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

Top Zimdancehall songs of 2020

08 Jul 2020 - 09:36

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Zimdancehall music commands a huge following in Zimbabwe. The genre is popular in the high-density suburbs of Harare, Gweru, Masvingo, Kwekwe and Mutare. It has earned fame for its caricature and striking lyrics, which resemble the lifestyle of most Zimbabwean youths. The socio-economic realities in Zimbabwe have seen many artists address politics and social ills affecting the country and in the process angered the ruling class.

Winky D, Gemma Griffiths, Seh Calaz, Anita Jaxson and Van Choga.

Van Choga, Gemma Griffiths, Poptain and Anita Jaxson add to a new generation of musicians who are thriving in Zimdancehall scene, while Winky D, Seh Calaz, Freeman, Nutty O, Enzo Ishall, Killer T, Jah Signal and Tocky Vibes are regarded as the leaders of the genre.

Below is Music In Africa's list of the top Zimdancehall songs of 2020, in no particular order. This playlist will grow throughout the year, so make sure you bookmark it for your continuous listening pleasure.

ijipita by Winky D

The song is off the Njema album and chronicles the economic hardships in Zimbabwe. ‘Ijipita’ is among Winky D’s songs that highlight young people's frustrations with the government’s failure to tackle unemployment and poverty.

Urikutsvireyiko by Enzo Ishall

Known for his rich ghetto lyrics, Enzo’s voice and comical lyrics is what sets him apart from other Zimdancehall artists. The song was produced by Oskid and its video was directed SimDoc.

Titungamire by Gemma Griffiths

‘Titungamire’ is a dancehall song fused with gospel lyrics. The song is a prayer to God to intervene during hard times and is inspired by Psalm 71:14.

Fire by Anita Jaxson ft. Poptain

Anita Jaxson is a new voice on the Zimdancehall scene and is part of the next generation of artists who are redefining the country’s music scene. ‘Fire’ was produced by Leekay and its video was directed by Kmane.

Mwenje by Enzo Ishall

‘Mwenje’, just like Gemma Griffiths’ ‘Titungamire’, is a 'chillspot riddim'. In the song, Enzo Ishall advices his listeners to remain vigilant and be torchbearers in difficult times. The song was produced by Levels and its video was directed by Mr Elders.

Kurepair by Seh Calaz

'Kurepair' is off Seh Calaz’s Bholato Bholato album and is among the top songs in the country this year.

Pindikiti by Van Choga

This year, Van Choga flooded social media with his humorous and entertaining videos, which gained him a huge following. ‘Pindikiti’ was released in June and is doing exceptionally well. Music critics have argued that his fallout with Seh Calaz’s Yalanation label could end his career and urged the artist to quickly capitalise on his fame.

Uchingochema by Van Choga

‘Uchingochema’ is another Van Choga song, which he released while signed to Yalanation.

Corona by Tocky Vibes

Tocky Vibes has a rich voice that complements his lyrics. The song laments the devastating effects caused by the coronavirus on Zimbabwean communities.

Chanderlier by Winky D

This song is getting Zimdancehall lovers dancing without restraint. ‘Chanderlier’ is off the Njema album. It was recorded, mixed and mastered by Oskid.

Hamurikwire by Jah Signal ft. Soul Jah Love

This song is collaborative effort by two Zimdancehall powerhouses. However, it could generate more views and listens if it had a dedicated video.

Mhamha by Seh Calaz

‘Mhamha’ is off the Bhola Bholato album and is an emotional song from a child to a deceased mother.

Munhu WeNyama by Poptain

The song was released after Poptain's performance at the One House battle show. ‘Munhu WeNyama' was produced by Leekay and is about not judging others. The song has rich reggae flavours delivered with a Zimbabwean twist.

Siya Something by Enzo Ishall

Enzo Ishall's change of management had a slight negative impact on his career this year. But this song is proof the artist is destined for big things, when his house gets back to order.

Jehovah Musatisiye by Nutty O

Nutty O is a rising star. He is among the best dancehall artists Zimbabwe has ever seen. In 'Jehovah Musatisiye', he petitions God to provide him with strength in his poverty stricken country. The youthful singer calls himself a conqueror and cites examples where he emerged a winner despite trying times.

Rinoera by Jah Signal and Uncle Epatan

This a powerful collaborative effort by the talented Jah Signal and Uncle Epatan. The song praises God and shuns people who use His name for corrupt activities.

Miridzo by Freeman

'Miridzo' is a song by Zimdancehall crooner Freeman. The song shuns the typical dancehall sound, save for its lyrics. Fresh from his ‘Ngaibake’ video featuring sungura legend Alick Macheso, Freeman’s ‘Miridzo’ is doing well on YouTube.

Hazvigone by Killer T

Like Freeman on ‘Miridzo’, Killer T does not employ the Zimdancehall sound on ‘Hazvigone’. His voice in the song is a constant reminder that he hasn’t run away from his Zimdancehall fans. The video for the song was released in February and is approaching the million mark.

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