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

SA: Excitement builds ahead of Fleur du Cap Theatre Awards

18 Feb 2019 - 15:06

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With three weeks to go before the 2019 Fleur du Cap Theatre Awards take place in Cape Town, South Africa, the organisers have announced 702 and CapeTalk presenter Africa Melane as the host of the awards ceremony.

Mxolisi 'Zuluboy' Majozi has been nominated for his portrayal of Tsotsi in Tsotsi the Musical. Photo: Jesse Kramar

ArtLab founder and creative director Mbongeni Mtshali will direct the awards while Portuguese-born pianist José Dias will be the musical director.

The awards, which will be held at the Artscape Opera House in the Mother City on 10 March, will feature performances from Dias, Dizu Plaatjies, Nomfundo Xaluva, the Sibonele Dance Group, the Township Opera Company and Zip Zap Circus.

In early February, the organisers released the nominees ahead of the awards, which feature five musicals: Matilda the Musical, Tsotsi the Musical, Calling Us Home, King Kong and The Sound of Music. Leading the list in the musical categories with 11 nominations is Matilda the Musical followed by Tsotsi the Musical. Calling Us Home was nominated eight times while King Kong and The Sound of Music received one nomination apiece.

“In the same manner that the best grapes from the finest vineyards in the Cape Winelands are chosen for Fleur du Cap wines, the Fleur du Cap Theatre Awards seek to recognise excellence in theatre,” Fleur du Cap winemaker Pieter Badenhorst said.

“Theatre-makers, much like our winemakers, select scripts, ideas and other raw materials to craft and create the desired sensory experience, and then offer it to audiences for their enjoyment. We are thrilled to support South African theatre-makers through our long and richly cultivated association.”

Best Performance by a Supporting Actor in a Musical or Music Theatre Show

  • Cameron Seear in Matilda the Musical as Bruce
  • Conroy Scott in Calling Us Home as Ivan
  • Daniel Mpilo Richards in West Side Story as Bernardo
  • Desmond Dube in King Kong as Pop
  • Msizi Njapha in Tsotsi the Musical as Boston

Best Performance by a Supporting Actress in a Musical or Music Theatre Show

  • Bethany Dickson in Matilda the Musical as Miss Honey
  • Claire Taylor in Matilda the Musical as Mrs Wormwood
  • Kgomotso Matsunyane in Tsotsi the Musical as Miriam
  • Nompumelelo Mayiyane in Matilda the Musical as Mrs Phelps
  • Thembisile Ntaka in Tsotsi the Musical as Adedola

Best Performance by a Lead Actor in a Musical or Music Theatre Show

  • Elton Landrew in Langarm as Eddie
  • Kevin Hack in West Side Story as Tony
  • Musanete Sakupwanya in Calling Us Home as Nelson
  • Mxolisi 'Zuluboy' Majozi in Tsotsi the Musical as Tsotsi
  • Ryan de Villiers in Matilda the Musical as Miss Trunchbull

Best Performance by a Lead Actress in a Musical or Music Theatre Show

  • Carmen Pretorius in The Sound of Music as Maria Rainer
  • Kim Louis in Langarm as Dinah
  • Kitty Harris in Matilda the Musical as Matilda
  • Lynelle Kenned in Calling Us Home as Grace
  • Rushney Ferguson in Langarm as Angelina

Best Sound Design, Original Music Composition or Original Score

  • Gertjie Besselen for Bal-oog en Brommel: Moord in Ixiastraat for Original Music
  • James Webb for The Demon Bride for Soundscape
  • Lukhanyiso Skosana for Womb of Fire for Original Music Performance
  • Marcel Bezuidenhout for Tsotsi The Musical for Sound Design
  • Simon Baker for Matilda the Musical for Sound Design

Best Theatre Production for Children and Young People

  • Alice in Wonderland (Canal Walk)
  • Vlooi en die Musiekfabriek/Kipper and the Music Factory (Marinda Engelbrecht & Margit Meyer-Rödenbeck)

Best Puppetry Design

  • Janni Younge & Craig Lee for the Baby in Tsotsi the Musical

Best Lighting Design

  • Craig Leo & Sara Matchett for Womb of Fire
  • Faheem Bardien for Ruth First: 117 Days
  • Gareth Hewitt Williams for The Curious Incident of the Dog in the Night-time
  • Hugh Vanstone for Matilda the Musical
  • Kobus Rossouw for Kinnes

Best Set Design

  • Chris Pienaar for Oleanna
  • Jemma Kahn & Kanya Viljoen for Swerfgoed
  • Michael Mitchell & Neil Coppen for Tsotsi The Musical
  • Rob Howell for Matilda the Musical
  • Saul Radomsky for The Road to Mecca

Best Costume Design

  • Andrea van der Kuil & Sue Steele for Curse of the Starving Class
  • Birrie le Roux for Endgame
  • Marcel Meyer for Sweet Bird of Youth
  • Noluthando Lobese Moropa for Tsotsi The Musical
  • Rob Howell for Matilda the Musical

Best Production

  • Endgame (Baxter Theatre & Derek Lubner)
  • Curse of the Starving Class (Baxter Theatre Centre & SU Woordfees)
  • Kudu (Baxter Theatre Centre & Magnet Theatre)
  • Matilda the Musical (Pieter Toerien Productions & GWB Entertainment)
  • Womb of Fire (The Mothertongue Project)

Award for Most Promising Student

  • Carlo Daniels (Magnet Theatre)
  • Cassandra-Tendai Mapanda (The Centre for Theatre, Drama and Preformance Studies, UCT)
  • Du Toit Albertze (US)
  • Lerato Makuwa (AFDA)
  • Nancy Sekhokoane (AFDA)

Best New South African Script

  • Bauke Snyman for Swerfgoed
  • Chase Rhys for Kinnes
  • Louis Viljoen for Dangled
  • Lwanda Sindaphi for Kudu
  • Rehane Abrahams for Womb of Fire

Best New Director

  • Gideon Lombard
  • Lesedi Job
  • Lwanda Sindaphi
  • Qondiswa James
  • Tinarie van Wyk Loots

Best Performance by an Ensemble

  • The cast of Bal-oog en Brommel: Moord in Ixiastraat
  • The cast of Gertrude Stein and A Companion
  • The cast of Kinnes
  • The cast of Kudu
  • The cast of Sainthood

Best Performance in a Revue, Cabaret or One-person Show

  • Daniel Mpilo Richards in Land Acts in Various Roles
  • Dorothy Ann Gould in The Year of Magical Thinking as Joan Didion
  • James Cairns in The Devil and Billy Markham in Various Roles
  • Rehane Abrahams in Womb of Fire in Various Roles
  • Rob van Vuuren in Dangled as Poprishchin

Best Performance in an Opera – Male

  • Aubrey Lodewyk in Mandela Trilogy as Mandela 3
  • Bongani Kubheka in Don Pasquale as Don Pasquale
  • Lukhanyo Moyake in Mandela Trilogy as Justice
  • Lunga Hallam in Don Pasquale as Ernesto
  • Makudupanyane Senaoana in Maria Stuarda as Robert Leicester

Best Performance in an Opera – Female

  • Brittany Smith in Der Fledermaus as Adele
  • Brittany Smith in Don Pasquale as Norina
  • Janelle Visagie in La Voix Humaine as Elle
  • Violina Anguelov in Maria Stuarda as Elisabetta
  • Vuvu Mpofu in Maria Stuarda as Maria Stuarda

Best Performance by a Supporting Actor in a Play

  • Antony Coleman in Curse of the Starving Class as Taylor
  • Richard September in Swerfgoed in Various Roles
  • Rob van Vuuren in Curse of the Starving Class as Ellis/Slater
  • Roberto Pombo in Curse of the Starving Class as Wesley Tate
  • Soli Philander in Endgame as Nagg

Best Performance by a Supporting Actress in a Play

  • Ann Juries in The Taming of the Shrew as Grumio
  • Antoinette Kellermann in Endgame as Nell
  • Emily Child in The Road to Mecca as Elsa Barlow
  • Lesoko Seabe in The Curious Incident of the Dog in the Night-time as Siobhan
  • Nicole Holm in Swerfgoed as Aegistha

Best Performance by a Lead Actress in a Play

  • Anna-Mart van der Merwe in Swerfgoed as Esta
  • Fiona Ramsay in Sweet Bird of Youth as Princess Kosmonopolis
  • Nicole Fortuin in Oleanna as Carol
  • Qondiswa James in A Faint Patch of Light as The Lover
  • Sandra Prinsloo in The Road to Mecca as Miss Helen

Best Performance by a Lead Actor in a Play

  • Alan Committie in Oleanna as John
  • Andrew Buckland in Endgame as Hamm
  • Kai Luke Brümmer in The Curious Incident of the Dog in the Night-time as Christopher Boone
  • Neil McCarthy in Curse of the Starving Class as Weston Tate
  • Rob van Vuuren in Endgame as Clov

Best Director

  • Greg Karvellas for Oleanna
  • Sara Matchett for Womb of Fire
  • Sylvaine Strike for Curse of the Starving Class
  • Sylvaine Strike for Endgame
  • Tinarie van Wyk Loots for Swerfgoed

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