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

News

WOMADelaide 2019: Africa’s women shine in Australia

12 Mar 2019 - 15:06

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According to reports following the event, African women musicians were excellent at this year’s edition of WOMADelaide in Australia.

Fatoumata Diawara performed at WOMADelaide 2019.

The event, which took place at the Botanic Park in Adelaide, saw performances from about 75 acts drawn from 35 countries, including Congo’s Baloji, South Africa’s BCUC, Tunisia and Algeria’s Duoud and India’s Amjad Ali Khan.

The festival had kind words for the Gnawa genre, calling it “languorously mystical” as played by Morocco’s Maalem Hamid El Kasri. Although this was a topical inclusion, given news that the genre is being considered for inclusion in UNESCO’s Intangible Cultural Heritage, for musical pleasure, it appears Africa’s female musicians were the highlights of the festival.

While local publication The Adelaide Review included Angelique Kidjo among its highlights, The Guardian was more effusive in reviewing Kidjo’s set, which paid homage to Fela Kuti and saw the Beninese great perform with another one of West Africa’s female music exponents.

“The Beninese superstar Kidjo invited Diawara on stage during her own set, which also paid tribute to Fela Kuti via songs from Kidjo’s album-length cover of Talking Heads’ 1980 LP Remain in Light – a record that was in turn deeply influenced by Afrobeat,” the Guardian noted. “Kidjo has revitalised the album by returning it to its African roots, amping up the brass and adding politically pertinent lyrics in her native Fon.”

During her own set, Diawara, the Guardian said, “shook off her headdress and let her dreadlocks fly as she leapt through a spectacular version of ‘Sinnerman’, which she dedicated to 'mama Angélique Kidjo'. Diawara also paid homage to Fela Kuti who she thanked for “introducing west African culture to the world”.

Another West African act who left the festival to acclaim was Sona Jobarteh, who was one of the festival’s “standout acts”. Described as “regal”, she played the kora in what the British paper said was a story of “reinvention and resistance”, alluding to Jobarteh’s place as the first female kora player in her family’s long lineage of male musicians. Four years before, her second cousin, Toumani Diabate, had taken to the same stage Jobarteh occupied.

Although the event was mostly dry, there was some rainfall during Kidjo’s performance on Sunday. “With drought-breaking powers like that, the Womadelaide favourite will surely be invited back,” the Guardian concluded.

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