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

Old Zimbabwean songs predicted today’s struggles

13 Oct 2017 - 11:19

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Many Zimbabwean sungura fans today may not recall the late Zambuko band frontman Paul Mpofu’s 1990s song ‘Guranzira’. But when you listen to the song, you get the impression that Mpofu may as well have been singing about Zimbabwean President Robert Mugabe.

Exiled musician Thomas Mapfumo still sings and speaks out about the problems of Zimbabwe.

Mpofu sang about a “know-it-all” character called Guranzira, who claimed to be leading his people to Canaan (biblical), but they ended up complaining that they were moving in circles rather than progressing until they lost faith in his leadership.

Mpofu sings in the track: “Wakatirasisa nzira dzakawanda, gwara rako chairo nderipi, namanje tichiri musango, Guranzira wakanangepiko… Guranzira tanga tichikutemba kuti ndiwe uchatitungamira kusvika tasvika Guruve, namanje tichiri musango…. vana voziya hona vodya tsombori…” (You have led us in the wrong direction. We placed our trust in you, but up to this day we are still stuck in one place and our families are hungry).

Many people today feel the same about Mugabe, whose government has dismally failed to turnaround the country’s economic situation, with the majority of citizens having been impoverished.

But Mugabe is still convinced that he is probably the best thing that ever happened to Zimbabwe, and will probably dismiss these sentiments as mere destructive gossip peddled by opposition political outfits. He could as well be singing along to Tongai Moyo’s ‘Muchingonyeya': “Musazvinetse nezvandinoita mano angu ndinopihwa naShe.” (Don’t worry about me. I get my wisdom from God.)

But as a president who is supposed to be accountable to the people, citizens have a right to be concerned when they sing Moyo’s ‘Rugare’, asking questions about who has robbed the citizens of their source of livelihood. “Ndianiko waviga rugare, ndianiko watipa kutambura nyika yenyu Ishe yave rengenya.” (Who has stolen our well-being? Who has impoverished us? Lord, the country is now in tatters).

Mpofu and Moyo could just be the few of the many “musical prophets” whose songs chillingly predicted the hardships afflicting contemporary Zimbabwe.

Go back to 2001 when the legendary Thomas Mapfumo sang ‘Kuvarira Mukati’ (suffer in silence). Mapfumo, at the time, suggested that Zimbabweans were hurting silently. Tragically, the picture he painted is still obtaining in 2017, when the majority of Zimbabweans suffer silently in a country where speaking negatively about Mugabe’s failed leadership style can get one into trouble.

Award winning musician Clive Malunga weighed in with ‘Nesango’ in which he moans: “Tinongoti mberere nenyika vamwe vakagarika zvavo mudzimba umu.” (We are struggling hopelessly wondering around the country yet others are living a good life in their homes.)

With the majority of Zimbabweans living below the poverty datum line and struggling to eke out a living, the first family’s sons are living large, with their extravagant lives documented in the public media. Just recently, first lady Grace Mugabe bought a pricey Rolls Royce a week after her son, Russell, purchased two Rolls Royce cars and other vehicles worth $2.5m.

As Zimbabweans traverse the length and breadth of the country and cross the borders in search of a little income just to keep their families alive for a day longer, only a few politically-connected individuals are living large.

Ironically, ‘Nesango’, sung in the late 1990s, was meant to chronicle the struggles that liberation war fighters went through while fighting against the colonial regime. The same, however, now applies to Zimbabweans who are struggling in the hands of the “liberator”.

The late master of song, Simon Chimbetu, a liberation war hero, in ‘Ndima’, eloquently captured the gap between the rich leaders and the poor masses: “KuBudiriro kwedu kwatinogara havawanikwe …paChitungwiza pamusha wevanhu havagari.” (The leaders avoid our poverty-stricken Budiriro and Chitungwiza neighbourhoods.)

At the time of the song, Chimbetu was referring to the white minority, but the same can be said of today’s government officials, who shy away from the impoverished communities, and only come during campaign time where they flaunt their obscene wealth and throw crumbs to villagers to secure votes.

The late Marshall Munhumumwe too must have been prophetic. In ‘Ndongosienda’, he is a voice of today’s unemployed and frustrated Zimbabwean who is wandering around hopelessly, singing: “Vamwe vakazvarirwa munhamo, vakafira munhamo. Vamwe vakazvarirwa murugare, vakafira murugare. Zviya zvekuti rugare tange nhamo zvakapera shamwari.” (Nowadays if you are born poor you will die poor. If you are born rich you will die reach. No one can cross the huge divide.)

In Zimbabwe, a country riddled by corruption and nepotism, the easiest path to making money is to be linked to politically connected individuals. Hard work no longer pays. Thousands of graduates are now doing odd jobs to survive.

Munhumumwe’s cry is buttressed in Progress Chipfumo’s ‘Varombo Kuvarombo’ where he is also the voice of a typical depressed Zimbabwe.

The few privileged have access to wealth and at the end of it all the now disbanded Mufakose Express’ paints the true feeling of the ordinary Zimbabwean who — neglected, troubled and forgotten — can only sing: “Baba muchauya rinhi kuzonditora baba, ndafunga ko kumatenga, baba makandikanda mubani rino rine mafeso ndisina changu ndobaiwa.” (Lord when will you take me? You have thrown me in the jungle and I have been wounded.)”

This article first appeared in NewsDay on 11 October 2017.

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