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

Pilato: Zambian prisons are hell

28 May 2018 - 13:06

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Zambian musician Pilato has said his arrest after landing at Kenneth Kaunda International Airport in Lusaka on 16 May will not deter him from exercising his right to freedom of expression.

Pilato says he won't be deterred.

The rapper is facing charges of illegally participating in a December 2017 protest against the government's procurement of 42 fire-brigade tenders. In January, Pilato, whose real name is Fumba Chama, sought refuge in South Africa after his song ‘Koswe Mumpoto’ (Rat in the Pot) was seen as direct criticism of President Edgar Lungu. This prompted the youth wing of the ruling Patriotic Front party to denounce the song, which was followed by threats on the musician's life.

“It is true that I left Zambia because my life was threatened after releasing the ‘Koswe Mumpoto’ song," Pilato told Music In Africa in February.

The artist, who was released on bail early last week, said he would continue exercising his rights.

“Nothing physical can change, intimidate or compromise my convictions," he told Music In Africa on Thursday. “It [the imprisonment] was terrible but necessary for my mind. I'm more inspired now than I was before my imprisonment; I am more passionate. Our prisons are examples of what hell is like. If you've been in a Zambian prison, you've been to hell.”

Commenting on the charges levelled against him, Pilato said: “I've been charged for disobeying unlawful orders, when the police tried to stop me and my colleagues from protesting against corruption.

“I was ordered to find two sureties who are managers in a reputable organisation. I was released on $3 000 on my own recognisance. I have to consistently make myself available to the courts for all the hearings.”

But the singer believes that ‘Koswe Mumpoto’ is the real reason the government is after him. “It is my song that brought to life the case that the state could not prosecute," he said.

Meanwhile, chimurenga musician Thomas Mapfumo, who fled Zimbabwe for the US in 2005 after the release of his song ‘Hokoyo’ (Watch Out), decried the Zambian government's stance on Pilato.

“The Zambian government is targeting people like Pilato because they are standing up and demanding accountability from their government,” Mapfumo, who recently performed in his home country for the first time in more than 10 years, said.

“Pilato is a victim of a government that is trying to consolidate its base through the limiting of freedom of expression and in this case artistic expression. He is not a criminal. Instead of targeting criminals who are eroding state institutions, they are using him as a scapegoat. He must be released immediately and unconditionally,” he said before Pilato's release last week.

Freemuse, an independent international organisation advocating for and defending freedom of artistic expression, called on the Zambian government to stop harassing artists.

“It is concerning that Zambian authorities are denying citizens the right to artistic and political expression, especially when it is expressed through social media or peaceful protest," Freemuse executive director Dr Srirak Plipat said.

"The silencing of artists through threats and persecution is creating an environment of fear in Zambia, which limits the freedom of artists to express themselves. We call on President Lungu to uphold the human rights protected under the international standards Zambia has signed on to and value such rights."

Pilato is expected to be back in court on 25 June.

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