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

Trace TV responds to payola allegation

09 Jan 2018 - 10:51

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Trace TV has responded to reports that it demands money from artists before airing their videos.

Sam Onyemelukwe of Trace TV West Africa.

The outcry against the station started on social media in October 2017, when Nigerian act Dammy Krane expressed anger at the TV station.

“I just want my fans to know the person behind the reason they don’t see my videos on Trace TV, his name is Nosa Omoregie [Trace TV head of operations],” he tweeted. “I’m really gonna be taking things seriously. He collected my money and he still didn’t play the videos. I just got back, my management already sent in ‘Prayer’ video I have been giving him all videos for two years and he has been ignoring them, out of what is called natural hatred.”

Dammy Krane later apologised saying: “Sometimes u expect more from family, the smallest things pain the most. I apologise for coming out that way on Nosa. Video on Trace next week”.

The truce didn’t last till the end of the year. On 28 December 2017, Dammy Krane again attacked the station in a series of tweets. “God bless all the TV stations supporting, apart from TRACE Naija, @TRACE_inter it’s because of the crazy people you put in charge in Nigeria like “Nosa & Sam” collecting money from artistes… people will stop watching Tracenaija in 2018.”

Alleging that Trace had taken measures before, he said: “The suspension you gave him [Omoregie] at first is not enough... He’s still what he is.” His allegations were backed by some social media users who appeared to agree with the outburst.

The problem of payola has dogged the music industry in Africa. Last year, South African artists marched in protest against the SABC which issued a response the artists were unhappy with. The year before, a South Africa DJ was sacked for the same reason. Kenyan artists have also complained in the past.

Days after Krane’s last attack, Trace West Africa’s managing director, Sam Onyemelukwe, issued a response to the allegations.

“For years, despite constant communication, there has been speculation by artists and the music industry at large about what it really takes to get a music video on Trace channels,” he said. “We understand the demand because artists know that getting their video on high rotation on Trace could change their life and make them a superstar!”

Explaining the cause of the allegations, he said: “Some unscrupulous people have gone so far as to charge unknowing record labels and artists with a fake guarantee that their video will air on Trace.

“We even heard of a guy in Ghana who offers a price list for airplay on Trace and other music channels and shows. We do not sell video spins on the channel and anybody who tells you otherwise is a liar. However, at the same time, we know how much demand is out there, so we offer a promotion package called Zoom that can be purchased and guarantees a short profile and a few clips of an artist’s music video.”

Music in Africa reached out to Onyemelukwe to learn more. He is yet to respond. His organisation has a reputation of being the most widely watched in Africa, which means music acts are keen to have the station air their videos.

The station has now asked that interested individuals to send an email to the station via [email protected]. Artists can submit videos directly to the Trace website.

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