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

banner image

Davido’s fixation with time peaks on new album

Home/Non classé/Davido’s fixation with time peaks on new album

The Nigerian popstar, who is reputed among Afrobeats’ first rank, has always gotten ahead by cleaving to flashier themes. That is largely what we get on the 17-track Timeless, released to instant and resounding commercial resonance, and fully supported by an elite guest list that includes Asake and The Cavemen, Angélique Kidjo and Focalistic, among others.

Across significant stretches, Davido’s signature raspy vocals coast gleefully over taut instrumentation that organises itself around a mixture of varied genres, such as strokes of Afrobeats (‘Over Dem’, ‘Kante’), elements of amapiano (‘Champion Sound’, ‘Unavailable’), dancehall (‘Bop’, ‘Picasso’), and even indigenous percussive configurations that capture a sort of neo-highlife (‘Na Money’).

Since the new LP has arrived at a period when Davido is still grappling with fresh loss, particularly the death of his three-year-old son in late October, we can’t help consuming the work with one ear open for traces of grief, or musical meditations implying that.

Somewhere buried in the ecstatic whirlwind of party-starting anthems that also probe the idea of time, it is precisely on ‘LCND (Legends Can Never Die)’ that we find this pain. The record – sheathed in burning chants that mirror raw anguish, and violin strings that summon sensations of sorrow – is a divine and haunting tribute to the dearly departed while maintaining one’s will to live.

Davido sings:

Make I tell you something
Life is not fair
Lost many of my guys
But I thank God I still dey here
Oh yeah
And I know say you dey watch me from up there
I no go lie say e weak me
But I stay strong and I stay fit.

The brilliance of this tune, and indeed the album’s strong overall appeal, is embedded in the way it offers another side to its author’s voice, especially when he broods over existential questions, and how naturally he inspires solidarity by including us in his journey to redemption. Without naming names or citing specific cases, Davido manages to work up something deeply personal. The result is empathy towards the artist.

Pop by its very nature is fugacious. Only a handful of songs bearing this label last long enough to become classics. The rest can only cling to occasional gasps of nostalgia. Davido himself is guilty of pop offerings that can hardly be described as timeless. Even on this album, the majority of cuts adhere to the in-vogue rhythms of today. And yet, norms cannot exist without exceptions, particularly for someone who is wearing a heavy heart. ‘LCND’ is without debate exceptional, and likely the musician’s strongest entry to date for a song that can stand the test of time.

In its own way, Timeless feels like the conclusion of something – a farewell. And seeing that farewells often serve as a portal to the immortal, how legacy is cemented, I suspect that we are witnessing Davido’s final dot to Afrobeats. Whether it sits at the base of an exclamation mark or a question mark is an entirely separate riddle.

[video:https://www.youtube.com/watch?v=QkHTd2kCcj8 autoplay:0]

Artist: Davido
Album: Timeless
Label: Columbia Records
Year: 2023

newsletter banner

Subscribe to our monthly Newsletter

Follow us on social media