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

Fela Kuti’s Grammy Lifetime Achievement Award is a reminder of his indelible impact

11 Mar 2026 - 16:17

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By Ralph Okobz

In the pantheon of global music, few figures achieve a status that transcends time. Fela Anikulapo Kuti is not merely a historical figure; he is an atmospheric force. Decades after his physical departure, his sonic and ideological frequency remains as potent and necessary as it was during the height of his Kalakuta Republic.

Fela Kuti.

The 2026 Grammy Awards marked a watershed moment for the continent. As the global music industry gathered to celebrate contemporary hits, the spotlight shifted to the roots of the African sound. Fela Kuti was posthumously awarded the Lifetime Achievement Award, making him the first African artist to receive this specific distinction.

This accolade was more than a trophy; it was a global bow to the architect of a movement. While modern Nigerian stars competed in categories like Best African Music Performance, the presence of the “Abami Eda” loomed large, proving that the foundation he built is what allows today’s superstars to stand so tall.

Born for the extraordinary

Fela’s journey was never destined to be conventional. As documented in Carlos Moore’s seminal biography, Fela: This Bitch of a Life, the Afrobeat pioneer entered the world with a defiant clarity. He did not seek a comfortable life; he sought a liberated one. His mission was twofold: to revolutionise music and to break the shackles of his people. His greatness stems from this rare fusion of creative genius and raw, unfiltered service to humanity. Fela didn’t just play music; he lived a life of “radical vulnerability,” placing his body and his freedom on the line to soundtrack the struggle of the common man.

The architect of Afrobeat

To call Fela a musician is to undershoot the mark. He was a cultural engineer. By weaving together the sophisticated harmonies of Jazz and the rhythmic “pocket” of Funk—elements he mastered during his time in the United States—with the spiritual heartbeat of traditional African percussion, he birthed Afrobeat.

This wasn’t just a new genre; it was a sociopolitical weapon. Across a staggering discography of over 60 albums, Fela documented the soul of a nation. His compositions were long-form journeys that provided a rhythmic sanctuary for the oppressed, offered a scathing critique of neo-colonialism and military dictatorship, and preserved African spirituality and linguistic identity through Pidgin English.

A soundtrack for the ages

The endurance of Fela’s catalogue is startling. In 2026, tracks like ‘Zombie,’ ‘Sorrow’, ‘Tears and Blood’ and ‘International Thief Thief (I.T.T.)’ do not feel like relics; they feel like contemporary reportage. His ability to capture the Nigerian sociopolitical landscape was so precise that his lyrics still mirror the realities of the country nearly 30 years after his passing. For the younger generation, songs like ‘Water No Get Enemy’ and ‘Lady’ remain staples of the cultural diet. Fela’s music possesses a “staying power” that few artists in human history have ever replicated.

Today, the Kuti flame is kept bright by his lineage. His children have all carried the Afrobeat mantle to the Grammy stage, ensuring the genre remains a living, breathing entity. Beyond the family, the global explosion of Afrobeats (the pluralised umbrella term for modern African pop) owes its very nomenclature and rhythmic DNA to Fela Kuti’s music. From Burna Boy to Wizkid, the modern icons of African music consistently cite Fela as their North Star. Fela Anikulapo Kuti’s name will continue to resonate, not just as a Grammy winner or a virtuoso, but as the man who taught a continent how to find its voice and preserve its soul through the rhythm of the drums.

Raphel Okobz is a Grammy-winning publicist. Okobz writes in his personal capacity. 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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