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

Jah Prayzah, Winky D and the coincidences

15 Nov 2018 - 12:22

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By Blessing Masakadza

Jah Prayzah and Winky D are among the big names in Zimbabwe’s music industry with their music cutting across generations.

Winky D and Jah Prayzah during a live recording session. Photo: BBC

Competition between the two has always been discussed and though they have not admitted to any rivalry, it is hard to ignore. Comparisons have always been drawn starting from the capacity to fill the Harare International Conference Centre, which they have both proven they can.

In terms of awards, the two were set head-on during the 2017 National Arts Merit Awards (NAMAs) with their albums Mudhara Vachauya and Gafa Futi being drawn together. They went on to bag two gongs each.

However, cordial relations do exist as seen by Jah Prayzah inviting Winky D to his events such as after the Davido no-show and they also like each other’s social media posts.

In their musical journey, however, there have been several coincidences that have led many to conclude that rivalry exists between them. Early this year, Winky D dropped his album Gombwe and within a few days, Jah Prayzah dropped his video ‘Angel Lo’ which featured Jah Cure which resulted in talk.

Last week, Jah Prayzah released an album and a day before, Winky D dropped the video ‘Paper Bag’. The timing of the video torched controversy with some alleging it was meant to counter Jah Prayzah hype towards the album launch and maybe a tit-for-tat following the February incident.

Winky D, through his manager Jonathan Banda poured cold waters on the claims, saying they do not have control over the processes at Trace Africa. Trace Africa TV had exclusive rights to the video and started advertising it two days before the release.

“That is a foreign television channel with its own processes and decisions. We submitted our work at Trace Africa and underwent several processes and to release it is their decision. We have no power over them,” he said.

Jah Prayzah’s camp also weighed in saying such comparisons are inevitable when two big artists are involved. They said there is no rift with Winky D and they respect him for his contributions to the music industry as a whole.

“Such comparisons are inevitable when two big artists are excelling in their line of work and people assume beef. This is not the first time that we have heard this, remember the Sulu comparison. We can’t run away from it but it shows that we are doing something great,” Jah Prayzah’s manager's Keen Mushapaidze said.

Mushapaidze said they do not take the coincidence as a direct attack to their project saying they have different fans.

“We are doing different genres and we both have hard core fans which are different. It is unfortunate that there seem to be clashes in some projects but we do not take that as a direct attack to our project.

“We relate well and we have had them at our events. We relate with every artiste,” he added.

The comparison between these two giants has also been taken to the political field. Jah Prayzah has been associated and claimed to be a Zanu PF artist. This follows his songs being interpreted as prophetic to Zanu PF on-goings. His album Mudhara Vachauya was largely used at Zanu PF youth interface rallies during former president Robert Mugabe’s reign.

After his deposition, some referred to current President Emmerson Mnangagwa as the Mudhara who was being referred to. Jah Prayzah’s previous release Kutonga Kwaro was then interpreted as Mnangagwa’s anthem and constantly played at his functions accompanied by a trademark dance which his camp refer to as the presidential shuffle.

The singer once invited Mnangagwa to his album launch while he was still vice president. Opposition political figures such as Tendai Biti have come out publicly hitting out at Jah Prayzah for praise-singing Zanu PF which — according to them — has ruined the country’s fortunes.

Winky D, on the other hand, has found favours from the opposition MDC, starting from the party’s president, Nelson Chamisa. His earlier release, 'Parliament', was welcomed by the opposition as it addressed issues that identify with the masses.

Chamisa, at his rallies towards the July 30 harmonised elections, would refer to the song’s lyrics. In his latest release, 'Paper Bag', Winky D made reference to spaghetti roads which Chamisa envisioned should be the country’s future.

Writing on Twitter, Chamisa described Winky D as great talent after the lyrics of the song were highlighted to him. After all has been said and done, Winky and Jah Prayzah are big artists coming out of the country and their capabilities are not questionable.

This article first appeared in Daily News on 11 November 2018.

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