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

H_Art the Band: Sauti za Busara’s big revelation

20 Feb 2017 - 13:42

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When they were lined up to play the return edition of Zanzibar's Sauti za Busara music festival, only a small portion of the audience knew who H_Art the Band was. Of course Kenyans knew them, and so did a few fans from Uganda, thanks to the band’s Doadoa festival performance in 2015.

H-Art the band. Photo: Penya-africa.com

But to the audience at large, the trio of Mordecai Kimeu, Kenneth Muya and Wachira Gatama was just a filler act. Some would have even wondered why the boys had been billed for the main stage.

But that wasn’t all. The group was performing on Saturday night, a day after Sarabi Band had put together a spirited performance that not only cemented their position among the Busara favourites but also announced lead singer Mandela’s exit from the band.

Not even the way the band took to the stage was ordinary – they came dressed in their usual wash-and-wear clothes and multicoloured socks. One of them had even mixed up the pairs. Gatama, the band's spoken word artist, donned granny denims but strangely had his hair in place, and vocalist Kimeu had indeed put on dust-stricken trousers.

One of the fans even thought it wasn’t the real H_Art the Band on stage as the musicians took their positions. But when they started playing, everything fell in place. Their costumes are part of a clever plot to win over the crowd and in many ways complement their music, which has influences of pop, poetry and comic relief.

On stage, they are storytellers, comics and vocalists all rolled into one. The clothing synchs with their tunes, which are often inspired by vintage African music mixed with classic disco. Most of their recorded songs feature Gatama's spoken word, although when performing at Busara’s main stage they opted to either render the spoken verses shorter or do away with them altogether.

If it was part of the plan to keep an already charged audience on its feet, it worked. The group had people dancing to songs like ‘Mashisha’, ‘Baby Love’ and ‘Uliza Kiatu’. The only time there was no dancing going on was during the delivery of verses on ‘Love Phobic’.

When H_Art the Band hit the stage, you felt like the crowd was going to get the same old treatment. In fact, it did at first but that was only until the band began engaging the fans with jokes, mostly delivered in Swahili. By the time they got to the middle of their set, even those who had been seated were on their feet screaming “Ndakhuyanza”.

Gatama said the band had travelled to the festival ahead of their performance to study the audience and the stage they would be performing on. “This helped us understand what makes them happy and what gets them dancing,” he said. The band members then went to work, rehearsing in their hotel rooms.

Describing their sound as “Afro-poetry”, H_Art the Band was formed in 2012. In the past two years, the group has taken the East African scene by storm thanks to catchy lyrics and fashion statements, both on stage and online through well-received videos.

Talking to Music In Africa, Kimeu said their dream was to take over Africa and eventually go global. If their main stage performance at Sauti za Busara is anything to go by, H_Art the Band is on the right path.

Watch the video for 'Uliza Kiatu' below:

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