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

Will COVID-19 concert vaccinations limit freedoms?

18 Nov 2020 - 13:38

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Last week’s news of a potential COVID-19 vaccine raised optimism for a return to normalcy around the world. The news was followed by Ticketmaster’s announcement that it would check concertgoers’ vaccine status or COVID-19 test results before entry at events. Although the vetting system could accelerate the process of reinstating live events, it is worth discussing the legal implications that such requirements could have on the rights of ordinary citizens.

Ticketmaster's new system may require COVID-19 vaccines and testing.

Would concertgoers effectively be trading their individual freedoms in exchange for entertainment? More importantly, could the vaccine potentially bring about the development of similar systems in other industries bound by social interaction, ultimately creating an environment that undermines constitutional rights?

The vaccine announcement was met with widespread optimism across global economies, and stock markets immediately reacted to the news. Live industry companies’ share prices experienced some of the biggest spikes. With the vast majority of festivals cancelled and the sector’s revenues plummeting 90% since March, the live entertainment industry has been at the forefront of frantic solutions such as drive-in concerts in a desperate effort to maintain business continuity.

Ticketmaster’s vetting system pulls three separate components together, including the company’s digital ticket app, third-party health information companies, and testing and vaccine distribution providers. After purchasing a concert ticket, fans would need to prove that they have been vaccinated or have tested negative for COVID-19 in the past 24 to 72 hours, depending on the regional health authorities’ determination. Fans who test positive will not be granted access to an event and the goal is to avoid testing at the venue.

If a similar system was implemented in South Africa, it would fall under the new regulations enacted in April. Although the revamped guidelines limit the rights of persons, they could be considered as justifiable limitations of rights. This is according to an article by lawyer Jade Weiner. Section 36 of the South African Constitution provides guidance about when rights in the bill of rights can be limited. Weiner says that “a balance must be struck between limiting the right and the outcome – taking into account the nature of the right, the importance, nature, extent and purpose of the limitation and whether the limitation is the least restrictive means to achieve the purpose.”

The South African Constitution is founded on the ideals of human dignity, freedom and self-determination, and although vaccine vetting and mandatory testing would go against the commitment to these values – based on the facts and Ticketmaster’s proposed system – the purpose of preventing the spread of a deadly virus in the country outweighs individual freedoms. The onus then rests on individuals to determine whether maintaining their individual rights is more important than attending an event and being subjected to immunisation or testing against their will.

Additionally, Weiner explains that decisions about our own individual lives cannot be made in isolation. “We consider ourselves in relation to our families and communities. Healthcare decisions often consider responsibilities owed to and by an individual to others.” It is therefore necessary to think of the potential greater good achieved by the vetting system on society at large, rather than diminished individual freedoms. The reintroduction of lockdown rules around the world following spikes in COVID-19 numbers would make individual rights and dignity less important than the prevention of a highly contagious and deadly virus.

Following the Ticketmaster announcement, the company’s president Mark Yovich, provided clarity on its plans, emphasising that it won’t be setting entry policy for live concerts but just providing options for promoters and venues. “Ticketmaster’s goal is to provide enough flexibility and options that venues and fans have multiple paths to return to events, and is working to create integrations to our API [application programming interface] and leading digital ticketing technology as we will look to tap into the top solutions based on what’s green-lit by officials and desired by clients,” he said.

However, the development of systems similar to Ticketmaster’s, which require people to prove that they’ve taken a vaccine or tested negative for COVID-19, is not limited to the live events sector and could see its introduction to other areas that require social interaction, including sports, religious functions, professional engagements, travel or simply eating out at a restaurant. Last week, Cuba issued a list of COVID-19 testing entry requirements, which include testing tourists for COVID-19 upon entry. After the test is taken, the travellers have to quarantine at their hotel for a minimum of 24 hours before they get their results.

While it may be easier to decide whether to concede your individual rights in exchange for attending a concert, determining what choice to make would become far more complex when putting livelihoods on the line.

Butchie Seroto is an in-house writer at Music In Africa. The author’s opinions are his own and do not necessarily reflect the views of the publication.

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