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

Uganda censorship law set to bolster Bobi Wine’s popularity

24 Jan 2019 - 11:44

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As Uganda prepares to curtail freedom of expression through regulations that seek to vet new musical compositions, musician-turned-politician Bobi Wine stands to gain even more popularity as a vehement critic of President Yoweri Museveni autocratic rule.

Ugandan musician and MP Bobi Wine.

Last year, Bobi Wine was a topic of worldwide rights discussions after security personnel arrested and tortured him in August. The new drafted law, which is expected to be passed by cabinet by March, will usher in various restrictions including requiring artists and filmmakers to submit song lyrics and film scripts for approval. Artists will also have to seek government permission to perform outside Uganda. If found to be in gross breach of the guidelines, they will have their artistic licences revoked.

The proposed laws, which are in direct contravention of the Constitution, will undoubtedly impassion Uganda's youth to follow progressives such as Bobi Wine, an independent, who many analysts believe could be in line to succeed Museveni, 74, as the country's president. This is provided that election rigging, as was the case in 2016, does not take place in the next presidential polls set for 2021.

“It’s true that my brutalisation attracted the attention of the world and I intend to use this microphone to represent others and to make sure that such a thing does not happen again,” Bobi Wine told Music In Africa last year. "There are leaked videos showing how the Ugandan police brutalised innocent citizens in broad daylight and some in front of the cameras. So many people have been killed and nobody has followed up on the cases.”

Bobi Wine is enjoying unwavering support from Uganda's disillusioned under 30s, who according to official data make up 75% of the East African nation's population. This support makes the Kyadondo East MP, and his People Power, Our Power movement, a major threat to Uganda's political hegemony led by Museveni since he came into power in 1986.

But Bobi Wine says he does not harbour presidential ambitions, at least for the time being.

"Being the president of Uganda is a huge responsibility and as I have always insisted, it is not my drive at the moment,” Bobi Wine, whose real name is Robert Kyagulanyi, said. “I need Ugandans to understand that even if we do not have weapons, governmental or legislative power, we can still fight for a better Uganda we have all dreamt of. Moreover, once we achieve that, we can always cross the next bridge when we get to it.”

Museveni’s disapproval of Bobi Wine appeared to take a more resilient character when the singer was instrumental in rallying fellow opposition MPs to vote against a bill seeking to scrap the presidential age limit in late 2017. Despite the opposition's efforts, the constitutional amendment was overwhelmingly approved and later signed by Museveni himself. Since then, Bobi Wine has been a target of security personnel, who, apart from 2018's arrest, have raided and cancelled his concerts. One of his most recent altercations with the police took place at a Boxing Day event at his privately owned One Love Beach in Busabala, Kampala.

“Friends, the situation at One Love Beach is tense," he posted on Facebook. "It has been turned into a war zone. As if the raid last night was not enough, this morning they blocked the roads leading to the beach and announced that our Boxing Day show is off. As I said, yesterday, they did the same thing and disrupted two concerts at which I was meant to perform.”

Bobi Wine was in St Ann, Jamaica, at the weekend where he performed at Rebel Salute festival. Come March, he would be expected to seek permission to perform abroad from the same regime responsible for his brutalisation last year – a highly unlikely prospect that could irk Museveni further and land the musician in hot water. But it seems like the more the Ugandan government tries to gag Bobi Wine, the more points he will score with ordinary citizens.

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