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

The case and curse of two Zim musician-ministers

20 Sep 2019 - 11:09

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By Jairos Saunyama

Zimbabwean President Emmerson Mnangagwa’s “new dispensation” saw the elevation of two musicians to the post of deputy minister.

Zimbabwean musician and politician Energy Mutodi.

Fortune Chasi was appointed Transport and Infrastructure Development deputy minister and later Energy minister, while Energy Mutodi became Information deputy minister.

The two politicians, who are also legislators, hit the ground running by updating the nation on government programmes through their Twitter accounts. Chasi was quick to be received by social media users before he went popular and earned the moniker “Chibabest” (big daddy).

A Zimdancehall musician who has done collaborations with some of the country’s top chanters including Guspy Warrior, Soul Jah Love and Killer T, the Mazowe South legislator is, however, yet to make a break on the music scene with most of his Twitter followers not even aware of what he can do in the studio or on stage.

The former Justice deputy minister is also known as Mudhara Chasi in dancehall music circles.

In the run-up to the 2018 harmonised elections, Mudhara Chasi dropped a 12-track album, No to Violence, in which he preached peace. He collaborated with Soul Jah Love on the song ‘Zuva Ranhasi’, before releasing ‘Child Marriages’ and ‘Raramo Kubatana’, a duet with Dr Tawanda. He also worked with Killer T on the track ‘Zimbabwe Ino’ and with Guspy Warrior on ‘Life Haisi Easy’.

Sometime last year, Chasi revealed that he owned a recording studio called Mudhara Chasi Studios. Touted as a hard worker during his tenure at the Transport ministry, Chasi was moved to the problematic Energy and Power Development ministry. Filled with confidence, he promised to turn around the fortunes of the troubled sector, as well as to alleviate fuel shortages. He promised to “skin the live snake”.

The current economic meltdown, however, appears to have skinned the Chibabest, with fuel prices going up almost every week, while load shedding has worsened amid reports that the country’s power utility is facing collapse.

On Twitter, Chasi has resorted to urging citizens to pay their Zimbabwe Electricity Supply Authority (ZESA) debts despite a majority of them using pre-paid meters. True to his lyrics with Guspy Warrior on ‘Life Haisi Easy’, ordinary Zimbabweans are struggling to make ends meet.

His colleague Mutodi, is a rhumba musician who, despite his financial muscle, has dismally failed to make a mark in the industry. Mutodi used money to lure the best instrumentalists, producers and even made great videos. Tatu Maluba or Musoro Wembada, as he is known on stage, announced his presence on the music scene around 2011 as a rhumba musician before venturing into sungura music.

He courted some members of the Utakataka Express — a band that was under Peter Moyo — soon after his father’s (Tongai Moyo) death.

On his debut rhumba album, the Goromonzi West lawmaker courted a local seasoned rhumba outfit. His discography includes Sekawo Mbichana (2012), Magetsi Ngaabake (2013), Chimvuramabwe (2013) and Kuita Kuri Kwenyu (2014).

After taking the reins as deputy Information minister, Mutodi has often clashed with lots of people on Twitter, brewing anger online and being unapologetic about some of his posts.

Following the alleged abduction of the Movement for Democratic Change Midlands official Sekai Marashe, Mutodi labelled her a “prostitute and drunkard”. Not long before, on 22 August, Mutodi had defended the alleged abduction and torture of comedian and journalist Samantha “Gonyeti” Kureya claiming the abduction was a stage-managed act.

Mutodi has been the most vocal at the Information ministry under the new dispensation. In January this year, he pulled a shocker when he said the internet shutdown was a result of massive use by the population. More recently, he invited social media attacks when he claimed that over three million Zimbabwean Ndebeles with South African origin were “running away from Tshaka”.

However, before being appointed as a deputy minister, the flamboyant musician posted on his Facebook account that human rights activist and journalist Itai Dzamara had faked abduction. Dzamara is yet to be found.

As Zimbabwe grapples with an ailing economy that has seen its citizens enduring austerity measures, the two musician-ministers have a daunting task to correct the country’s ills and come up with measures that will benefit the suffering masses. For now, social media users will have to be either entertained or angered by the ministers’ Twitter posts.

After being sworn in, Mutodi said he had put his music career on hold because his new role was “challenging and demanding”. Judging by their performance in the music industry, it is, therefore, a task for Zimbabweans to expect the best from the two “twitsters”. Perhaps more time is needed before results can be expected.

This article was first appeared in the NewsDay on 11 September 2019.

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