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

Tanzanian govt denies blacklisting political song

10 Aug 2018 - 07:00

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The National Arts Council of Tanzania (BASATA) has denied banning ‘Parapanda' which features rappers Roma Mkatoliki and Stamina.  

Rappers Roma Mkatoliki and Stamina.

In an interview with Bongo5.com on Wednesday, BASATA executive secretary Godfrey Mngereza said the information being spread on social media accusing the arts council of placing a ban on the song had been falsified by the rappers to create controversy.

“We have not issued a ban on their song," he said. "In fact, we have no idea about the song because the two are yet to surrender the song’s lyrics and audio for vetting before release, as it is required by law. So perhaps, they are telling these lies so that their song can be popular. And if Roma insists that we have placed a ban on his song then we urge him to show us proof."

Mngereza said BASATA had held an open forum for music industry stakeholders on Monday to shed more light on the recently revised registration regulations. Mkatoliki and Stamina were among the musicians who attended the forum.

Mngereza said that during the discussion a journalist had asked whether it was wrong to use images of deceased public figures as cover art. The BASATA secretary replied that artists should seek permission from the government or the family of the deceased.

“Perhaps my response could be what led Roma into assuming that his song had been blacklisted, because he has used the pictures of Tanzanian politicians Julius Nyerere and Kingunge Ngombale-Mwiru as art for ‘Parapanda’. But I can assure you that no one has either summoned or interrogated them about the song and if anything changes we shall issue an official statement."

But a tweet posted in Swahli by Mkatoliki on Monday seems to suggest otherwise. “BASATA you are killing art, creativity and talent," the translation into English reads. "I don’t hate the industry I hate the system. My fellow Tanzanians, how offensive is the song ‘Parapanda’?” he said.

The song in question is a conversation between the late Nyerere and Ngombale-Mwiru, who died on 2 February. The two politicians are highly respected by most Tanzanians.

In the song, Nyerere, who is played by Mkatoliki, welcomes Ngombale (Stamina) to the land of the dead and asks how the country is faring. Ngombale-Mwiru responds by saying that the socio-political situation in the country has become worse since his departure.

“I have listened to the song and the musicians are addressing issues affecting us under the government of John Pombe Magufuli. Their confidence takes me back to the times of Bob Marley and Lucky Dube,” Tanzanian political analyst Suphian Juma wrote.

Activist Maria Sarungi Tsehai wrote: “Latest hit by Roma Mkatoliki is trending on YouTube called Parapanda. One day we shall organise for a festival and play such songs as long as they are not banned.”

Meanwhile, BASATA yesterday permitted Tanzanian singer Rich Mavoko to terminate his two-year contract with Wasafi Records.

Mngereza told Bongo5.com that the singer had launched a formal complaint with BASATA against the Diamond Platnumz-owned label.

“Mavoko has visited us today,” Mngereza said.” He has brought a contract he had signed with Wasafi, which he claims was unfair and did not benefit him as an artist. The first thing we did was sign him up to BASATA because has was not a member and we gave him a one-year licence to do his music. We will then present the contract to a special committee that was formed by Minister for Information, Culture, Arts and Sports Harrison Mwakyembe for review.”

Mngereza said the management at Wasafi Records would be summoned as soon as the review was complete. He also advised artists to seek legal counsel before signing contracts.

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