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

News

Musicians pay tribute to Ray Phiri

20 Jul 2017 - 09:08

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By Ano Shumba and Carlos Ncube

South African musicians, industry players and fans gathered at Groove Live, formerly known as the Bassline, on 19 July to pay tribute to music legend Ray Chikapa Phiri, a week after the legendary bandleader succumbed to lung cancer. The memorial service opened with performances from Bheki Khoza, Joe Ntsako, Joshua Maponga and Prince Lengoasa.

Tau Diarora was among the musicians who performed at Ray Phiri's memorial service.

Artists and industry professionals took turns to celebrate the life of Phiri, who was described as a father, activist, friend and teacher with a philosophical outlook on life.

Moments before the memorial service, the president of the South Africa Music Promoters Association, China Mpololo, told Music In Africa how he had met Phiri. “I have known Chikapa for more than 30 years when he used to come and perform in Cape Town where I was a poster boy,” he said. “I ended up promoting him and he referred to me as one of his sons. It’s very difficult to express how I feel about his death.”

Addressing the gathering, singer, music professor and historian Sibongile Khumalo credited Phiri for his contribution to the music industry. “We thank you for the music that you created,” she said. “You are lost to us in physical sense but your spirit leaves with us. Ray Phiri, we thank you for who you have been, for who you will continue to be. We thank you for what you will continue to remind us of. We thank you and your bandmates in Stimela. We thank you and your generation of musicians.”

Gospel musician Thinah Zungu said the music industry had lost a great mind. “It’s very sad to lose legends like Ray Phiri,” he said. “These are people who paved the way for us in the industry. Losing them is a disappointment because there is much we can learn from them.”

The co-organiser of the memorial service, Joe Chakela, said: “We really need Stimela as a band in our musical landscape. It’s my hope that the Department of Arts and Culture does something to preserve the works of these legends. Young musicians should impart the works of these legends before they die.”

Music promoter Sam Mhangwani also took the rostrum. “I want to express Ray as I knew him. He sang, he danced, he left us a legacy. We must remember him for what he was.”

Kwaito legend and former member of the Trompies, Eugene Mthethwa, said he was deeply saddened by the loss. “It’s the pain that we always feel when one of us passes on,” he said. “It’s like soldiers. When one soldier dies, they feel the pain. I feel even more pain.”

The musician-turned-politician also took time to acknowledge Phiri’s track record in the industry. “People like him die with so much information because they know our industry very well. He had the history of the SA industry at his fingertips – how it started and who was there at what time and with who. Phiri would tell you stories about most SA artists, dead and living. It’s the knowledge he had that was so important and it’s gone before he shared it with our youngsters.”

Founder and president of Native Rhythms Productions Dr Sipho Sithole said: “We need to contextualise Ray in the 1980s because this is where we find him and Stimela. People like Ray were at the forefront of making sure that the issue of oppression was addressed.”

Sithole also dismissed claims that Phiri was bankrupt at the time of his death. “I am seriously bothered by the fact that the media is saying that he died a pauper. We had just finished a tour of four festivals with Ray. He performed at the Africa Day music festival, Zakifo and Azgo. The last time I saw him, we were at Reunion Island at Sakifo Festival. Just for this tour, I left 250 000 rand ($20 000) with Ray and his family.”

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