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

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Le pionnier de l'afrobeat Tony Allen décède à 79 ans

Home/Non classé/Le pionnier de l’afrobeat Tony Allen décède à 79 ans

Le manager d’Allen, Eric Trosset, a déclaré au magazine américain Rolling Stone qu’il est décédé le 30 avril, d’un anévrisme de l’aorte abdominale à l’hôpital Georges Pompidou de Paris, en France.

« Il était pourtant en pleine forme ; la chute a été soudaine. Je lui ai parlé à 13 heures, puis deux heures plus tard, il était emmené à l’hôpital Pompidou, où il est décédé », a-t-il expliqué.

Les hommages au musicien nigérian affluent actuellement sur les réseaux sociaux.

« RIP Tony Allen. Cet homme a lancé l’afrobeat avec Fela Kuti, sa batterie était l’épine dorsale du son. Heureux d’avoir joué avec lui à Cologne (Allemagne) il y a quelques années ; un vrai génie. Il nous manquera », a écrit le musicien et réalisateur ghanéen Blitz Bazawule sur Twitter.

« Notre beau Tony nous a quittés. Les mots me manquent, le seul qui me vient à l’esprit c’est irremplaçable ! Repose en paix douce âme », a écrit sur Facebook Rikki Stein, l’ancien manager de Fela.

Le rappeur américano-nigérian Jiddena a pour sa part tweeté : « Repose en paix, maître du rythme afrobeat. Merci de nous avoir donné le son qui a changé nos vies et notre destin en tant que peuple ».

Allen est reconnu comme l’un des fondateurs de l’afrobeat aux côtés de Fela Kuti, avec qui il a joué pendant 15 ans. Né Tony Oladipo Allen à Lagos, au Nigeria, en 1940, le légendaire batteur a rencontré Fela au début des années 60 et ils ont commencé à jouer ensemble en 1964.

En 1969, ils forment le légendaire groupe Africa 70 et Allen en devient le directeur musical. Leur mélange de highlife ghanéen et nigérian, avec le jazz et le funk américain, a été sublimé par la batterie d’Allen. Le duo a ainsi lancé le mouvement afrobeat et a enregistré plus de 30 albums ensemble.

Les disques Jealousy (1975), Progress (1977) et No Accommodation For Lagos (1979) ont été enregistrés sous le nom d’Allen, qui s’est séparé du groupe en 1979, après des désaccords avec Kuti sur des questions de redevances. Il s’installe alors au Royaume-Uni où il joue souvent et rencontre en passant, le légendaire trompettiste sud-africain Hugh Masekela en 1984. Il quitte le Royaume-Uni et s’installe finalement à Paris, au milieu des années 80.

Allen a eu une longue carrière solo et a collaboré avec un certain nombre d’artistes tels que le pionnier de l’afro-jazz camerounais Manu Dibango et le Nigérian King Sunny Adé. Son plus récent album, Rejoice, est sorti en mars dernier. L’opus est une collaboration avec Masekela, décédé en 2018.

Allen prévoyait d’ailleurs une tournée pour promouvoir l’album, « avec des classiques de Hugh et certains de mes propres morceaux », avait-t-il déclaré au quotidien britannique Guardian en mars.

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