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

Kaya fm

Kaya fm

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Profile added by Sisi Nkabinde on 26 May 2026

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Johannesburg, South Africa

In operation since:

1997

Contact person:

Kaya fm

BIO

Founded in 1997 during South Africa’s post-apartheid media liberalisation era, Kaya FM has evolved into one of the country’s most influential commercial radio brands. Broadcasting from Johannesburg on 95.9 FM — now rebranded as Kaya 959 — the station was among the first private commercial radio licences awarded in democratic South Africa, positioning itself as a sophisticated urban platform aimed at Black middle-class listeners navigating a rapidly changing social and economic landscape.

From its inception, Kaya FM distinguished itself through a carefully curated mix of music, journalism, culture, and conversation. Built around the idea of the modern “Afropolitan” audience, the station developed a format that blended jazz, soul, R&B, Afro-soul, and adult contemporary music with current affairs, business analysis, lifestyle programming, and socially conscious talk radio. Over time, this formula enabled the station to become more than a broadcaster; it became a cultural institution reflecting the ambitions, debates, and identity of urban Black South Africa.

Central to Kaya FM’s enduring influence has been its ability to attract some of the country’s most recognisable media personalities, journalists, entertainers, and cultural commentators. Throughout its history, the station has served as a professional home to acclaimed broadcasters such as Sizwe Dhlomo, Redi Tlhabi, Thabiso Sikwane, Azania Mosaka, Gugulethu Mfuphi, and Thomas Msengana, while also incorporating the voices of comedians and entertainers including Skhumba Hlophe, Jason Goliath, Sol Phenduka, and Dineo Ranaka. Music specialists such as Glen Lewis helped strengthen the station’s credibility within South Africa’s soul and R&B landscape, while personalities from television and popular culture — including Vatiswa Ndara and Pearl Modiadie — contributed to Kaya’s crossover appeal beyond radio.

The station also attracted some of South Africa’s most revered artistic figures. Legendary jazz trumpeter and global anti-apartheid icon Hugh Masekela was closely associated with Kaya FM, bringing both musical authority and cultural gravitas to its programming, while internationally celebrated opera singer and cultural ambassador Sibongile Khumalo contributed to the station’s identity as a home for refined African artistry and intellectual broadcasting. Their presence reinforced Kaya FM’s positioning not merely as a commercial station, but as a custodian of South African cultural heritage and creative excellence.

This convergence of journalism, entertainment, music, and cultural commentary enabled Kaya FM to cultivate a distinctive editorial tone: polished yet conversational, commercially successful yet socially aware. Its presenters became influential public voices capable of shaping national discussions around politics, economics, identity, entrepreneurship, and contemporary African culture. The station’s programming consistently foregrounded African excellence and urban sophistication while maintaining strong ties to grassroots social realities.

Commercially, Kaya FM occupies a unique position within South Africa’s radio ecosystem. While many commercial broadcasters pursue mass-market entertainment formats, Kaya successfully built a premium audience profile attractive to advertisers seeking affluent, professionally active, and culturally engaged consumers. This positioning helped the station maintain both market relevance and cultural prestige in an increasingly competitive media environment.

Like many influential media institutions, Kaya FM has also navigated periods of public scrutiny and internal controversy, including debates surrounding ownership structures, transformation, governance, and workplace culture. Yet despite these challenges, the station has retained its relevance through strategic rebranding, digital expansion, and continued investment in personality-driven programming that resonates with younger and more diverse audiences.

Today, Kaya 959 remains one of South Africa’s defining urban broadcasters — a station that merges music, journalism, celebrity culture, and intellectual conversation into a uniquely South African media identity. Through its combination of influential voices, cultural credibility, and commercially polished broadcasting, Kaya FM continues to occupy a distinctive space between mainstream commercial radio and public-interest storytelling, shaping the sound and conversation of metropolitan South Africa.

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