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

Features

AV Raincandy: An emerging voice in full colour

Collins Matsepe By Collins Matsepe

13 May 2026 - 09:22

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From Gqeberha, singer, rapper and songwriter AV Raincandy (born Aviwe Mampondo) is steadily carving out space for herself in South Africa’s increasingly fluid pop and R&B landscape. With nearly two million streams for her breakout track Bawo and a South African Music Awards (SAMAs) 30 opening performance alongside Ishmael, she is beginning to attract wider attention beyond her home city.

AV Raincandy.

Her music resists easy categorisation, shifting between rap, singing and hybrid textures within a single track. That refusal to sit still mirrors an approach she describes as instinctive rather than strategic.

Raincandy says music has been part of her life for as long as she can remember, shaped by a childhood surrounded by family and informal performance.

“I started singing at five and writing at eight,” she says. “I always say music chose me, because it’s always felt like a natural instinct.”

Although she did not initially plan to pursue music professionally, she says encouragement from those around her eventually made the path feel unavoidable.

Rather than define her sound, Raincandy leans into its flexibility.

“I don’t have a name for it,” she says. “It definitely has multiple personalities. I blend genres and moods for my own amusement. I get bored doing one thing for too long, so I mix them up.”

That approach often sees her combining melodic singing with rap-driven verses, placing her within a younger generation of South African artists less constrained by genre labels.

Her growing profile has been shaped by a series of early milestones, including her SAMA stage appearance and the commercial performance of Bawo, which has accumulated close to two million streams across platforms.

“That’s my biggest achievement so far,” she says. “It feels amazing.”

More recently, her single Daydream has continued to expand her audience, with what she describes as a strong listener response helping to reinforce her direction. “You sometimes downplay your own impact,” she says. “Then you wake up to messages from people who love your music.”

Rather than signing to a major label, Raincandy is working through a distribution arrangement with Mculo Content in partnership with EMPIRE. She says the setup has allowed her to grow while maintaining creative control.

“They introduced me to a brilliant team that helps me make the right choices for my career,” she says.

Beyond sound, Raincandy’s visual identity has become a defining part of her artistry. Known for bold, colourful styling, she says this expression is closely tied to personal growth.

“For a long time, I was ashamed of liking colour,” she says. “I thought it made me look weak. But I’ve learned there’s real beauty in being whimsical. I have a colourful soul.”

She has worked with artists including DJ Clen, Jay Jody and Blaklez, and names Doja Cat, Lorde Kez and Tems among her dream collaborators.

For those starting out, her advice is direct: “Never settle for anything that isn’t in line with your goals. If it’s even slightly off from what you want, don’t take it.”

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