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

Will ‘Owo Blow’ bring Olamide back to hip hop relevance?

29 Sep 2016 - 10:20

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The irony: Olamide's 2015 album, Eyan Mayweather, is his least popular but was released in arguably the most successful year of his career.

Olamide returns to hip hop with 'Owo Blow'

In a single year, he released ‘Bobo’, a hit that became the most viewed video by a Nigerian artist last year; the accompanying dance went viral; he dominated YouTube and dislodged Adele from first position on iTunes Nigeria; he won his first international prize—Best Male Artist in Western Africa at the All Africa Music Awards.

While 2016 has not been quite as favourable as any of the previous five years considering the widespread popularity of ‘Bobo’ and ‘Lagos Boys’ at this time last year, the single ‘Who You Epp’ has managed to keep the rapper from slipping into oblivion.

His new single 'Owo Blow' gets its title and theme from a 1995 Nollywood Yoruba classic starring action hero Taiwo Hassan (popularly known as Ogogo, a name that appears in the song’s chorus.) Olamide has made references to Nollywood actors since as far back as 2012's ‘Road to YBNL’—"Fly boy, mi o kin mura bi Jinadu"—and notably on ‘Ghost Mode’ with Phyno: "Kanayo O Kanayo ni mi, mo kana gan."

In adopting 'Owo Blow', Olamide is more or less saying his music will be called classic, and he’ll be revered. For now, the song has given us the best Olamide video since the autobiographical 'Anifowose'.

Like on his best tracks (almost all of which are rap songs), Olamide makes a gamble by trying to sound as different as possible from his preceding songs—attempting a new technique while staying true to his indigenous roots. On 'Owo Blow' the gamble pays off, and even though the opening five seconds sound a little like the opening of ‘Oya Dab’, the song quickly finds its own style and sails on with the rapper’s seamless rhymes leading to the song’s punchline of a chorus.

‘Owo Blow’ is far from being a great rap song and cannot be compared to the likes of ‘Voice of the Street’ or ‘Ilefo Illuminati’—but then, isn’t this preoccupation with the greatness of the past the problem with consumers of culture and followers of sports?

Messi has won the Ballon d’Or four times and the Champions League thrice, but you see, Pele has three World Cups, so Messi can’t be greater than Pele. Kanye West has sort of revolutionized the hip hop genre with his last two albums, but that isn’t enough, we want his College Dropout days back.

Nonetheless 'Owo Blow' is a fine accomplishment as it lacks the banality and repetition rappers are bound to wallow in after quick success or, quite rarely, following five successful albums.

With 'Owo Blow', the Bariga-born rapper might have rediscovered his mojo in 2016—by backing-out of his pop while stubbornly staying true to his indigenous style. He seems to be rapping from a more relaxed space now, following the controversial Headies and the provocative and a little brutal Eyan Mayweather where he takes direct swipes at his rapping colleagues.

Like Drake and maybe Kanye West, Olamide has blurred the line between rapping and singing. So one hopes this is a new beginning for him, one where he creates a legacy as a rapper having raked in millions thanks to his pop singles. But then, one hopes in vain, because for the man nicknamed Baddo, sadly, money comes first.

Watch the 'Owo Blow' video below:


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