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

Top 10 Ghanaian songs of 2019

03 May 2019 - 13:06

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In Ghana, the popular music scene of 2019 is still partly occupied by songs released last year. 

Kofi Mole, J. Derobie, Stonebwoy, Medikal: Some of Ghanaian pop's hitmakers.

As you might expect, several of these songs have some of the biggest names in Ghanaian music behind them. Stonebwoy and Shatta Wale turn up, as does the fast-rising Medikal.

The scene is heavily dominated by men and while it is hoped that that changes, here is a list of songs you are likely to hear if Ghana is a radio station you are tuned to.

Daavi – Kawuola Biov ft. Patapaa

Guesting on Kawuola Biov’s 'Daavi', Patapaa (famed for the 'One Corner' craze) inspires another vocal obsession simply by spewing, well, gibberish.

In the #SkopatumanaChallenge, participants aspire to replicate the rapper’s verses on this song. What lyrics constitute Patapaa’s verses? “Skopatumana” for sure—followed by similarly unintelligible sounds you won't hear anywhere else on this planet.

The success of Daavi, like many other "stupid songs", corroborates the fact that there is a place—and market—for songs that don’t make sense.

Pilolo – Guilty Beatz, Mr. Eazi & Kwesi Arthur

The new banku music anthem feels like a continuation of Guilty Beatz’s wildly popular dance song, Akwaaba. It consists of the same primary ingredients: a Guilty Beatz production, a Mr Eazi hook founded on a popular Ghanaian term (in this case, a childhood game of hide-and-seek) and an overall gyration intent. That's all that is needed and you have the potential for virality.

Kwesi Arthur (for Patapaa and Papi Kojo) is the only new ingredient, but in viral dance culture, who cares about originality when the rhythm aims for the feet?

Ayekoo – Medikal ft. King Promise

This toothsome King Promise-assisted love song is how Medikal, stylised MEDiKAL, confirmed his relationship with actress Fella Makafui, following his very public breakup with Deborah Vanessa. 'Ayekoo' translates as "well-done" and caters specifically to the happy aspects of love.

Not unexpectedly, the song (produced by The Gentleman), leans toward highlife and is riddled with fantastic promises of chivalry and sacrifice. “For your loving I go die” is how King Promise, on hook duty, caps the chorus.

African Girl – Kwesi Arthur ft. Shatta Wale

Heralding Kwesi Arthur’s anticipated Live From Nkrumah Krom II LP, 'African Girl' melds a multiplicity of influences: melodious hip hop, evocative R& B, dancehall, and bits of Afropop—which constitute Arthur’s identity anyway.

'African Girl' celebrates the contours and desirability of women from the land—complete with Nicki Minaj comparisons and wedding promises conveying lustful passions rather than anything long-term.

Proud Fvck Boys – Tulenkey ft. Eddie Khae

'Proud Fvck Boy' is rapper Tulenkey’s self-deprecating song penned in solidarity with Ghana's “good-for-nothing” youth who should feel comforted (if not celebrated) by an anthem.

Surprise hit or not, the Fimfim-made joint (spiked with highlife guitar) is a bona fide hit both for the comedic lyrics it supplies and the raw relatable honesty it allows. Proud 'Fvck Boys' is one of several highlights of Tulenkey’s 1/1 mixtape.

Jama – DJ Mic Smith ft. Patoranking & Shaker

Ghana-Naija collaborations involving Patoranking rarely go wrong. DJ Mic Smith’s 'Jama', which also features rapper Shaker, is one more example. A homage to the folk music common to the people on Accra’s coastline, 'Jama' is fun and funny.

Don’t Be Late – Kofi Mole

'Don’t Be Late' is off-brand for Kofi Mole—the rebellious young rapper who typically projects a curiously charismatic black-sheep hip hop persona. The song arrives in the classic sentimental weakness of R&B.

Mole is widely considered the “next–rated act”; he even received a 3Music plaque for it months ago. 'Don’t Be Late' is published under No Gentlemen Allowed, his independent imprint.

Omo Ada – Medikal

For several months, AMG rapper Medikal has been a fixture in Ghanaian tabloids, as much for his relationship scandals as for his consistent supply of viral songs and jargon.

In fact, due to his work ethic all through last year, Medikal is perhaps the strongest contender for the VGMA 2019 Rapper of the Year Award. 'Omo Ada', its video starring his actor girlfriend, Fella Makafui, is party ignition and the theme song for Accra’s streets at night. Like 'Leg Work' by Zlatan Ibile, his Nigerian counterpart, 'Omo Ada' is primarily background music for some leg work.

Kpoo Keke – Stonebwoy ft. Medikal, Kwesi Arthur, Kelvyn Boy & Darkovibes

Stonebwoy is not unfamiliar with the hitmaking process. In over a decade or so, the Ashaiman native has demonstrated his competence, mainly with dancehall, but also across Afropop, reggae and even hip hop. 'Kpoo Keke', an up-tempo party-tailored jam, adds to his ever-growing list of hits, ensuring that he maintains an uninterrupted presence within elite playlists.

'Kpoo Keke', produced by Mixmasta Garzy, sees him harvest contributions from a thrilling young crop of fellow practitioners: Medikal, Kwesi Arthur, Kelvyn Boy and Darkovibe.

Poverty – J Derobie

A shiny aspirational debut, 'Poverty' (produced by UglyBeatz) instantly shot J Derobie to international notice. For J Derobie, 24, the joint arrives as a bold first step in his quest to etch his name in reggae/dancehall circles, seeing as he has already earned cosigns from top names like Kranium and Shatta Wale.

Born Derrick Obuobi Jr, the singer is a beneficiary of Mr. Eazi’s emPAWA Africa project—an initiative which looks to drive the careers of 100 emerging acts across the continent. On a recently released remix of the song, Derobie is joined by Jamaican star Popcaan.

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