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

Jah Prayzah scoops four ZIMA trophies

01 Mar 2016 - 09:03

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Awards season is in full swing in Zimbabwe. Sandwiched between the recent National Arts Merit Awards (NAMAs) on 13 February and the upcoming  Zim-Dancehall Awards on 3 March, the annual Zimbabwe Music Awards (ZIMA) took place at the Harare International Convention Centre (HICC) on Thursday 25 February.

Jah Prayzah accepts one of his four ZIMA trophies from Tendai Manatsa. Photo: ZIMA/Facebook

As was widely anticipated, Jah Prayzah was the biggest winner of the night, scooping four trophies: Album of the Year, Best Traditional Music (both for Jerusarema), Best Male Artiste and Best Collaboration (with Ammara Brown). Swopping his trademark military outfit for a stylish black suit, the high-flying Jah Prayzah, who in September 2015 became the first Zimbabwean artist to tour China, confessed modestly: “Just being nominated, not winning, is more than enough - that recognition is encouraging.”

Ammara Brown, who shared the Best Collaboration trophy with Jah Prayzah and also put on a memorable live performance of ‘Mukuko’ with Tytan, announced on Facebook: “What an unforgettable night! Thank you all for your fierce support! Of course to my incredible co-stars Tytan and Jah Prayzah, bless you both for walking this journey with me! Special thanks to my team behind the scenes!”

Winky D, who shared top honours with Jah Prayzah at the recent NAMAs, won Song of the Year for ‘Disappear’. His rival Killer T, snubbed at the NAMAs but the frontrunner for the upcoming Zim-Dancehall awards this week, won Best Dancehall Music for Ngoma Ndaimba.

Gospel artist Janet Manyowa was named Best Female Artiste and Best Newcomer for her hit album King of Glory, while Cynthia Mare won Best Alternative Music for Moto Ngaubvire. “Thanks to everyone who has supported me,” Mare later announced on Facebook. “Let's keep this fire burning!”

Roki and ExQ were named Best Duo or Group, largely due to the success of their hit ‘Alleluya’, which also earned the Best Video prize for director Andy Cutter.

Other winners on the night included Sulumani Chimbetu (Best Sungura), Mathias Mhere (Best Traditional Gospel Music) and Buffalo Souljah (International Achiever). A Lifetime Achievement Award was awarded posthumously to the late Jamaican legend Bob Marley, who famously performed live at Zimbabwe’s independence celebrations in April 1980. Local reggae veteran Trevor Hall (aka Ras Jabulani) performed some of Marley’s hits.

Though the ZIMAs offer a chance for Zimbabwe’s music industry to celebrate the past year’s successes, the awards were not immune to criticism. Soon after Winky D collected his trophy, local media reported a “mass exodus” from the auditorium by both artists and fans - not in protest but because they were not interested in seeing the remaining winners. As a result, visiting Ghanaian reggae musician Blakk Rasta had to be content with playing to a room of empty seats.

ZIMA Chairman Joseph Nyadzayo also presented Zimbabwe’s long-time ruler Robert Mugabe with a bugle as a token of appreciation. It was accepted by Sports Minister Makhosini Hlongwane. “Some of you may not know that the President was once upon a time a musician. He played in a band and I looked for the instrument which he used to play,” said Nyadzayo, a close friend of the president for over 20 years.

The full list of ZIMA winners is as follows:

  • Best Acapella: Nkwali – Nkwali
  • Best Alternative Music: Cynthia Mare – Moto Ngaubvire
  • Best Choral Music: Sebastian Magacha, African Joy – The Battle Against Evil
  • Best Collaboration: Ammara Brown and Jah Prayzah
  • Best Contemporary Gospel Music: Takesure Zama – Kuregerera in Advance
  • Song of the Year: Winky D – ‘Disappear’
  • Best Dancehall Music: Killer T – Ngoma Ndaimba
  • Best Hip-Hop: Cal Vin – Bebengakholwa
  • Best House Music: Skaiva – Its Love
  • Best Producer: Oskid – Kenako Volume 1
  • Best RnB/Soul/Afro Pop: Trevor Dongo – Two Steps to go
  • Best Single: Shingi Mangoma ft. Reverb7 – ‘Handikusiye’
  • Best Sungura: Sulumani Chimbetu – Gunship
  • Best Traditional Gospel Music: Mathias Mhere – Glory to Glory
  • Best Traditional Music: Jah Prayzah – Jerusarema
  • Best Video: Andy Cutter – ‘Alleluya’ (Roki and ExQ)
  • Album of the Year: Jah Prayzah – Jerusarema
  • Best Duo and Group: Roki and ExQ
  • Best Male Artiste: Jah Prayzah
  • Best Female Artiste: Janet Manyowa – King of Glory
  • Best Newcomer: Janet Manyowa – King of Glory
  • Best Print Journalist: Winston Antonio – NewsDay
  • Best Online Journalist: Two Broke Twimbos
  • International Achiever: Buffalo Souljah
  • Lifetime Achievement Award: Bob Marley

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