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

Why you can’t miss Sauti za Busara 2019

22 Jan 2019 - 07:30

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Zanzibar is a melting pot of culture and history. It plays host to tourists, seafarers and traders from all corners of the globe. Next month should be no different when the Sauti za Busara festival kicks off at Stone Town's Old Fort from 7 to 10 February.

South Africa’s BCUC will make its Sauti za Busara debut next month.

Praised by the BBC as "one of Africa's best and most respected music events", the grand event promises to be bigger and better, with festivalgoers treated to a unique blend of African sounds. The musical festivity normally attracts an audience of about 20 000. This year, those numbers are expected to increase due to scheduled performances from 46 groups and 400 artists on three stages.

The organisers will be keeping things fresh with an impressive line-up of acts. BCUC (South Africa) will bring their unmatched percussive energy to the festival for the first time. The band has been touring Europe periodically for a few years now. In 2018, BCUC performed to rapturous applause with Afrobeat superstar Femi Kuti at Jazz à La Villette in France.

Other exciting acts billed this year include Hoba Hoba Spirit (Morocco), Afrigo Band (Uganda) and Mokoomba (Zimbabwe), which will charm the audience with band's electrifying Tonga-beat infused Afro-fusion style.

Also confirmed is S Kide, a young artist working within Tanzania's a singeli genre, which is described by The Guardian as "the world’s most frenetic music". The act can deliver super-fast lyrical flows accompanied by synths and 300 bpm beats that are pitch-shifted to out-of-this-world frequencies.

Festival director Yusuf Mahmoud said the festival's 2019 edition would seek to raise awareness and educate festivalgoers about the scourge of corruption in Africa by featuring activist-musicians such as Faith Mussa (Malawi), Fadhilee Itulya (Kenya) and Fid Q (Tanzania), whose music advocates for peace, unity and human rights.

“Corruption is a vice eating away at the moral fibre of our society – across Africa and beyond,” Mahmoud said. “Sadly, it has now reached a point where some people even accept corruption as normal. Though one festival cannot completely change society, we join hands with local and global partners to promote dialogue, change attitudes and encourage action for good governance.”

In addition to the incredible line-up, Sauti za Busara has collaborated with Zanzibar’s Dhow Countries Music Academy (DCMA) to provide opportunities for musicians of different backgrounds to collaborate and exchange ideas.

“These collaborative compositions happen on the main stage under the title of Swahili Encounters,” Mahmoud said. “Swahili Encounters 2019 will bring together artists from Zanzibar, Tanzania, Kenya, South Africa, Sudan, Egypt and Algeria. The forum plays a vital role in giving diverse artists from across Africa opportunities to forge new directions in creative collaboration.”

Musicians, managers, sound engineers, cultural players and media professionals from around the world will also get to exchange knowledge and contacts as part of the daily Movers and Shakers networking sessions.

Kenyan musician Makadem, who showcased at Sauti za Busara last year, said the festival had played a huge role in showcasing and promoting East African music.

“Sauti za Busara is the biggest music festival in East Africa,” he said. “Being part of the festival exposed me to a variety of international, regional and local music promoters, booking agents and festival organisers.”

But the tag of 'East Africa's most coveted festival' is not easy to maintain, says Mahmoud. "The last day of the festival usually marks the beginning of the next,” he said. "After evaluating feedback from artists, audiences and crew, we prepare detailed reports for donors. In March, we announce the call for artists to submit their works, with the selection process happening in August and line-up announcement in October.”

Mahmoud encourages more female musicians to apply for future editions. He says that despite the selection committee receiving a large number of applications, gender disparity remains an issue.

"We look forwards to the time when at least 50% of artists on stage at Sauti za Busara will be women. The ongoing challenge of concern is that very few groups led by women make it through selection, especially in East Africa, because their music often lacks in originality,” he said.

This year, the festival will showcase four female bands: Tausi Women’s Taarab (Zanzibar), Asia Madani (Sudan), Jackie Akello (Uganda) and Lydol (Cameroon).

About safety and security at the festival, Mahmoud said: "Security and audience safety are paramount. The police force and other related organs have been at the forefront to ensure festivalgoers reach and leave the venue safely.”

Below are the artists scheduled to perform from 7 to 10 February:

For more information and tickets, visit the Sauti za Busara official website.

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