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

Kwesta grows into greatness, embraces his “Big Bro” era

05 May 2025 - 09:06

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After nearly two decades in the game, South African hip hop veteran Kwesta is embracing his evolution — both musically and personally — with a renewed sense of purpose. Speaking to Nandi Madida on Apple Music 1, the rapper reflected on his growth from a bar-heavy MC to a hitmaker with a deeper sense of musicality. “I just wanted them to hear me rap,” he said of his early days, citing lyrical heavyweights like ProKid and ProVerb.

Kwesta.

Now, with his upcoming album The Big Bro Theory, Kwesta is striking a balance between lyrical prowess and broad appeal, presenting a more seasoned artist who wants fans to enjoy the music as much as they respect the bars.

The album’s title is no coincidence. “Big bro” is a role Kwesta says he’s grown into overtime, reluctantly at first, but now with purpose. In The Big Bro Theory, Kwesta positions himself not just as a voice of experience, but as a contributor to the culture — someone offering guidance, not lectures. His recent single ‘Joy’, featuring Nkosazana Daughter, underscores this ethos.

How Kwesta embraces creativity within the school system

I can only urge the schools to try and [be] a bit more accommodating to the creative child or the child who has slightly different interests. It's not like we're producing robots here. It's human beings. We're developing human beings that want to excel, that want to feel a certain freedom in whatever they do, and that want a joy and a happiness in whatever field that they choose. If a school doesn't provide that, then they often don't have any option [but] to be seen as delinquent. I think that is something we need to fix. It has nothing to do with how I feel about the importance of education in general.

Naming his new album The Big Bro Theory

I’ve had a good 18 years of being able to see things that happened in and within the industry, that influenced me, and have shaped the country’s sound. Every artist wants to feel like they just came out yesterday. Everyone wants to feel like, “Yo, I still got a hundred years in front of me.” Which is good. Everyone wants to feel young, but in reality, there was a point where I couldn't stop everyone from calling me “big bro." I tried—I was in denial. In reality, I'd been here 12 years, 15 years, and to those artists, that's just what I am. "Big bro” is a small role in a family tree, but it's very significant, because it's like the closest older person that you have.

His goal with the new album

It's a contribution more than anything. It's not one of those albums where it's too personal, and you feel like you're just listening to your therapist, and I'm just a guy complaining. I don't want that. I really want people to enjoy the music, while I'm trying my best to put it out creatively, and be honest in my output. I didn't approach this music as therapy, I wanted it to be enjoyed—and if it does work as that for another person, that is unbelievable! But it is not what I made it for. I wanted other people to enjoy it more than anything.

The ‘Joy’ track featuring Nkosazana Daughter

When I started looking at myself and looking at the game, I saw that maybe the game needs a bit more joy. And then also myself, I need to put myself in situations where I am closer to joy than further. Chasing joy is not just a song, it's a thing that I try and do in real life, every day [when] I wake up. I think that comes with age and with time. I feel like it's a needed sort of project to take on as a big bro. I'm here maybe unintentionally, but I'm embracing the fact that I see that I am needed, one way or another, in this position—so I'm promising that in musical form, and also setting examples in my personal life.

Collaborating with other artists

I'm very big on collaborations, which is not a very common thing in rap. When it happens, it's always monumental and unbelievable, because of the competitive nature of it. I run towards collaboration, man. I like picking from artists, and getting artists to pick stuff from me, and just us creating something together that didn't exist before we were in that one room. It's always like, a feeling that never gets old for me.

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