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

News

Crime postpones South Africa’s Oppikoppi festival

11 Apr 2019 - 15:43

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One of Africa's most celebrated and unique music festivals will not take place this year.

Music fans won't be able to visit Oppikoppi's 'Mordor' general camping area, at least in 2019. Photo: Oppikoppi

Oppikoppi, held near the mining town of Northam in South Africa's Limpopo province, has been an institution in the country's music industry for the past 24 years. The festival is responsible for almost single handedly launching the careers of hundreds of South African musicians and its stages are known for hosting the country's alternative music scenes, including rock, metal, experimental, electro and hip hop.

But the festival's organisers say that tough economic conditions and a wave of crime that hit the even last year have forced them to cancel the event until 2020.

"Unfortunately, in 2018 we experienced the rampant crime currently impacting events and festivals across South Africa," Matchbox Live CEO Theresho Selesho said in a statement. "For us to present the 2019 event with the increased security measures that are required to curb this crime to present a safe and enjoyable festival, the production costs also increase drastically. By taking a gap year, we are giving ourselves the breathing room to redesign the festival and bring in the necessary changes without impacting the festivalgoer by increasing ticket prices."

In 2018, News24 reported that countless revellers had been targeted by pickpockets, while others had their camping equipment stolen and cars broken into.

"We've had some crime issues in the past, but this year was the worst," Selesho told the publication then. "There are a few syndicates that have been targeting live events and festivals. These past few years have been crazy for us in terms of containing the criminal activity, especially at a tented camping event [such as OppiKoppi]. "We've put safety measures in place, we've been working with the SAPS, we had undercover security guards and canines to try to combat these crimes." But despite employing more resources and a bigger security budget, "the crime increased as well", he said.

The tented festival, which has deep Afrikaans roots and whose general camping area is referred to as 'Mordor' by diehard fans due to its high levels of dust and harsh terrain laden with thorn trees, ran with full force in 2012 with big international acts like Bullet for My Valentine, Enter Shikari, Eagles of Death Metal and Seether, who started their career in South Africa as Saron Gas before finding worldwide fame, gracing its stages in front of some 23 000 fans. A year later, American alternative metal powerhouse Deftones headlined the event.

Selesho's statement, released yesterday, says that Matchbox Live, Oppikoppi's holding company, will also be looking at the possibility of "bringing the festival to a venue closer to a major city, to enable day tickets, less travelling and other options for the attendees".

Anyone who has been to Oppikoppi in the past would agree that taking the festival away from its current location would do away with its biggest drawcard: to escape everyday city life for the allure of the South African bush. The cancellation, and possible relocation, of the festival would also have dire consequences for Northam's local economy, which relies heavily on festivalgoers' patronage.

"There are people who sell firewood, others that sell liquor and meat," Hezron Louw of Sumting Fresh told Times Live. "Even supermarkets [will feel the pinch] because people travelling from outside don't usually stock up on what they will need until they get to the area. We also employ local people from Northam for the festival, train them on food safety and get them on board to work with us. We have had regulars who have worked with us for three to four years but this year, there will be no work for them."

Selesho said: "We realise that a festival like OppiKoppi has a significant role to play in the South African music scene, along with a critical social cohesion role that it has been playing for many years. We are 100% up for it but we want to do it right. Thank you for the support over the last 24 years. We’ll see you in the trenches again in 2020. In Dust We Trust."

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