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

#Ghana

Why are Ghana’s talent shows so bad?

06 Oct 2016 - 09:30

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By Pep Junia

Ghana’s entertainment industry has seen several music reality shows spring up over the past 2 decades or so;Stars of the Future, Mtn Hitmaker, Vodafone Icons, Mentor by Tv3, as well as other smaller contest of such nature organised in several parts of the country.

Strongman is among a few artists to have emerged successfully from a talent show

A lot of raw talent is nurtured during such reality shows. However, incredibly few have been able to maintain relevance in mainstream music.

Some may argue that our industry is not favorable for up-comers or underground acts, but I beg to differ. There are several of these music reality show contestants who go into such contest with one of two reasons (fame and money), and not necessarily to develop or harness their talent.

In recent times, one gentleman who could have done better after the winning a top singing reality show is Kumasi -based singer Ryan Korsah. After winning Vodafone Icons, he disappeared with just one single, which failed to achieve impact of any kind. His predecessor, Chris who has even collaborated with international gospel singer Sonnie Badu, has also seemingly evaporated from the scenes.

Here’s a question: where are the several winners from Tv3’s Mentor, famously judged by music mogul Mark Okraku-Mantey? Where are the several alumni from Charter House’s Stars of the Future ?

Do we, as an industry, have structures in place to see the transition of such talents from amateur to top-notch musicians who would compete favorably with their African and global counterparts?

What is the essence of organising such reality shows if its contestants/ winners are not groomed into actual stars?

With the exemption of the likes of Koo Ntakra, Strongman and Tee Phlow, who have been able to make a name beyond the competitions the appeared in, several others are missing.

Elsewhere, music reality shows have unearthed a lot of talents including Celine Dion, Jordan Sparks, Carie Underwood, as well as our very own Reggie N Bollie. What is different?

It is important to be conscious of posterity as music players, and while contestants should revise their ambitions for such competitions (so that it’s ultimately about genuine passion for the art), organizers of these competitions, must somehow still be involved with the artist’s development and ethic beyond the shows as they (participants of these shows) continue to be ambassadors of their brand long beyond the end of the competition. Make sure that the artist becomes fully invested in the industry, for that is the true measure of success, if you ask me.

I’m hopeful for the future of talent shows regardless, I really am. Let’s’ just sanitize a few things, and we’ll do even greater things.


First published on 5 October by enewsgh

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