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

Audu Maikori

#Throwback! #MusicReview: ‘Open Doors’ by Nosa

16 Jul 2017 - 16:52

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Borrowing Glowreeyah Braimah’s words, this album is a kaleidoscope of colours. Nosa’s soul is clearly heavy, featuring varied sub genres of soul, rnb, highlife, reggae, rock, digital afrobeat, and hip hop laced in pidgin, acceptable English grammar and sometimes, stellar anglais. Its themes: the magnificence of God as a father,  non-random prayer, spiritual inheritance, no worries, new creation realities and vanity  show off Nosa’s understanding of spiritual things. He’s pretty comfy singing in tongues, and I guess that’s cool too.

Even though ‘Always Pray For You’ was my ‘home song’ for such a long time, my star track on this album is incredibly musically mature ‘Vanity’, with its  heavy doses of soul, deliciously repetitive notes and its super alive baseline!  I mean it talks about the subject like the book of Ecclesiastes, and somewhere in my my mind, I feel like this track is laced with slight funk, which I absolutely love...

Nosa. Open Doors

Borrowing Glowreeyah Braimah’s words, this album is a kaleidoscope of colours. Nosa’s soul is clearly heavy, featuring varied sub genres of soul, rnb, highlife, reggae, rock, digital afrobeat, and hip hop laced in pidgin, acceptable English grammar and sometimes, stellar anglais. Its themes: the magnificence of God as a father, non-random prayer, spiritual inheritance, no worries, new creation realities and vanity show off Nosa’s understanding of spiritual things. He’s pretty comfy singing in tongues, and I guess that’s cool too.

Nosa’s delivering is own back up vocals adds a gigantic oomph to his already virtuoso songwriting, music arranging. producing and vocal gymnastic performing self! His harmony arrangements remind me a bit of Mela’s with slurs on words that rhyme with ‘ay’, but mostly reminds me of Nosa all by himself.

The soundtrack to ‘Just One Encounter’ has a playful Tye Tribett instrumental flavour, and its fast paced-ness reminds me of the soundtrack to Disney’s ‘The Suite Life of Zack and Cody’, with its delightful electric guitar. ‘Open Doors’, upbeat and brighly melodic, sounds a lot like Paris Hilton’s mid tempo reggae ‘The Stars Are Blind’ record. Nosa’s singular patriotic song with a truly beautiful transposition and a beat similar to Ty Bello’s in ‘Yahweh’ reminds me that we have gospel artistes speaking God’s words into my beloved country, Nigeria. ( Case in point: ‘Land of Promise’ by Ty Bello).

I love the pop/highlife feel of ‘Why You Love Me’. I also fancy how Nosa’s varied pidgin tones change to match the feel and persona of each song, he goes all ‘pidginy’ one minute, and then sings in crisp English the next. His pidgin has an ‘ibotic’ feel on ‘Why You Love Me’, which becomes ‘street smart’ on ‘A Star’ , and he churns out a slight Yoruba pidgin on ‘I Go Stay’ as he chimes ‘tiri’…lol. . I reckon he could do a Congolese tone if the need ever arose.

I also love the percussive feel of this album, though I’m not exactly sure the modulation on ‘No Worry’ was absolutely flawless. Also, I’m not sure I fancy Nosa as a rockstar, but I appreciate when he adds rock elements to his highlife and soul.

Even though ‘Always Pray For You’ was my ‘home song’ for such a long time, my star track on this album is incredibly musically mature ‘Vanity’, with its heavy doses of soul, deliciously repetitive notes and its super alive baseline! I mean it talks about the subject like the book of Ecclesiastes, and somewhere in my my mind, I feel like this track is laced with slight funk, which I absolutely love.

Y’all listen to this album one more time.

#Checckit here!

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