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

Murinye Express wins provincial leg of Chibuku Road To Fame in Zim

15 Jul 2016 - 09:42

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The Zimbabwean town of Gokwe was set alight with musicality and energy by eight competing groups during this year’s Midlands Province edition of the Chibuku Road To Fame contest, which took place on Saturday 9 July at Mapfungautsi Bar in the bustling Gokwe Centre.

Murinye Express celebrate after receiving their $1000 cheque. Photo: Innocent Tinashe Mutero

Chibuku Road To Fame (CRTF) is a music talent search show by National Arts Council of Zimbabwe in partnership with Delta Beverages. The programme was launched in 2005 and since then it has managed to identify and promote young music talent in all of Zimbabwe’s provinces. The CRTF competitions are done at two levels: provincial and national, with the winners in each province going on to compete at the national finals. where the first prize winning group receives a prize money as well as a recording contract.

The competition attracted musicians from three districts, namely Kwekwe, Gokwe and Gweru. The host district provided three bands, Gweru had one and Kwekwe was represented by four bands.

From these, Murinye Express, a Gweru-based sungura music band, was awarded the first prize. They were followed by two Kwekwe-based bands, Afro-jazz crooners Union Band and And One Band, who placed second and third respectively.

The winning band, Murinye Express, exhibited an excellent display of showmanship. Their set was well planned and unlike most groups competing, their vocals and instruments were not competing for prominence. One could hardly miss a word from their songs as they lowered instruments every time they sang. This aspect of live performance proved to be a challenge for all the other groups, including the runners-up.

What really set Murinye Express apart from other competing groups is the originality of their music. Of course sungura is not new to Zimbabwe, but Murinye brings something new. Today most sungura groups follow closely in the footsteps of Alick Macheso or the late Tongai Moyo, creating a somewhat redundant and monotonous sound. But that is thankfully not the case with Murinye Express. If one is to put a finger on their main influences, it will probably rest on yesteryear’s chart-topping Farai Brothers, who released the hit ‘Spero baba’ (also known as 'Chikende' from the lyrics of its chorus).

It is sad, however, that several of the groups copied note-for-note the music of the late Leonard Dembo. In particular, the rhythm guitarist from Ayoma Stars did a copy-and-paste job replicating Dembo’s ‘Chengeto’, much to the chagrin of some knowledgeable fans. In the same vein, Kwekwe-based groups presented almost similar sets. There is no doubt that their musical influence stems from one source, probably Kwekwe-based artist Terry Migi, who won the CRTF provincial and national finals in 2012. However, most the Kwekwe bands were composed mainly of young people, many of them no older than 20, so there is hope that they will find themselves musically and be able to present who they truly are on stage.

For taking the first spot Murinye Express went home US$1000 richer, while number two and three and four were awarded $500 and $300 respectively. The monetary prize is obviously welcome, as musical shows with decent pay are hard to come by for unknown bands. Murinye Express will now proceed to the national finals, to be held in Harare later this year. At the grand finals winners will walk away with $5000 and a recording contract for one album, which is intended to launch the winners to fame (unfortunately, winning and recording is not all that one needs make it in showbiz in Zimbabwe).

Speaking at the prize handover, Catherine Mthombeni, spokesperson for the National Arts Council, thanked Delta Beverages for their role in championing arts development in an otherwise moribund economy. She implored artists to use such opportunities to network and create business with fellow musicians, promoters and venue proprietors in attendance.

Popular Zimbabwean act SaMukoko played at the event as a special guest and had Gokwe eating from the palm of his hand. His was a flawless act that all the competing groups no doubt learnt a lot from. Speaking on the sidelines of the show, the dreadlocked artists was confident that Murinye Express were very strong contenders for the national title. He suggested that the group might need to add a sub-rhythm guitar to complement their trio of guitarists, although personally I’m not sure if such a move would not clutter their otherwise simple and easy-on-the-ear sungura sound.

Whatever happens at the finals, Murinye Express looks set to have a place in Zimbabwe’s music industry for years to come.

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