NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud to announce 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 launching a new national programme designed to create jobs, address skills gaps, and strengthen 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 will recruit and train participants, match them with host organisations, and place a minimum of 1 000 workers across the country. 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 has stamped its authority as Africa’s leading music trade event. At the 2019 edition in Accra, the conference brought together more than 1 200 delegates from about 50 countries on the continent and beyond. The conference also hosted 76 showcasing artists from Africa and the diaspora, who got to perform for an influential audience at two top live venues in the Ghanaian capital. Apart from live showcases, the event features panel discussions, presentations, exhibitions, pitch sessions, Q&A sessions with prominent musicians and visits to key music industry hubs in the host city. Many of these activities will be planned for ACCES 2021, with the ACCES team already exploring a tailor-made programme that will cater for the specific needs of the local music industry amid the pandemic. ACCES is organised by the Music In Africa Foundation, a non-profit and pan-African organisation, in partnership with Siemens Stiftung and Goethe-Institut.

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 claire@musicinafrica.net. 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

Summit to put spotlight on Zimdancehall

21 Jun 2018 - 11:12

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Zimbabwean dancehall (Zimdancehall) artists, music experts, promoters, critics and fans will gather to discuss the future of the genre at the Zimbabwe College of Music in Harare on 28 June. The event, entitled ZimDancehall Summit, aims to map out various ways to monetise the genre.

ZimDancehall Summit organiser Plot Mhako.

Panellists at the event include Dadza D, Sniper Storm, Nutty O, DJ Fantan, Lady B and Empress. The summit is organised by Sonny Chibuwe, Godfrey Bakasa and by Germany-based journalist and music critic Plot Mhako. The event comes after the Zim Hip Hop Summit in September last year.

“The main goal of the summit is to create a platform where different players within the industry are able to engage in dialogue to touch on the current state of Zim dancehall music, the challenges and to explore the opportunities that Zimdancehall music has to offer,” Plot Mhako told Music In Africa.

“We want to use the summit to build a viable and sustainable music industry for the genre because by numbers this is the biggest youth culture in the country. It has been like this for the past four or five years, but without creating such a summit it will come to pass.”

Mhako said the summit would aim to forge a consensus among Zimdancehall industry players.

“We want to see how artists and producers can create a conversation by establishing a code of conduct and ethics. We also want to use the platform as a lobbying mechanism because right now it’s difficult for a single artist to speak to the government and be heard," he said.

“As a collective this platform can play an advocacy role to speak to the government and engage it on what needs to be done to ensure that there is a functioning industry.”

The event, Mhako said, would also explore the social impact of Zimdancehall and the challenges faced by artists.

Intergenerational conversation

Chimurenga legend Thomas Mapfumo has said Zimdancehall artists must stop mimicking Jamaican dancehall musicians. He has also encouraged those singing in Shona to also sing in English so they could appeal to international audiences.

Asked if the summit would address Mapfumo's criticism of the genre, Mhako said: “These are some of the key things we want to address in terms of originality and also its connection to native Zimbabwean music. Zimdancehall is urban, trendy and youthful, but ultimately there are ways to make it have a strong connection to traditional music.

“Mapfumo's criticism has created debate and there is need for an intergenerational conversation because young people are not too connected to old music styles. There are more into pop, hip hop, dancehall and Afro-pop but we believe that somewhere, somehow there can be interaction between these two generations."

Summit to address piracy

Mhako said piracy would be a key point on the agenda at the ZimDancehall Summit.

“Most Zimdancehall artists put their music free for download," he said. "They have their reasons to do so, but the government hasn’t been active when it comes to fighting piracy. Law enforcement agents themselves buy pirated CDs."

But Mhako believes Zimdancehall has a bright future ahead of it. “We have a small window of opportunity that if missed can spell doom for the genre just as it happened with urban grooves. Zimdancehall is still bubbling and still playing. If you look at the top five artists in the country, you'll find that two of them are dancehall artists, such as Killer T and Winky D.”

"Kwaito started off as digong but now we have other subgenres such as gqom. I feel Zimdancehall could take that direction where sub-elements can start to come out of it. If you look at Killer T’s music at times you ask yourself, 'Is it still Zimdancehall?'"

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