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

Features

Whose Jollof Rice is better: 10 songs on the controversy

01 Sep 2016 - 14:34

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Last week, Mark Zuckerberg, CEO of Facebook, said Nigerian jollof rice was delicious.

Sarkodie, Flavour. Photo: AmeyawDebrah, TheNet

Perhaps he wasn’t aware how serious his playful declaration would be received by Nigerians. Quickly, people from the country took his statement as endorsement of Nigerian jollof and as victory over Ghana.

Jollof Rice is perhaps the most serious issue between these Anglophone west African countries. The debate used to be about which country owns the meal. But that seems to have been settled. Answer: it is neither Ghana nor Nigeria. The Wolof people of the Jolof Empire in the Senegambia region probably made it first. Apparently, they loved it so much they named their kingdom after it.

And yet, neither Senegal, where the Wolof are about 40 percent of the population, nor Gambia, where they make up around 15 percent, seem to figure in the Jollof Discourse. It is wholly a Nigeria vs Ghana issue.

The new question, because the origin story has been (mostly) settled, is more specific: which of the two countries has the better tasting jollof rice? There are no easy answers there. History may have settled where the meal originates from, but the debate rages on about superior taste. Is it Ghanaian jollof? Is it Naija jollof? The argument is fierce online where Nigerians and Ghanaians lob memes and cruel tweets at each other like citizen-grenades. (No one remembers that the meal is also found in Liberia and Sierra Leone.)

Accordingly, the Jollof Discourse has representation in west African pop music where a number of artists have contributed to the jollof body of work. From our non-scientific research on songs about jollof, we have learnt three things:

1. Nigerian artists think of jollof as love or evidence of love.

2. Ghanaian artists are combative in declaring their jollof rice superior.

3. Sierra Leoneans only sing about jollof rice when they don't have any.

Music in Africa may not be able to give you jollof. But here is the next best thing: A compilation of jollof tunes. Not as sweet as the food? We agree. But it should serve. If we have left out your favourite jollof song, let us know in the comments. We will consider serving another plate of joyful jollof tracks.


10. Lynxxx ft Naeto C - Jollof Music

Taken from Nigerian rapper Lynxxx's 2011 album, 'Jollof Music' features Naeto C. Both men combine to sing about a "lucky girl" to "come and jollof" with them. It is perhaps the first time in the history of recording music that "jollof" is used as a verb. As Naeto C says, "Jollofing is my habit."


9. Ebenezer Calendar & His Maringa Band - Jollof Rice

Refusing to share jollof can break relationships and ruin friendships. At the minimum, it was enough for the Sierra-Leonean palmwine music man Ebenezer Calendar to complain on this song from the 1950s. Why, oh why, would you cook jollof rice and not give him to eat? Don't laugh. This is an important question.


8. Falz ft. Yemi Alade - Soupe

Taken from his acclaimed Stories that Touch album, Falz recruits Yemi Alade on this song featuring comparisons of a lover's taste to the sweetness of jollof rice. " My sweetie jollof rice, your body hot like a soupe!" sings Ms Alade.


7. Disiz - Petit Coin De Paradis

Born to a Senegalese father, Disiz is a French rapper. On 'Petit Coin De Paradis', he talks about things that make him happy. "There is nothing better than sharing a plate of thiebou yapp," he says. Thiebou yapp is jollof rice with meat, a variation of the more common thiebou dieune (jollof with fish) in Senegal.

One of the other things that make him happy is listening to music by Sade. He may not realise it but Sade belongs to the enemy camp. Although Sade is an English band, the band's lead singer, Helen Folasade Adu, was born in Ibadan, Oyo state to a Nigerian father.


6. Sarkodie - Choices

One of Sarkodie's best songs, 'Choices' takes its title, beat and structure from E-40's 'Choices'. On the subtly potent beat, Sarkodie offers two options, refuses one and accepts the other. Such issues as voting and electricity supply in Ghana get mentioned. But there is space for pop stars from Nigeria: Burna Boy? Nope. Yemi Alade? Nope. Over them, he chooses Ghanaian and Kenyan replacements: Stonebwoy? Yep! Victoria Kimani? Yep! And then he arrives at jollof. Nigerian jollof? Nope!

Sarkodie is still loved in Nigeria maybe because this song isn't quite as popular as his hits. Now if he made a video for the song, that could all change...


5. Solidstar ft. Tiwa Savage - Baby Jollof

Once again, a Nigerian artist compares his love interest to jollof rice. "Baby jollof, you too sweet like jollof," goes the chorus of Solidstar's 'Baby Jollof'. Who will save Nigerian musicians from food? Tekno has his cassava. Orezi has his ogede (banana) and D'Banj has his sweet potato.


4. Youssour N'Dour - Thiebou Dieune

Mr N'dour plays patriot here, telling his listeners about Senegal's national dish, thiebou dieune. It is the Senegalese jollof and translates to 'rice and fish'. The Senegalese maestro has actually written a book about Senegal cuisine. You can find the book on Amazon.


3. Fuse ODG - I Need Jollof (Your Love)

The UK-based Ghanaian artist Fuse ODG played food diplomat in 2012. While expressing his love for the meal, he expertly doesn't say which version of jollof is best. The songs starts with these noncommital lines:

Ghanaians fighting over
Nigerians fighting over
Sierra Leoneans fighting over
Liberians fighting over

Smart man.


2. Flavour ft. Tiwa Savage - Oyi (Remix)

"My jollof rice, how you dey do today," sings Flavour. Apparently when a Nigerian male musician sees Tiwa Savage, he remembers jollof rice.


1. Sister Deborah - Ghana Jollof

The heavyweight champion in the jollof wars. Sister Deborah essentially destroys the competition on 'Ghana Jollof'. The jollof from her country is yummy, she says. Nigerian jollof? "Uhn, it tastes funny."

The video for the song is funny indeed. It features a cameo from Sister Deborah's brother, Wanlov of the group FOKN Bois. He dresses up like a Nigerian woman at a party. Advantage: Ghana. Over to you Nigeria.

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