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

Wizkid leaves Ethiopia wanting a bit more

01 Nov 2017 - 09:14

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By Sergut Dejene

Last month, when I first heard that Afrobeat sensation Wizkid would be coming to perform at Millennium Hall in Addis Ababa, let’s just say I was pretty geeked.

The writer says Wizkid did minimal work in Addis Ababa on October 28.

Joined by an impressive line-up of local artists, including Zeritu, Asge Dendasho, Abraham Gebremedhin, Abdu Kiar and more, this concert was clearly a no-brainer. His latest album Sounds From the Other Side resembles a modern-day Fela Kuti, fusing West African beats with contemporary melodies. Add to the mix a few features from powerhouse artists such as Drake, Major Lazer, Chris Brown and Ty Dolla $ign, to name a few, and the result is a polished album that demonstrates how the 27-year-old artist’s sound has matured from his previous albums.

Though the doors opened at 6pm, in typical Ethiopian fashion, I arrived about 10pm, knowing that the headlining artist would not come out until about 1am. Why this continues to be the trend for concerts here boggles my mind. I made it just in time to hear Abraham Gebremedhin, Abinet Agonafer, Aske Dendasho, Ali Birra and Abdu Kiar sing their two to three hit songs. It’s interesting that their names all start with the letter A, but I digress. These artists alone had the crowd cheering, dancing and singing along, warming up the venue for what was soon to come.

At about 1.15am, Wizkid finally came onto the stage to begin what would be a very, very short set. Given an Ethiopian flag, the artist travelled from one side of the stage to the other, waving the nation’s colours to a singing, jumping audience during hits such as ‘Daddy Yo’ and ‘Come Closer.’ At one point he felt that perhaps it was a bit too hot for the audience and proceeded to spray the front row with his water bottle. Not cool and definitely not that kind of venue.

Wizkid then performed a couple of songs from his previous albums, of which many in the audience were not too familiar with (guilty). At normal concerts, where an average set list ranges from 10 to 20 songs for a headlining artist, part of me felt a bit let down. When the venue lights turned on about 2am, I was confused – clearly this was an intermission. Alas, it was not. While Wizkid’s live vocals were solid, I was disappointed. What about ‘African Bad Gyal’, ‘Sweet Love’ or ‘Sexy?’

“I had fun. Asge and Abdu Kiar definitely killed it,” concertgoer Senait Fisseha said. “I just wish Wizkid’s performance was a bit longer.”

Unlike other parts of the world that get to regularly enjoy concerts from big-name artists such as Beyoncé, Major Lazer, The Weeknd and more, it was great to see a big name in today’s music coming to Ethiopia. It had been previously reported that concert organisers Jorka Event and Danny Davis spent about $180 000 for Wizkid alone, clearly anticipating a massive turnout similar to that of fellow Nigerian artist Davido’s concert at the same venue earlier this year. And indeed it was, with some claiming an attendance of about 20 000. With regular tickets priced at $15 to $22 and VIP tickets costing upwards of $70, many wondered if it was worth it at all for such a short performance.

This article was first published on Addis Insight

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