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

Ycee and Maka brave rain to storm Afropolitan Vibes

24 Aug 2016 - 11:55

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For hours at the August edition of the Afropolitan Vibes concert, it seemed anyone reporting the event would need only three words: it didn't happen.

Ycee performing at Afropolitan Vibes. Photo: AV

Almost four years and several concerts later, this Lagos event has held without natural disasters, some feat when you consider that it takes place under the naked skies through both dry and rainy seasons. But all things come to an end, and on 19 August, it was the turn of the never-get-wet Afropolitan Vibes.

The evening started with a warning: A few hours before schedule, a few drops of rain happened on the hairs, wigs, and naked arms of the attendees. This was brushed off. There have been close calls in the past—notably during a performance by the late Nomoreloss almost a year to the day.

In any case, on social media, one of the organisers speaks jokingly about the rainmaking powers of her tribe. Perhaps the ancestors were asleep on this night as what looked like an idly threatening rain soon became a downpour. Members of the audience took shelter. Some had umbrellas; others opted for the covering of the sparse erections within the Freedom Park venue. Others got very wet very fast. Yet only a few fled the premises. Many remained—perhaps because the concert has come to be seen as a family meeting, with each person having a hand in its success or otherwise.

The advertised guests, Black Magic, Ycee and Maka, were nowhere to be seen.

Hours later, the band returned, starting things off with a rendition of ‘Valerie’, the Mark Ronson/Amy Winehouse version. The frazzled and yet enthusiastic crowd clapped along. Drenched, they could probably relate to one of the song's lines: "...well my body's been a mess."

The first guest performer, Maka, arrived with trademark punk haircut and a set that prepared the crowd for the big hitters. "Thank you for staying this long for me," she said. A number of people had gathered onstage behind the band to avoid the now drizzling rain. The Bantu band succeeded Maka and was in turn supplanted by Ycee, two chains on neck, a bracelet on left wrist. " Why is it the first time I'm on afro vibes this is happening to me?" he asked no one in particular.

He started off with ‘In the Benz’, a not very popular song. The audience followed politely. "I'm feeling a bit lazy," he offered, perhaps as apology. And then his major hit, ‘Omo Alhaji’ followed. The crowd crowed.

"Do you regret the decision you made to stay in the rain?" he shouted, inspired by the crowd’s response to the song. His low-energy set looked and sounded like the product of a man caught between sleep and intoxication. The crowd loved it.

Ade Bantu, lead singer of the Bantu band, strolled past the crowd whispering something about the unavailability of Black Magic. Onstage Ycee kept going in his ripped jeans and chest-open shirt. "So sad I've come to the end of my performance," he announced at some point. But then the band began to play ‘Jagaban’, his other hit. Again the crowd roared, and the trap artist obliged with the song. Soon the place was redolent of the dab.

"I had such an amazing time," Ycee said, before rapping a bit of his recent single ‘Su Mi'. "I have to go, I have to go. Thank you so much." It sounded like another apology. Ade Bantu hugged the departing man and closed the concert, announcing that Black Magic will show up another time.

During the downpour someone had asked about the refund policy of the concert half-jokingly. By the end, such comments had either been spirited away by the well-received performances—or silenced because, well, how do you ask family for money back? Technically, you've all suffered together.


Afropolitan Vibes takes place on the 3rd Friday of every month. Venue: Freedom Park, Lagos. Gate fee: 1500 naira ($8)

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