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

Why are Cameroon hip-hop artists not speaking up about Boko Haram?

21 Oct 2015 - 10:16

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By Miss Jackee

If you ask anybody in the streets of Cameroon, Boko Haram is the organization that is terrorizing the people living near the Cameroon-Nigeria border. I heard they want to Islamize Africa and the world. Others say they just want their independent nation within the region where they spread fear. I say Boko Haram is a terrible tragedy that should have never been part of any country’s history. But it’s there and somehow, we have to deal with it.

Ak Sang Grave. Photo: www.jewanda-magazine.com

The President of Cameroon, Paul Biya, has reportedly been working super hard to develop strategies that would improve the situation. Nigerian president Goodluck Jonathan* is hopefully doing his part. And thank God and the neighboring countries for the troops that were recently deployed to the war zone. But I am still waiting to see what hip hop will do.

History says hip-hop was born because black people were desperately looking for their own culture in America, a way of talking, dressing and living that would be theirs. Gangsta rap came as the voice of the people. It could tell out loud what black people were enduring in silence. If you could not say “Fuck the police,” then NWA would say it for you. Hip-hop was born because black people needed something they could relate to. Something that would be true to what they are and what they are experiencing. Black people were lost in a world that was not trying to include them, hip hop found a way for that new generation.

Someone who lost his/her way can be an opportunity or a threat. When you lack a purpose in life, all you need is someone who can sell you a dream. A dream you can buy. If you are lost, you can find a way depending on who will influence you. You can even end up being part of a group like Boko Haram. These people aren’t so different from us. We all want to find a purpose in life and someone believable enough to sell it to us. Some people saw in hip hop what they wanted to have: fame, money, women, a sense of belonging in something that would change the world, whatever it was, there was a reason why they chose hip hop. The young supporters of Boko Haram also had their promise.

In the time we are living today, for what hip-hop stands for, I am a bit disappointed I have not heard anything poignant enough from any hip-hop artist (mostly from Cameroon) that would get my attention, and say what I feel about what is going on right now in the north of Cameroon. I recently received lots of rap songs, but none of them talked about anything real. It was mostly about having fun, being rich and fucking girls. So now I have to ask myself what happened to our engaged rappers like Boudor or Ak Sang Grave. Can’t they take this opportunity to speak to my soul, better yet, to speak to the soldiers who are dying so these very same rappers can rap? I want taggers to take an entire wall on the street and dedicate it to the victims of Boko Haram. Many of the soldiers today are from the hip hop generation; they understand it and would appreciate it. It would show them that we are together. It will show them that we appreciate them.

I am expecting hip-hop to salute them, because isn’t it what hip-hop does? Doesn’t hip-hop act as a way to convey truth and realities to a broader audience? Doesn’t hip-hop take negative energy and channel it into something beautiful? Doesn’t hip-hop have the ability to empower and inspire people?


* Originally published on Africanhiphop.com on 1 March 2015

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