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 Wizkid finally win a solo BET award?

16 May 2017 - 12:36

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By Oris Aigbokhaevbolo

Come 25 June, the music-loving world will witness the 2017 edition of the BET Awards. For African music fans, one category will receive particular attention.

Wizkid.  Photo: Facebook

Since Ice Prince won the first individual BET Award for Best International Act: Africa over such acts as 2Baba (then known as 2face Idibia) and Ghana’s R2Bees, the category has become one of the respected Western accolades open to African acts.

The award was previously shared on two different occasions, three of the four winners being Nigerians. D’Banj and 2face won in 2011 while Wizkid and Sarkodie won in 2012. This format was then scrapped in favour of a single winner, leading to Ice Prince hoisting the trophy by himself in 2013. Davido won the second individual award and DJ Black Coffee took the award at the last ceremony. At some point the South African said Wizkid deserved the honour.

This year, Wizkid has the opportunity to make good on the DJ's claim as he joins seven other African acts on the list of nominees for the forthcoming edition, which was made public on 15 May. He has been nominated at each of the past two editions without winning.

Nonetheless, the 2017 list of nominees is a cause of celebration for Wizkid’s StarBoy label. Mr Eazi, whose signing to the label was announced at the 2016 Vodafone Ghana Music Awards, is also up for the award. Joining both StarBoy artists are their countrymen Davido and Tekno. From South Africa, Babes Wodumo, AKA and Nasty C are on the list, as is Ghanaian reggae dancehall act Stonebwoy. Both Davido and Stonebwoy are past winners, the former winning at the 2014 ceremony, and the latter following in 2015.

The BET Awards were the subject of a backlash by African artists in 2015 as several of them spoke against shabby treatment over the years by BET. The awards were not televised, trophies were given backstage and the winning acts were said to have footed their own bill in the first year of the awards. Leading the complaints, Yemi Alade said, “Africa is not a country! It is wrong to nominate huge African stars and publicly try to humiliate Africa. Why on Earth is the African category of the awards held hours before the main event?”

Ade Bantu joined in, saying, "Young African artists are desperate for global attention, so desperate to break into the American market that they would sell their soul to the devil in a heartbeat. Unfortunately the continent's music market lacks structure and a voice, so the peddlers of hype and fame are having a ball exploiting young impressionable kids promising them photo opps with Nicki Minaj and Jay Z".

Wizkid said: "I'm hearing BET is mad because I didn't come for the pre-shows and interviews… But I won’t be attending your pre-shows and nominee parties if I’m getting the award at 10am before the main show – same reason I didn't come backstage to pick up the award when I won the first time."

A BET representative responded on social media saying African acts need to be humble. "Stop tweeting lies and mistruths. There has never been a backstage presentation of any award. Pre-recorded," BET's rights and research administrator for business and legal affairs, Lilian N Blankson, said. "It does nothing to the network to take it away – but it sends us back several steps."

Calls for a boycott were never made. A Facebook page created for the purpose has since disappeared. And last year, alongside Black Coffee, Falz won an award. The Nigerian rapper later bragged about his Viewer's Choice Best New International Act win for 'Biggy Man', a song off the Reekado Banks album Spotlight.

"Many men wan finish me," he said. "But I dodged bullet, charged up and won BET."

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