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

News

Spotify reports resurgence in classic Nigerian music genres

04 Jun 2024 - 13:20

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Spotify has released data on the resurgence of classic Nigerian music genres, with Fuji, highlife and apala seeing renewed interest thanks to fusions by contemporary artists. 

Spotify credits contemporary artists like Terry Apala for the resurgence.

The three genres dominated the West African country between the 1950s and 1970s, led by legends like Haruna Ishola (apala), K1 De Ultimate (Fuji) and Oliver De Coque (highlife). However, their popularity declined over the years as new musical styles emerged.

Spotify data indicates that between 2022 and 2023, Fuji grew by 187%, while highlife and apala surged by 224% and 185% respectively. This trend continued into 2024, with Fuji increasing by 175%, highlife by 240% and apala by 230% in the first quarter alone.

Artists driving the resurgence include Terry Apala, who fuses apala with hip hop as well as Asake and Seyi Vibez, who incorporate elements of Fuji and highlife in their work.

Spotify says Gen Z listeners aged 18 to 24 lead the listenership demographic for these genres. They make up 32% of Fuji listeners, 31% of highlife listeners and 38% of apala listeners. This demographic is particularly active in major Nigerian cities like Lagos, Port Harcourt and Katsina, where streaming numbers for the three genres are the highest.

Spotify has also revealed the most streamed artists and tracks in these genres for the past year. For Fuji, K1 De Ultimate and Adewale Ayuba lead the charts, while Umu Obiligbo and Chief Stephen Osita Osadebe top the highlife category. For apala, Musiliu Haruna Ishola and Terry Apala are the most streamed artists. Notable tracks include ‘Koloba Koloba’ by Adewale Ayuba, ‘Nwanem Ebezina’ by Chief Stephen Osita Osadebe and ‘Apala Disco’ by DJ Tunez featuring Terry Apala.

Gender data indicate that men dominate the listenership for the three genres, with males constituting 85% of Fuji listeners. Men are also overwhelmingly smitten with highlife and apala at 89% and 87% respectively.

In April, Spotify revealed in its latest Loud & Clear report that Nigerian artists earned about $17m in streaming royalties on the platform in 2023, marking a 2 500% increase since 2017.

“The significant growth in royalties earned by Nigerian artists on our platform is a powerful testament to their talent, creativity and global appeal,” Spotify’s managing director for sub-Saharan Africa, Jocelyne Muhutu-Remy, said. “We’re proud to amplify their voices and fuel the Nigerian music revolution. As a leader in the streaming economy, we’re committed to supporting African creators to make a living from their art and we’ll continue to invest further in African artists to ensure this momentum continues.”

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