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

#hip hop

Top 10 Kala Jeremiah songs

27 Jun 2019 - 08:07

cc-img flag-img

In East Africa, artists who are deemed as conscious have lost the ear of the mainstream media for being accused of being boring. This is a stigma that has befell the likes of Tanzania's Nash Mc and Kala Jeremiah, who have become de facto leaders against the oppressive regime and institutions.

 

Hiphop rapper and activist Kala Jeremiah.

Music In Africa spoke to Jeremiah and asked him to rank his top ten songs that define his unmistakable sound, which speak of oppression and ending poverty for minorities.

Jeremiah understands that all it takes is one idea and the right mix of determination and willpower to effect change in society.

The rapper has taken on an activist role both in the studio and as a leader in the community because he believes that the change needed by the society is not going to come from a politician but rather from people who are self-driven for change more so, musicians whose voices are loved and heard by the masses.

His flow is markedly different from the current hiphop dominating the mainstream media in the East Africa region. His composition leaves an impression to whoever listens to him.

Below are his top ten songs:

10. 'America'

The song is a message to Africans who feel ashamed of their motherland and believe that life abroad is better and easy. According to Jeremiah, other than the advanced infrastructures abroad, life is no better because just like in Africa, there are homeless and jobless individuals. Therefore, it is time to change the way we talk and think about Africa because the opportunities are endless.

9. 'Wale Wale' (Those Ones)

‘Wale Wale’ was released in 2013. It is a cry against the widening gap between the poor and the rich. He says as long as the number of those poor remains skewed, people will keep suffering unless the management of national resources is enhanced. He mentions the health and education sectors as key areas of concern.

8. 'Kijana' (Youth)

The song can easily pass for an anthem for the youth because it offers counsel on how to be successful in life. Jeremiah believes that society should guide the youth into focussing their energy towards areas that will help them build a prosperous life. On the other hand, the rapper challenges the youth to be active members of the community by participating in the local and national dialogue on development and the political process.

7. 'Simu ya Mwisho' (Last Phone Call)

Simu ya Mwisho is a song of separation and a one-way conversation between two former lovers. Jeremiah expresses his disappointment in his former lover and wishes her all the best in her new relationship. He says secrets and infidelity caused the breakup.

6. 'Usikate Tamaa' (Don’t Give Up)

No matter how carefully we plan, setbacks often arise when we least expect and leave us wondering how we'll ever recover. The song encourages people to not succumb to the reality of life's struggles and instead keep pushing themselves to great heights, keep thriving and the tide will turn.

5. 'Nchi ya Ahadi' (A Country of Promises)

The song was released towards the 2015 general elections in Tanzania. The right time for the lyrically and vocally powerful warning about the politician’s deception skill. The song was meant to challenge the public into demanding honesty and integrity from their leadership in exchange for their votes. The song was also meant to alert the politicians that the people know they never keep their promises and after the election never care very much about policy and development.

4. 'Wimbo wa Taifa' (National Song/Anthem)

Released in 2008, this was the first song by Jeremiah that made a powerful anti-government statement using a series of disconnected phrases and examples, which when internalised, formed an image of the rotten government system.

3. 'Wanandoto' (Dreamers)

The song was meant to bring to light and address the problem of street children and orphans in Tanzania to ensure their survivability and success in future. He says there is nothing as shameful as a whole generation of children abandoned to fend for themselves or exploited for commercial benefit.

2. 'Dear God'

If there was anything like Christian poetry, then this is it. Jeremiah’s unmistakable delivery and strong lyrical skill are unmistakable as he reflects on some of the different blessings, losses and challenges that he and the country have gone through.

1. 'Nisamehe' (Forgive Me)

The song portrays the battle for a women's right to her body and soul, and for her right to live a life that is safe from gender-based violence. He says activists and the society at large should highlight the seriousness and severity of gender-based violence and its impact on the well-being of communities and societies because most of the time, the victims are silent.

Please log in to post a comment.

Most popular

Disclaimer: Music In Africa provides a platform for musicians and contributors to embed music and videos solely for promotional purposes. If any track or video embedded on this platform violates any copyrights please inform us immediately and we will take it down. Please read our Terms of Use for more.

newsletter banner

Subscribe to our monthly Newsletter

Follow us on social media