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

Zimbabwean sungura veteran Nicholas Zakaria dies aged 69

11 Dec 2025 - 04:38

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Zimbabwean sungura musician Nicholas Zakaria has died aged 69, his family has confirmed.

The late Nicholas Zakaria.

In a statement released on his official Facebook page, the family said: “It is with profound sadness that we announce the passing of Nicholas Zakaria, the talented musician and beloved member of our community. Nicholas left an indelible mark on the music world with his inspiring voice and dedication to his craft. His legacy will live on through his music, and he will be deeply missed by fans and loved ones. Details regarding a memorial service will be shared in due course. Rest in peace, senior lecturer.”

Details about the cause of death were not immediately available, though the artist was admitted to hospital last year after being diagnosed with diabetes.

Zakaria, widely regarded as one of the foundational figures of sungura, leaves behind a career spanning nearly five decades. Born in 1956 at Belgownie Estate in Mazowe, he began playing guitar in secret after leaving school in Grade Seven. “My father…later recognised my passion for music and allowed me to continue playing,” he once recalled in a local media interview.

Born in 1957 at Belgownie Estates in Mazowe, Zakaria, popularly known as Madzibaba, grew up on farms, an environment he later said inspired his early interest in music. His father played a box guitar at social gatherings, and by the age of ten he could already play the instrument, though his parents initially discouraged him.

His professional journey began in the mid-1970s with The Green Mangoes, which he formed at the age of 18 alongside the late Robson Kaitano. Zakaria later left the group to work as a storekeeper before forming another outfit, the Vhuka Boys, in 1980 with the support of Shepherd Chinyani. Although the group recorded several singles, their music struggled to compete with leading acts of the time, including John Chibadura, Thomas Mapfumo and the Bundu Boys.

Zakaria moved to Harare in 1984, where he co-founded the Khiama Boys, the band that would become central to his legacy. The group included Cephas Karushanga, Levison Chakanyuka, Tineyi Chikupo, Alick Macheso , System Tazvida and Zakaria's wife, Margaret Gweshe. The Khiama Boys produced numerous albums and emerged as key competitors to major artists such as Leonard Dembo, James Chimombe and Marshall Munhumumwe. Zakaria went on to release more than 26 albums, with notable songs including 'Kubva Kure', 'Mabvi Nemagokora', 'Shamiso' and 'Mabhauwa'.

Zakaria briefly stepped away from music in the late 1990s to work as a haulage truck driver, returning in 2003 to release a series of albums. His wider catalog includes tracks such as 'Mazano' and 'Ida Anokuda'.

He often emphasised the importance of discipline in sustaining a musical career. “In order to be successful in the music industry, discipline and faith are essential,” he said. Known for his modest lifestyle and calm temperament, he repeatedly stated that he would remain devoted to music “till death do us apart”.

Although his contributions to Zimbabwean music were widely recognised, Zakaria felt underappreciated at times. His influence, however, remained significant, with various industry supporters recognising his legacy, including businesspeople who gifted him vehicles in recent years.

Zakaria's spiritual journey saw him pass through several religious traditions, though the nickname “Madzibaba” remained closely associated with his public image regardless of where he worshipped.

Tributes have begun to pour in from across the country's creative community. Veteran journalist Robert Mukondiwa wrote on Facebook: “ Bob Nyabinde the headmaster left the college. And now the senior lecturer, after holding fort for so long shall not grace the lecture theatre today; nor any other for that matter. The students and pupils are without direction as we lose those who teach us the craft.

“They are delinquent. And forlorn. We may mourn the future. Or we may take the moment to celebrate a life of stewarding some of the greatest sons and daughters in music by this man's graceful hands. Hang your guitar on the studio door and go well Nicholas Zakaria. Stand before your God because as you said yourself in 'Zviri Mudzimba', ultimately 'Ambuye Mulungu'.”

He is remembered as a pioneer, mentor and guardian of sungura, with a lasting impact on generations of Zimbabwean musicians.

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