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

Sauti za Busara 2019: 5 questions for Fadhilee Itulya

30 Jan 2019 - 12:06

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After failing to make the Sauti za Busara line-up on four separate occasions, Kenya's Fadhilee Itulya will finally get a chance to bring the acclaimed omutibo genre to Stone Town, Zanzibar, on 8 February.

Fadhilee Itulya says Sauti za Busara encourages musicians to be proud of their culture.

East Africa's favourite festival kicks off at the historically loaded Old Fort on 7 February, with Itulya playing a day later on the main stage, which will also host Tanzania's incredible Wamwiduka Band and singeli musician S Kide, among others.

From his renowned 2018 Kwetu album to his latest release ‘Nekesa’, Itulya, a 2018 All Africa Music Awards nominee, has been displaying an uncanny ability to blend authentic Kenyan roots music with modern influences.

Music In Africa caught up with the talented singer and guitarist to discuss his musical influences and expectations of Sauti za Busara (SzB) 2019.

MUSIC IN AFRICA: SzB has listed as an artist who makes socially conscious. What inspires your lyrics?

FADHILEE ITULYA: My lyrics are inspired by everyday life in Africa: the people, the stories around us, the joy of it all as well as the dissatisfaction and the desire for change.

A friend once said to me that art makes the world bearable and artists are the canaries in the mines. Musicians paint with words, rhythm and melody, and that should not just be for entertainment. The gift of influence is not only glory, it is also a burden. We are representatives of society, the voice of the people, and we have privileges that only political leaders enjoy, and that is the ears of the people.

What do you expect out of the four days?

I have been to so many SzB editions as a Kenyan flagbearer and cheering on other artists. In fact, half the time the line-up is full of friends and acquaintances. I have also previously applied to play at SzB four times but I did not make it through.

I was never discouraged. Instead, I took it as a learning process to discover what skills and qualities are required from musicians by the organisers. This time around, I will be up on that stage. It will be a defining moment of my career and I hope to catch the eye of the many music promoters and festival bookers during the Movers and Shakers sessions.

I'm also looking forward to watching Mokoomba because they are my biggest inspiration. In my opinion, they were the best African band in 2018.

What impact would a festival like SzB have if it were held in every East African country?

Massive. SzB has managed to create a deeply rooted music and dance culture in Zanzibar. Such an event would encourage a more ingrained music culture that would help us steer away from the overwhelming amount of mediocre commercial music we have seen in the past few years. Local businesses such as hotels and transportation would also benefit from tourists and create more employment opportunities.

Give us a general rundown of who Fadhilee Itulya is.

Fadhilee Itulya is an Afro-fusion artist from Kenya. I began my professional music career in 2008 after being featured on the Alliance Française Nairobi compilation album titled Spotlight on Kenyan Music Vol 4. My music is grounded in culture, community and care for the environment. It draws inspiration from a fingerpicking style of guitar playing called omutibo. It is a genre from the Luhya people of Western Kenya. I am also one of eight global brand ambassadors for Swinti, a brand of Swiss timepieces.

Do you think East African musicians are doing enough to safeguard culture and tradition?

I think we can do better. I think self-hate has been instilled so we are slowly losing our identity and love of our culture. This is mainly because we have been unable to properly preserve our culture and uphold heritage. Instead, we even look down on it.

However, there is an awakening of musicians seeking to fuse traditional and contemporary sounds. Additionally, cultural festivals like SzB, Bayimba Festival, Lamu Festival, Turkana Festival, and the DOADOA arts market are on the front line of this conversation in the region and I commend and salute their efforts.

For more information and tickets, visit the Sauti za Busara official website.

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