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

ZIMURA board dispute deepens as artists demand answers

26 Jan 2026 - 18:15

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A governance dispute at the Zimbabwe Music Rights Association (ZIMURA) has intensified, with rival board factions issuing conflicting statements and musicians demanding answers amid allegations of misconduct and financial mismanagement.

“Dismissed” ZIMURA board members Gift Amuli, Dereck Mpofu and Joseph Garakara have rejected their removal and the new appointments.

The latest developments follow controversy surrounding the disposal of ZIMURA property, which has triggered internal divisions and public exchanges between board members.

On 21 January, ZIMURA’s board announced the dismissal of three board members Dereck Mpofu, Joseph Garakara and Gift Amuli, citing what it described as “a series of grave breaches of fiduciary duties and conduct prejudicial to the interests of the Association”.

In a press statement, the board accused the trio of convening an unauthorised press conference on 19 January without board approval, in violation of ZIMURA’s corporate communication protocols.

A day earlier, on 20 January, the board had announced the appointment of Alexio Gwenzi as chairperson, with Farai Batani named vice-chairperson. The board said the appointments followed “a rigorous selection process conducted in strict accordance with the Memorandum and Articles of Association”.

“This appointment reflects the Board’s confidence in his capacity to spearhead a transformation,” the statement said, adding that the organisation remained committed to transparency and the protection of intellectual property rights.

A “phantom election”

However, the dismissed board members rejected both their removal and the new appointments. In a statement issued on 20 January, they dismissed the board meeting that led to the changes as illegitimate and accused those involved of staging what they termed a “phantom election”.

They claimed that Gift Amuli remained the duly elected chairperson, having been installed on 10 November 2025, and alleged that the appointments were intended to shield certain individuals from investigations related to the sale of ZIMURA property.

In a further statement on 22 January, the trio alleged collusion between the newly appointed chairperson and ZIMURA’s secretariat, accusing management of abusing organisational resources and attempting to intimidate the media through legal threats. They also alleged financial impropriety and called on members to unite against what they described as the “capture” of the organisation.

Musicians enter the fray

The dispute has drawn growing public support from musicians. Sungura artist Romeo Gasa issued a statement disputing the dismissal of the board members and challenging ZIMURA management’s authority.

“If artists registered with ZIMURA are not ZIMURA, then who are they?” Gasa said, rejecting management’s characterisation of dissenting members as external to the organisation. “We elected the current board, including Dereck Mpofu, Gift Amuli and Joseph Garakara. You cannot claim to have fired board members that we elected.”

Gasa also raised concerns over royalty payments, saying he was dissatisfied with compensation for an album that won $700 through the ZBC Top 50 competition sponsored by Glow Petroleum.

“I was paid only US$41 for the same album by ZIMURA,” he said, adding that artists had the right to demand accountability and transparency.

“The current board is still the one we elected, and we request an immediate Annual General Meeting to get clarity on the issues,” Gasa said. “This is our lives and our music, and we will not be intimidated.”

On 24 January, the group called for a meeting of musicians and stakeholders at the Zimbabwe College of Music on 26 January. Several artists attended the meeting, including Trevor Dongo, Baba Shupi, Chief Hwenje, Ndunge Yuti, Guspy Warrior and Seh Calaz, alongside producers and DJs.

Artists clash with ZIMURA

Following the meeting, artists proceeded to ZIMURA’s offices but were denied entry. ZIMURA executive director Polisile Ncube-Chimhini was not present. Deputy director Henry Makombe met the group outside the premises.

During the visit, Chief Hwenje accused the organisation of underpaying royalties, claiming he had received only US$80 despite extensive airplay of his music.

Speaking to Music In Africa, Dereck Mpofu said the property transaction at the centre of the dispute had not been finalised.

“The transaction has not yet been completed because we, as the board of directors, refused to sign over or do the conveyancing for the property sale to be complete,” Mpofu said. He added that the meeting had resolved to pursue an extraordinary general meeting to remove board members deemed complicit in alleged misconduct.

Mpofu also claimed ZIMURA staff avoided engagement with artists during the visit to the offices.

In response, ZIMURA management distanced itself from the gathering, describing it as an unauthorised “ZIMURA Caucus” meeting convened by a splinter group. In a statement, the organisation said the allegations circulating were not official communications and related to internal administrative matters being handled through proper governance channels.

“The individuals involved are acting in a personal capacity,” the statement said, urging members and the public to disregard what it termed “confusing and unauthorised messages”.

Despite all the pressure from artists, ZIMURA said it remained fully operational and committed to its mandate of collecting and distributing royalties and protecting the rights of music creators, adding that official communication would only be issued through formal letters, verified platforms and recognised contact channels.

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