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

Home / Artists & Industry / Petersen Zagaze

Petersen Zagaze

Solo artists
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Lusaka, Zambia

In operation since:

2020

Contact person:

Petersen Zagaze

BIO

Mukubesa Mundia (born September 28, 1982), better known by his stage name Petersen Zagaze is a Zambian Reggae and Afro Dancehall recording artist and record producer from Lusaka, Zambia. He initially gained major recognition after his third single in 2005 Munyaule. Petersen a holder of a Bachelor of Art's Degree in Public Administration is also the chief executive officer (CEO) of his own label imprint, Zaga Lyfe Entertainment, Octopus Media and 2016 Kora Awards Best Male Southern Africa Nominee.[3]

Music career
Petersen's music career started off in 2002 as a songwriter and released two songs Wasaina Fight, Nenze Na Pamela and Wind your body in 2003 and 2004. He then recorded his first album in 2005 and now has 6 albums plus a number of hit singles.

Early music career 2002–2004
In 2002 Petersen entered Zambian music as a songwriter and[4] backing vocalist for various artists in Zambia his first taste was after writing ‘goodnight’ for a group called Ba Crazy and he was then featured on two of the tracks in the group's album titled Goodnight.

In 2003 Petersen worked with Mondo Music Corp.’s Bob Mabege on his album Mr True and he also featured in Bob Mabege's hit single Poor Finishing

In 2004 he worked with 2 proud and wrote the song Nzabagwile. Petersen has written, composed and featured on Vobweleka bweleka and Ngayaposa Kukosa for Mwembe Muntu’s album,

2005–present
In 2005 Petersen ventured for a solo career starting with his debut hit single ‘Munyaule’ which featured General Ozzy and later that year named his first album Munyaule.

In 2007 Petersen released a new album with producer Ben Blazer title Bobojani

In 2012 Petersen was working on his new album which was the much anticipated album titled Job 13 – 13 (which included songs like Amakwebo mu church, Oxygen featuring Shadaya Zaher, Bvuto La Fwaka & Munyaule Continuously) that was delayed to be released, but the further delays saw him releasing a 22-track compilation titled Stoga Compilation: Tiger Revolution, before the album drops.[5]

In 2015 Petersen produced his fourth album King Solomon[6] and also features Afunika, Flexville Marley and Nameless from Kenya. Songs like Kalukobo, Ba Zesko, Boma Ni Boma and Gile were favorites on this project.

In 2018 he produced, recorded and released his sixth' studio album titled Spartacus. Nifola 4 Pin, Ups and Down, Mbambo, Munyaule Pachi Corner, Mankwinya and many other songs composed this masterpiece.

The next and 7tg album for 2022 is titled Apocalyto (Money and Morality). Bwana Ni Munthu Nae, Ma Stylo, Bude, Sample and many are songs building this lovely project.

Music and society
Petersen's reaction of politicians was not entirely unexpected. Pressure also came from some church leaders that took great exception to Munyaule, a song that out-rightly euphemised sex like no other musician has ever done in Zambia.

Petersen used the visibility Munyaule had brought him to highlight several injustices he saw in Zambian politics and the society it breeds.

Petersen did not spare the church with a background in the church, Zagaze recounts in his song Amakwebo Mu Church, the travesty that seem to have engulfed the Zambian church. In his song Amakwebo Mu Church Petersen visits a church after a long time only to find that the church has now become a market place, selling everything from houses, to cars, and music albums. He then requests, that "Messiah bwelelanso ukwapule nafuti … ama kwebo mu church yafula" which means Messiah come back on earth and come Whip again.... Cause business activity has increased in the church. The message in Amakwebo Mu Church is quite appropriate for the Zambian church, particularly the Pentecostal church that seem to be experiencing a serious identity crisis.

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