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

Idols SA announces top nine

19 Sep 2022 - 07:36

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Nine contestants are through to the next round of Idols SA after surviving elimination at the weekend. 

Top nine Idols SA contestants.

CeeJay, Kabelo, Mpilo, Noxolo, Nozi, Tesmin-Robyn, Thapelo, Ty Loner, and Zee will now face off again at Heartfelt Arena in Pretoria, South Africa, on 25 September.

With Heritage Month in full swing, yesterday’s Idols SA (episode 10 of season 18) celebrated the incredible musical history of Mzansi – with contestants recreating Southern African classics in the youth’s image.

The show started on an upbeat note, with Noxolo taking on Joe Mafela’s ‘Shebeleza’ and turning it into a house-influenced banger. The judges loved it, with Somizi Mhlongo giving it high praise: “Bra Joe is so proud wherever he is.”

“You are a natural,” Thembi Seete said.

“The power and control that you have on stage is amazing,” JR Bogopa added: “This is how you open a show.”

Next was Kabelo, taking on Ringo Madlingozi’s ‘Ekuseni’, to mixed feedback from judges. Thembi praised him, saying he “owned the song”, while JR found Kabelo’s performance “awkward”, saying: “You could have given us a little bit more, you’re not in your pocket yet.”

Somizi agreed, saying: “You got carried away by the groove and took the notes for granted.”

Mpilo gave Caiphus Semenya’s ‘Nomalanga’ more character, to unanimous praise from the judges, with JR saying: “This was a very complex and technical performance. What I heard here was a masterpiece of vocal arrangement. I am a big fan of yours.”

Somizi echoed: “When an old man like myself gets emotional over a song and wants to cry, you must know that you hit a nerve.”

CeeJay sang Hugh Masekela’s ‘Send Me (South Africa)’, leaving all judges impressed, with Thembi saying: “I want to be here when you make it to the top five.”

Somizi was also happy: “You took it to church and you took it to KwaMashu. You had fun. This performance was very entertaining.”

JR said CeeJay had redeemed himself from last week’s performance: “I honestly thought you’d be home this weekend. You took our advice and said, ‘I am not going home – I am bringing my A-game’.”

Next was Tesmin-Robyn, who sang Stimela’s ‘Siyaya Phambili’, which didn’t fly with the judging panel. Thembi said: “You were not comfortable with this performance.”

JR felt the track was “too big” for Tesmin-Robyn, and Somizi said she turned the struggle song into something too jovial: “Your tone is beautiful, but just be careful not to lose the meaning of the song.”

Ty Loner gave his own rendition of Johnny Clegg’s ‘Scatterlings of Africa’, to high praise from the judges. JR said the arrangement was “perfect” for Ty, and Thembi called him “a beautiful storyteller.”

Somizi said: “This has been your best performance by far. Make sure when you release an album, you ask for permission to add this song.”

Nozi took on Thandiswa Mazwai’s ‘Nizalwa Ngobani?’. The judges’ response was muted, with Somizi saying: “Vocally, no one can fault you. But I wish I could have stripped away all the instruments.” He also called for more nuance from her going forward: “You must give us colour and variation. Not everything must be Konka.”

JR summed it up by saying: “Brilliant vocal, okay arrangement – but you’ll still be here next week.”

Thapelo performed Sankomota’s ‘Papa’, to high praise from the judges. “You have what most artists work years to have, which is a signature voice. We could dim the lights and I would know it’s Thapelo singing,” said Thembi.

“Once you have won this entire thing and you want to hire me as your producer, I will send you my quotation,” said JR.

Somizi made a Sankomota reference: “Next week, you will be waiting for your name to be called. And it will be called.”

Wrapping up the show was youngest contestant Zee, who performed Brenda Fassie’s ‘Mama I’m Sorry’, with constructive feedback from the judges.

While JR loved the teenager’s performance, calling it “brilliant”, he also said the song’s vocal arrangements weren’t doing her justice because “that voice is super special.”

Somizi agreed, saying: “There’s something very special about you. Next week, find something that will make us connect with you on an emotional level, and then take us to that level.”

Next week will see the top eight performing songs by their parents’ high school crushes, with a guest performance from Pabi Cooper. It’s up to the voters to determine who will make it into the next round of the live music competition.

Tickets to the Idols SA live shows are on sale on Computicket. The audience can purchase tickets for the Idols SA live shows here. Idols SA can be viewed on DStv channel 161 on Sundays from 5.30pm CAT. For more information, visit the Idols SA official website.

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