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 Nam Radio is betting big on vocal training

21 May 2019 - 14:35

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It is easy to turn on the radio and assume that famous singers have always and will always sound incredible. But the reality is that even the best singers out there have experienced vocal faults at some point in the career. Last year, well-known Nigerian singer Tekno indefinitely suspended his performances after temporarily damaging his vocal cords due to excessive strain during live concerts. In April, British singer Sam Smith cancelled two performances in Cape Town, South Africa, also due to vocal strain.

Tanzanian voice coach and author Tony Joett.

But Tanzanian voice coach and author Tony Joett says that when artists damage their vocal cords, the problem is often not down to how often they sing but rather the way they sing.

With a career of teaching voice for more than 10 years, Joett says many African musicians do not take vocal coaching seriously. He believes that as much as surgery has proven to restore damaged vocal cords, it does not always make for a permanent fix, unless the cause of the problem is addressed first.

“Artists need to be educated about the importance of voice training before they can even begin to understand how to take care of the voice,” he says. “Before award-winning Tanzanian singer Vanessa Mdee got into the music industry, she asked me to train her, and she continues to train to this day because she values what the training has done for her voice and her career. She has experienced the incredible benefits of voice training and has also learnt how to maintain her voice.”

He says singers in Western countries take vocal training more seriously compared to their African counterparts. “In any territory, if the standards are low, in that top-selling artists can’t sing, it is highly unlikely that a singer will bother to take voice lessons."

And Joett believes that if African artists begin to engage in vocal training, the difference will be heard even by their fans, whose "allegiance would likely begin to veer toward the professionally trained vocal artists”, thus improving the standards for the music industry as a whole.

In efforts to raise the bar in Africa, Joett has collaborated with Namibia’s Nam Radio on an artist development programme called Talent Showcase Africa (TSA) and its immediate spinoff, Vocals Quick Fix Africa.

TSA seeks to provide essential training that will equip artists with the skills and knowledge to forge lasting careers.

“When it comes to singing, Africa has got more talent than you can ever begin to imagine," Joett says. "But the problem is that the majority of mainstream artists on the continent are untrained singers. Thanks to auto-tune, many of them have been able to build successful careers regardless of their inability to hold a simple note.”

He says the programme not only gives singers a strong voice but also makes it easier for producers to work with musicians, reducing the amount of time and money spent on recording sessions.

Nam Radio founder and CEO Collin Mogagabe says the TSA concept was created out of a need to “develop skills of African artists and create awareness of their talent."

“I also think that it will create a sense of belonging, give them a less judgmental platform and increase the artist’s opportunities to go on mainstream platforms,” he said.

The TSA programmes include special speech-level vocal exercises for musicians who are preparing to record in the studio as well as those who are about to perform live. For musicians anywhere in Africa and the diaspora, sessions can be conducted via Skype and will run for one hour each, with the complete Vocals Quick Fix Africa programme comprising a total of four hours.

“We have created something that is tailored to the mindset of African singers: a programme that doesn’t involve much time and requires absolutely no long-term commitment from the artist whatsoever. It is what it is – a vocal quick fix for pre-studio recording sessions and live gigs. Plain and simple. This, I feel, should work well for Africa.”

Joett says TSA understands that support is crucial for the programme to be a success. Therefore, a social media app will be available to provide musicians and producers with training packages and an opportunity to collaborate on projects.

“TSA provides quality assurance by delivering trained talent, and we’re building a network of music professionals such as producers, artist managers and music promoters across the globe who will find polished gems on the TSA platform, to nurture and develop them into the stars of tomorrow,” he said.

The programme will be launched in June 2019 with the ‘Think You Can Sing? Show Us What You’ve Got!’ programme, which is a variation on the broader TSA agenda. The programme will start with auditions in Windhoek, Namibia, before it goes to other African cities. Participants who excel during the auditions will be enrolled in the TSA programme and will be awarded a copy of Joett’s 101 Letters from a Vocal Coach: A Collection of Helpful Tips and Articles for Singers book along with exclusive voice-training audio products.

For more information, visit the Talent Showcase Africa page.

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