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

Fameye has a message for you

19 May 2022 - 15:14

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The intro to Ghanaian highlife singer Fameye’s brilliant sophomore LP Songs of Peter discusses his desire to be a messenger as opposed to basking in the stardom that comes with being a successful artist. When I meet  him for a conversation recently, I ask if all artists must be messengers.

Fameye.

Fameye, who won Songwriter of the Year at the 2022 Vodafone Ghana Music Awards, speaks as he sings; deliberate, good-humoured, and holds your gaze as an apostle would. Two gold crucifixes often hang from his chest, and lately, his hair has taken to the forming of dreadlocks.

I think this should be personal,” he begins. “I was talking for myself how I feel about the new me.”

Of course. Aside from a title referencing his Christian name, Fameye’s new album, a sobering 13-track set, discusses his journey to self-discovery, and how he has come into new spiritual freedom.

“I feel ‘Peter’ is quite different from ‘Fameye’,” he goes on. The former refers to how he was treated when he was young and a nobody. The latter alludes to the privileges that attend stardom, “but ‘Peter’ is the real me, and he puts me on my toes,” says the artist. “He makes me feel like I’m nowhere and need to work hard while putting across a positive message.” Unlike ‘Fameye’, ‘Peter’ bothers nobody and seeks no one’s validation about the quality of his music.

Every artist must evolve, and Fameye cites time as the driving force of his new sound. I have been doing this music for a long time, and before, I was just doing it to blow up. Over here, when you don't make a hit song, you’ll go missing.”

Over the years, however, Fameye has come to the realisation that it all comes down to his content as a musician, and its impact on people. Today, he has grown to know himself better.

And it’s okay if his new journey means that he may not reach as many people. “When you are growing, you’ll lose some people, but they will eventually come back because they will now come to understand you and your direction.”

Fameye says Songs of Peter didn’t undergo a “creative process” in the strictest sense of the word. “It was just me being myself and speaking the truth” This required remaining in his lane and not feeling like he competed with others.

Its dense messaging aside, Songs of Peter solidifies a remarkable creative bond between Fameye and producer Liquidbeatz, who worked on nearly every song on the project. The pair first met about seven years ago, and has collaborated regularly ever since. “He knows the kind of music I do and he knows part of my story,” says Fameye about the producer, whom he now also refers to as family. “And so, he knows what I want and what I need.”

Fameye holds a similar sentiment about Amakye The Rapper, who appears on Fameye’s 2020 debut Greater Than, and on two tracks on Songs of Peter. “Amakye The Rapper is a career mate and good friend. We have that connection and he is equally good. We have collaborated on many songs.”

Regarding his choice of features on the album, notably hip hop acts Kwesi Arthur and Pure Akan, as well as contemporary highlife great Ofori Amponsah, Fameye points to a mutual creative admiration between his guests and him, as well as their ability to complement what he seeks to communicate on a record. With ‘Everything Now’, featuring Kwesi Arthur, Fameye felt an inkling that the rapper could “say something I could not say.” On ‘Make Am’, Pure Akan’s task was to distil the theme of working towards success while “solidifying the whole song.”

Overall, Fameye doesn't see Songs of Peter as a final product, but rather as a chapter in a constantly evolving journey. “I’m still growing. In a few years, I will be more dangerous.”

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