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

Seyi Shay x Sarkodie – Weekend Vibes remix

18 Jul 2017 - 16:08

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The overwhelming success of Tekno’s Pana meant fans of Nigerian pop only needed to wait before someone produced a copy.

Seyi Shay and Sarkodie team up for Weekend Vibes remix. Photo: Martini

The song's producer Krizbeatz has decided to take a crack at it himself. He has made same beat, give or take minor elements, for Seyi Shay’s new single Weekend Vibes. (Played back to back, Weekend Vibes and Tekno's Pana and Rara form a pop music triptych.) We may frown at the reproduction, unashamed as it is, but the new song is a rather effective tune. The magic of the Pana beat is untarnished.

Seyi Shay, who has never been shy about female lust, is just the perfect singer for the sequel of Pana, a song that elected cassava as phallic substitute. “Mesmerise the girl o/come and rock my waist,” she sings, her voice approximating the breathy sensuousness of Tiwa Savage. Like Ms Savage, Seyi Shay aims her vocals towards the skin under the ear, leaving the audible equivalent of a lover’s breath.

Weekend Vibes is an undisguised sex jam; the jokey allusiveness of Pana is gone, and replaced with unconcealed bluntness. Folake has taken control of both song and sin, resulting in a coitus-soaked chorus: "And we can/kpansh, kpansh, kpansh, kpansh!/Every weekend, baby/kpansh, kpansh, kpansh, kpansh!"

An onomatopoeic slang for having sex, "Kpansh" is repeated several times; the word makes a starring return from a 2014 rap single by Yung6ix. While the rapper used repetition as a measure of conquests, Seyi Shay invites the listener to think of the word's relentless occurence as proportional to the number of carnal sessions that might take place over her fabled weekends.

Part of the appeal of Tekno’s hit songs has come from his affinity for drums, and in Krizbeats, nicknamed “the drummer boy”, he found a percussion-loving producer. But where club-loving Tekno sometimes prefers sped-up drums, Krizbeats takes the edge off his drums for the cooler Seyi Shay. The harsh sound effects on ‘Pana’ are replaced by the plosives in the repeated chants of “kpansh kpansh”. The result inspires a less vigorous kind of dance. And for some gravitas, Seyi Shay gets Sarkodie to add a verse on the remix. As always the Ghanaian gets in the mood besides Nigerian acts.

Despite the familiarity of its production, Weekend Vibes offers a major difference from Pana and its more unruly offspring, a group that includes Davido’s recent singles If and Fall, as well as Mayorkun’s Mama: It is the first time a major female act has gotten in on the action. And it is easy to see why it is Seyi Shay who has adapted the beat.

To get accepted as a major act, the UK-born Seyi Shay has had to find crafty ways to attend to the needs of the Nigerian pop audience. One way she has done this is to mould her R&B uniqueness around the familiarity of male stars so her debut album, Seyi or Shay, was chockful of testosterone. Clearly, the Seyi Shay team figured her western panache needs local footing for nationwide success. If this strategy has worked admirably, it has also led Seyi Shay to an over-reliance on established artists and trending sounds. One imagines that soon she'll need a different plan, one that emphasises her own originality.

For now, the Seyi Shay strategy is just fine. Weekend Vibes will take its place on several playlists—as “kpansh, kpansh!” finds the grateful lips of naughty listeners.

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