, there's absolutely no debate about who owns waakye, which is loved (well, not quite in equal measure as jollof, but loved nonetheless) on the subregion. Runtown's song is a tribute to Ghana, and he's not looking to be ambiguous in his praise.

Again, it might be a conscious effort to insulate himself from having to participate in the jollof wars. I may be wrong, but this, I believe, was arrived at as a result of painstaking thought while on relatively low alcohol levels. It has worked. In just over a month on YouTube the video has been seen almost 5 million times.

'Mad Over You' will be remembered fondly decades from now because of the sheer majesty of its swing—especially in the heart of the young Ghanaian woman, who can recite the song line for line without having actively committed Runtown's words to memory.


A version of this piece was published on eNewsGH

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