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

A tribute to Mandoza

20 Sep 2016 - 16:23

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He was the man who made kwaito respectable. Mduduzi Tshabalala, better known as Mandoza, produced the first cross-over hit in this popular South African music genre

The late kwaito star Mandoza. Photo: Martin de Kock

In 2000, Mandoza released his iconic album Nkalakatha, featuring the chart-topping hit by the same name. The song, whose title refers to township slang for "top dog", defined his career and became one of the country's unofficial anthems.

Nkalakatha sold more than 350,000 units and achieved multi-platinum status after gaining high rotation on both traditionally black and white radio stations. It was even included in a marketing campaign dubbed "25 Reasons to Love South Africa" by restaurant chain Nando's.

From the get-go, Mandoza was a trendsetter. His entry into the music industry began with a bang, with the release of his debut album, 9II5 Zola South, in 1999. He also made a mark as part of the kwaito group Chiskop, which he started with three childhood friends, S'bu, Siphiwe and Sizwe.

"Mandoza was an example of an African boy who came from very humble beginnings but, using his talent and working with the right people, he stood out as a true shining example that anyone who believes in himself or herself can achieve their dreams," said Nkalakatha producer Gabi le Roux.

"With the legacy of apartheid, the majority of our people had the odds stacked against them. In his time, it was a young democracy. But even the most right-wing and racist communities adored him and that song. He had the freedom of any city," Le Roux was quoted as saying on local media.

"We can take Mandoza as an example that a good song and an artist like that can bring us together."

The boy who grew up on the rough streets of Zola, Soweto, and did jail time for car theft when he was just 16 years old, became the toast of the music industry in 2001, when Nkalakatha won a South African Music Award (SAMA) for Song of the Year.

Mandoza never forgot his township roots. But he didn't like the thuggish message often espoused by kwaito, the up-tempo music that became the soundtrack of Soweto in the 1990s.

The rapper did his best to be more uplifting. This was revealed through his song ‘Uzoyithola Kanjani’ (How are you going to get it, if you don't get up and go for it?)

In recent years, the musician bemoaned the consequences of Nkalakatha's popularity.

"I'm so sick of that song, so sick of performing it. I've performed it for 11 years," he said in a 2011 interview.

"Don't get me wrong: I'm grateful for its success, but I really don't like performing it anymore."

Mandoza will certainly be remembered for more than that dance floor favourite. His curriculum vitae include a featuring role in the 2006 rugby movie Number 10, directed by Oscar-nominated director Darrell Roodt.

He also collaborated with a wide range of artists, including Afrikaans electro band Die Heuwels Fantasties, pop singer Danny K, and Namibian kwaito artist EES and Croatian rocker Dino Jelusic on two songs addressing rhino poaching and corruption.

In 2004, Mandoza was voted one of the 100 Great South Africans.

His status as a true South African icon was confirmed by the tributes that poured in following his death on Sunday 18 September at the age of 38. He died after being diagnosed with brain cancer last year.

For a man who produced music in several South African languages, including English, Afrikaans, Zulu and Xhosa, it was only fitting that he was honoured by South Africans from all walks of life - from President Jacob Zuma to legendary musician Sipho "Hotstix" Mabuse.

"My very first music video ever was ‘Chiskop S'funabantwana'. Although they wanted the gusheshe spinning and picking up girls, Mandoza understood when I told him I've had 4 jackroll (gang rape) attempts, and could not make a music video glorifying jackroll," lesbian activist and filmmaker Bev Ditsie wrote in a Facebook post on Sunday.

"He got it. He gave me a hug and said ok, let's do a video respecting sisters. The video didn't make it big. But the guys were happy with it. This was my boy. My friend. A man I could be real with. I am devastated. RIP my guy. You were one of a kind Nkalakatha."

Mandoza is survived by his wife, Mpho, and his three children.

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