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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« Nterini » de Fatoumata Diawara sur la liste des meilleures chansons 2018 du New York Times

Home/Non classé/« Nterini » de Fatoumata Diawara sur la liste des meilleures chansons 2018 du New York Times

La liste comprend 65 chansons de différents genres publiées au cours de l’année. « Les collaborations, les bandes sonores de films et les nouvelles révélations Internet qui ont fourni la musique la plus exaltante de cette année » selon le journal.

Telles que compilées par les critiques musicaux du New York Times, Jon Pareles et Jon Caramanica, la liste est divisée en deux, chaque critique donnant des listes séparées. Fatoumata Diawara figure dans la liste de Pareles, qui semble la plus internationale. Le critique de longue date, qui écrit sur la musique africaine depuis des décennies, place le single de la chanteuse malienne « Nterini » au numéro 8 sur sa liste, qui comprend 25 chansons.

« Fatoumata Diawara », écrit-il, « une chanteuse basée à Paris qui a grandi au Mali, chante son amour pour un émigré qui risque de ne jamais revenir, lacérant les rythmes maliens avec des riffs de guitare ».

« Nterini » est tiré de l’album Fenfo (2018) de Fatoumata Diawara. Cette seconde œuvre solo après Fatou (2011), a été saluée par la critique lors de sa sortie en début d’année. Le Financial Times lui a attribué quatre étoiles.

The Guardian, dans une colonne de l’Album mondial du mois, a déclaré que Fenfo « est une oeuvre de classe qui démontre sa gamme musicale impressionnante, tout en laissant ouverte la question de savoir si elle doit encore prouver sa propre identité musicale distinctive. L’album la montre avec sa voix puissante, couvrant une variété de styles, entouré d’un très bon groupe ».

Il y a quelques semaines, il avait été annoncé que l’album compétirait contre Black Times de Seun Kuti & Egypt 80Freedom de Soweto Gospel Choir et d’autres opus aux Grammys 2019.

Fatoumata Diawara a partagé avec ses fans l’annonce du New York Times sur les médias sociaux, « Merci au New York Times pour cet honneur » a-t-elle écrit.

La liste comprend également le malien Sidi Touré avec son titre « Heyyeya », tiré de l’album Toubalbero paru en mars dernier. Le morceau du chanteur de blues songhaï figure au numéro 24 de la liste de Pareles.

Sade, l’acteur britannique d’origine nigériane avec «The Big Unknown», une chanson du film Widows, pointe à la deuxième place du classement. Pareles explique : « Un amour perdu et désolant hante les couplets avant que l’auto-préservation résolue ne lève les refrains, le tout à un rythme si lent que seule Sade oserait s’y coller ».

Regardez la vidéo de « Nterini » de Fatoumata Diawara :

[video:https://www.youtube.com/watch?v=4gmGL5SqhaY width:853 height:480 align:center autoplay:0]
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