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

#ZimDancehall

Winky D featuring Oliver Mtukudzi – ‘Panorwadza Moyo’

08 Sep 2016 - 10:19

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Artist: Winky D featuring Oliver Mtukudzi 
Song: Panorwadza Moyo 
Label & Year: Blacklab Records, 2016 
 
The opening of the track summarises the journey one has ahead of them.

Before a single voice cracks in the song ‘Panorwadza Moyo’ (Where the heart aches) by Zimbabwean dancehall king Winky D and grandmaster Oliver ‘Tuku’ Mtukudzi, a breath of a cold deathly air engulfs the listener.

Winky D. Photo: www.celebritycheck.co.zw

The lines of Tuku’s guitar drop and the guitar gives a deathly familiar cry.

It is a weeping we have heard in tracks like ‘Mabasa’ but more profoundly in this nature, it is a weep that characterised the tearful ‘Neria’.

And it comes to haunt us again, 23 years after it was first released on the track ‘Neria’ in 1993.

And the subject is as relevant as ever in a nation that it’s losing most of its productive generation at the hands of premature death. In the face of disease and poverty, death is almost every Zimbabwean’s next of kin.

‘Panorwadza Moyo’ is a track that says Zimdancehall, Winky D, and indeed the entire music industry in Zimbabwe has arrived and asserted its place as a vehicle not only for entertainment in the nation and beyond, but of taking profound messages to the people. And in this case to God himself.

Tuku and Winky D take the brave track into the Holy Sanctuary to confront God and ask pertinent issues and questions. “Why do you herd us through this road-this valley of death? Through this path of death and gloom?” Why are we losing our fathers, brothers, sisters and grandparents while on the other hand there is not one new life to replace them?”

They stand their ground. Firm and unnerved. Asking sharp piercing questions of the divine. It takes heart wrenching tragedy to push man to the limits of questioning their God’s intentions and this is what Tuku and Winky D are faced with.

Generations apart, the fact that their concerns are the same shows how important the subject of mortality has become now more than ever.

Broken to the world for the first time on Star FM’s program Rate it or Hate it on Thursday 8, September, anchor Nicola ‘Nikki’ Dora could not help but admit that they were inundated by messages on Twitter declaring the obvious. The song had hit the right chords and touched the pulse of a nation. In sync with the people’s emotions.

It may be music but it’s not a game anymore. While there may be other duets of the year gunning for titles in the duet of the year category, Jah Prayzah and Diamond Platnumz, Tytan and Ammara’s Mukoko and other tracks, the maturity, planning and sheer genius in the layout of this track may just guillotine the strength of the competition.

What better voice to sing about death than that of Oliver Mtukudzi? His voice is gravelly in this effort. As if he has a capsule of grit and sand in his voice box. It crackles and cries along to the harmony. His voice sounds like broken glass.

Graveyards are becoming like a regular destination, the duo mourns. As if they are places where we have placed animal traps where we regularly visit to find out whether we have any catch. Profound imagery that will leave the listener spellbound.

And here, in front of God, with their guitars hung on their backs, Tuku and Winky D make their case and demand answers.

And when they finish with their last note of the song, with their last question to their God, He is bound to look down and quietly, He weeps.

This article was written by a Zimbabwean journalist and writer Robert Mukondiwa. It was originally published on his blog on Thursday, 8 September 2016.

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