NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud to announce 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 launching a new national programme designed to create jobs, address skills gaps, and strengthen 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 will recruit and train participants, match them with host organisations, and place a minimum of 1 000 workers across the country. 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 has stamped its authority as Africa’s leading music trade event. At the 2019 edition in Accra, the conference brought together more than 1 200 delegates from about 50 countries on the continent and beyond. The conference also hosted 76 showcasing artists from Africa and the diaspora, who got to perform for an influential audience at two top live venues in the Ghanaian capital. Apart from live showcases, the event features panel discussions, presentations, exhibitions, pitch sessions, Q&A sessions with prominent musicians and visits to key music industry hubs in the host city. Many of these activities will be planned for ACCES 2021, with the ACCES team already exploring a tailor-made programme that will cater for the specific needs of the local music industry amid the pandemic. ACCES is organised by the Music In Africa Foundation, a non-profit and pan-African organisation, in partnership with Siemens Stiftung and Goethe-Institut.

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 claire@musicinafrica.net. 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

Features

The 4.7b view wake up call: What YouTube’s AI purge means for Zimbabwean creatives

04 Jun 2026 - 13:12

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By Josh Nyapimbi

For many Zimbabwean creatives, Artificial Intelligence tools were an economic lifeline. In a market constrained by limited funding and high data costs, AI video generation promised the ability to produce global standard content with a laptop and a stable internet connection.

The platform removed a network of AI generated channels amassing over 4.7 billion views.

However, a recent shift by YouTube has shocked this emerging ecosystem. The platform removed a network of AI generated channels amassing over 4.7 billion views, marking one of the largest crackdowns on automated content in history.

Following this deletion, Zimbabwean creators who relied on AI production must reassess their strategies. The era of mass produced AI content is ending, bringing nuanced implications for the local creative industry.

The end of quantity over quality

YouTube’s purge targets spam and algorithm manipulation. The removed channels were mass producing videos at an inhuman scale, prioritising volume over value.

For Zimbabwean creatives who adopted the churn model of uploading daily faceless, AI generated videos to trigger the algorithm, this is a warning. The platform’s tolerance for low effort content has expired.

This crackdown signals a return to engagement fundamentals. Content relying solely on novelty or keyword stuffing is at risk of demonetisation or removal. Schemes promising quick riches via automated channels are losing validity.

The deceptive label and trust deficits

YouTube highlighted concerns regarding misleading content. For the Zimbabwean creator economy striving to build international credibility, an association with deceptive practices is dangerous.

If local creators use AI to distort reality through fake news, scams, or impersonating public figures without disclosure, they risk platform bans and reputational damage. Trust is the currency of the digital age, and YouTube is protecting users from content that erodes it.

A shift from replacement to augmentation

The critical takeaway is the distinction between AI generated and AI assisted content. YouTube is not banning Artificial Intelligence but targeting content where AI replaces human creativity rather than augmenting it.

This presents an opportunity for forward thinking Zimbabwean talent. Creators who survive will use AI to handle labour intensive tasks like editing, colour grading, or generating stock footage, while injecting their own unique human perspective and culture.

Using AI to animate a traditional Shona folktale is creative. Uploading generic videos with robotic voiceovers is spam. This crackdown clears the clutter, allowing authentic, culturally rich, AI assisted content to shine.

Navigating the new rules of engagement

Moving forward, Zimbabwean creatives must adopt a sustainable approach to AI video production.

The human in the loop rule

Creators must ensure significant human value is added, such as a unique script, personal commentary, or a distinct editing style that an algorithm cannot easily replicate.

Transparency is key

As AI regulations tighten globally, disclosing the use of AI tools is best practice. This builds audience trust and ensures compliance with platform policies.

Focus on niche and depth

Instead of broad appeal topics, creators should focus on deep dive content into specific niches like Zimbabwean tourism or Harare street food. Here, high quality AI enhanced visuals can shine without being flagged as spam.

Nhimbe advocacy and global guidelines

Nhimbe welcomes this development following its contributions to a global campaign by like minded creative civil society organisations. They are calling for operational guidelines under the 2005 Convention that fully protect human creativity in the age of generative AI.

The advocacy document aims to present concise concerns and recommendations for the implementation of the Convention in the digital environment. The guidelines should be technologically neutral and aim to foster human creativity rather than encourage AI adoption.

Key recommendations

Copyright and the ART Principles: The policy framework must ensure respect for copyright. The guidelines should affirm principles of Authorisation, Remuneration, and Transparency. Using protected works for AI development requires prior authorisation from rightsholders. Creators deserve remuneration when their works contribute to AI systems. Transparency obligations are essential for creators to identify how their works are used and to exercise their rights.

Reject the Right to Use AI: Principle 1.2, establishing a right to use AI in the name of artistic freedom, is inconsistent with the objective to protect artists. It could undermine the freedom not to use AI, particularly where economic pressures force its adoption. This principle should be removed.

Inclusion and Bias Reduction: Guidelines should not support the development of specific models like Large Language Models, which are controlled by a few large companies. Encouraging data inclusion in lightly regulated companies does not address homogenisation or discrimination effectively.

Protect Creative Professions: Guidelines must not encourage the replacement of creative professionals, such as translators and dubbing specialists, by generative AI. These professionals are essential for protecting the diversity of cultural expression and linguistic integrity. Provisions that promote their replacement without respecting copyright or human expertise should not be included.

YouTube’s removal of 4.7 billion views of AI content is a correction rather than a death knell. It forces the Zimbabwean creative sector to mature. We must move past the temptation of easy, automated clicks and return to what makes video powerful, which is human connection.

The tools have changed, but the requirement for a compelling story remains. For Zimbabwean creatives, the challenge is to use technology to amplify unique voices rather than drown them out.

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