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

Behind the mic: Why radio producers are the quiet architects of connection

11 Feb 2026 - 16:22

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By Mzi Kaka

Most listeners only hear the final product: the music, the banter, the seamless flow of conversation. What they do not hear is the architecture behind it. The radio producer is the invisible hand shaping the show long before the “On Air” light flickers to life.

A glimpse inside a radio studio.

At its simplest, a producer lays out the topics, shapes the direction of the conversation, and keeps the show aligned with both listener expectations and station objectives. Radio producing is the craft of facilitating human connection within the parameters of broadcasting.

Today, radio sits inside a broader content ecosystem. On-air segments are repackaged into podcasts, amplified across social media, and increasingly streamed in video form. A modern producer understands that every conversation must travel across platforms. What resonates on air should translate to digital engagement.

Connecting with people

At the heart of it all is the one guiding principle that radio is the art of human connection. A great producer recognises that radio mirrors life. It is not separate from lived experience; it runs parallel to it. Content ideas emerge from observation, curiosity, and immersion in listeners' lives. That is why producers rarely “switch off”. Every interaction, headline, and social media thread is potential fuel for conversation.

There is also a commercial reality. Producers create for the listener first, but the advertiser follows closely behind. The most successful producers understand that creative ideas must also carry commercial appeal.

Students who thrive in this space tend to share certain instincts. They ask “why” repeatedly. It is not enough to know what to do; they want to understand why it must be done. That curiosity allows them to innovate responsibly, pushing creative boundaries while respecting programming frameworks and compliance requirements. They also possess discernment. Perhaps most importantly, they are natural supporters. A producer’s role is to make the on-air talent shine without ego. If the host flourishes, the producer has succeeded.

Significant influence

Behind the scenes, personality management is one of the least visible yet most critical responsibilities. Radio is collaborative and often intense. Producers mediate between strong personalities, manage fragile egos, navigate management expectations, and maintain composure under pressure. All of this must happen without the audience ever sensing disruption.

Live broadcasting also demands agility. Sometimes a topic resonates unexpectedly with listeners. When that happens, the best producers adapt, even discarding prepared material to follow the audience’s lead. Controlled spontaneity is a discipline in itself.

Making it work

The Academy of Sound Engineering has seen what is possible when curiosity meets professional rigour. Ryan Janse van Rensburg, producer of Anele and the Club on 947, is one example. Since graduating, his career has included producing the nationwide favourite The Roger Goode Breakfast Show on 5FM. His trajectory illustrates how disciplined training and strategic positioning can open doors in competitive broadcast environments.

Professional readiness, however, extends beyond passion. Respect for radio is essential. The industry may appear glamorous, but professionalism sustains it. Meeting deadlines, delivering quality, and treating broadcasting as a serious craft are what transform enthusiasm into employability.

On World Radio Day, it is easy to celebrate the voices we recognise. But the enduring relevance of radio rests equally on those who design the conversations, anticipate the cultural moment, and ensure that the medium evolves alongside shifting consumption habits. Producers are radio’s quiet torchbearers, carrying the medium forward while remaining largely unseen.

Mzi Kaka is a lecturer at The Academy of Sound Engineering. The opinions and views expressed herein are solely his own and do not reflect the position or stance of the publication.

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