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

The other side of the late Tongai ‘Dhewa’ Moyo

26 Oct 2018 - 10:50

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By Godwin Muzari

Most tales about the late Zimbabwean sungura artist Tongai Moyo are colourful. What else can they be when the musician was affectionately known as Father Flower? Although his life and career had dark spots, Dhewa was colourful in many ways. 

 

The late Zimbabwean artist Tongai Moyo.

His style, brand and stage work were amazing. He was ever-smiling on stage, making statements that enticed female fans. He called his band “vakomana vemucheno” (smart boys) and he enforced that tradition in his team.

He adorned himself with many imaginary labels to decorate his brand. Muchina Muhombe, Igwe, Father Flower, Mopao Mkonzi – the ornamental titles were coined willy-nilly.

As people commemorated Dhewa’s death this week, many shared sweet memories of the late musician who passed away on 15 October 2011. Memory Lane had a chat with long-serving Utakataka Express band member Spencer Khumulani who revisited experiences with his late boss.

Among many memories about Dhewa, Khumulani revealed that the musician’s popular smile concealed another side that many of his fans did not know. The late musician was short-tempered and tough.

“Most people do not know that Dhewa was short-tempered. There are many backstage incidents that people never got to know. He would be angry backstage, but his smile concealed everything when he went on stage,” recalled Khumulani.

“He hated indiscipline in the band and talked tough when he was upset. At one time he actually beat up our drummer when he misbehaved during our tour in South Africa.

“The drummer, Guyson Sixpence got drunk before the show and failed to perform. We had left another drummer back home to cut costs and Guyson had promised to be a good guy.

“He disappeared just before the show and returned sloshed. He failed to lead the tempo of the first song and Dhewa signaled that he goes off the stage, but the young drummer was resistant. Our bouncer had to force him off the stage.

“We stopped the performance as Dhewa followed him backstage. The boss was shaking with anger and he heavily slapped Guyson several times.”

Khumulani said Dhewa had to use the physical remedy because Guyson’s parents had given him the green light to discipline their son in any way.

“Guyson had been previously fired on several occasions over indiscipline until both his parents approached Dhewa and told him to treat the drummer like his son. They suggested he should punish him even physically. They were also having a hard time to control him.

“After that incident Guyson changed his behaviour, but he later went back to his old ways after Dhewa’s death and he was fired from the band for good.”

Khumulani also remembers another incident when Dhewa let his anger off his “smile mask” in Mt Darwin.

“That time I was still taking turns to play the bass guitar with Ronnie Mundindo. Ronnie was a bully and he refused to go on stage that night. He did not know I was at the venue because I had not travelled with the rest of the band. There was a serious altercation backstage when Ronnie refused to go on stage saying he wanted an advance payment for the performance.

“Dhewa got angry and told Ronnie to immediately go away. Ronnie was surprised to see me going on stage. He was told to leave the band for good. That was how I permanently replaced him as bass guitarist in the band.”

There are many incidents in Khumulani’s tale that revealed Dhewa’s tough side including a narration of how the musician went off stage to save one of his tour organisers in Mozambique. The incident involved the late MC Esau Ganizani who was popularly known as Dhiziri or DJ December.

“Dhiziri was assisting us in marketing the show in Mozambique. During the show, he had an argument with some security details from that country and the situation turned nasty. Dhewa had to drop off his guitar. He ran off the stage to save Dhiziri when the guys started physically assaulting him.”

It is that resilience and tough character that made Dhewa a fighter in the face of stiff competition in the industry. He was a fighter even in the face of nature’s misfortunes.

When he became frail due to ill health in his last days, the musician did not easily give up. He would sneak out of hospital to go for shows against doctors’ instructions.

Khumulani remembers one incident when his late boss forced himself to the stage but failed to perform.

“We were in Mbare at a venue called The Place. We all knew he was not well, but he insisted he would come for the show. He pulled himself up the stage. It was evident that he was in pain. He tried to use the microphone stand for balance. He tried to sing, but his voice failed him. He had to apologise to his fans. He needed a rest. He walked off the stage bitter and dejected. He was extremely disappointed that he had failed to serve his fans.

“We did the rest of the show with fellow musician First Farai. Dhewa was bitter about his failure to perform at the show. That was his character. He was a fighter. I believe he was not even prepared to let off his last breath despite evident pain. I know he died fighting,” Spencer said.

This article first appeared in The Herald on 20 October 2018.

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