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

Zahara talks about her new album Nqaba Yam

13 Aug 2021 - 09:10

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Zahara represents a group of South African musicians ordained to inculcate hope and mend troubled souls through music. From Loliwe to Mgodi, the award-winning Afro-soul singer has tackled important topics like apartheid, depression, faith and inspiration.

Zahara. Photo: Facebook

Her latest offering Nqaba Yam is an account of how the 33 year old has tackled the challenges of life through prayer and support from her family. The overall theme throughout the album is endurance. This is best illustrated in the track ‘Nyamezela’, which Zahara released in May.

Music In Africa spoke with Zahara about her latest album, the thinking behind her music and how she would like to be perceived by her fans.

MUSIC IN AFRICA: Take us through the making of your new album Nqaba Yam?

ZAHARA: In English, nqaba yam means ‘endure’. It’s like a pillar or rock that you hold on to when there is a turmoil around you. I have been through a lot in the past years. I don’t write to make hits – I write about my life story. I am a poet and I turn all things that happen around me into songs. Every song on the album is about me, it’s not about anything else. When I was writing the album, I couldn’t sleep until 5am, because of everything that hurt me and some of the things that were happening around me. My life is a cliché – my ups and downs are out there for you guys. I feel like I did not come for anything else but to inspire and give hope to people. I felt like people had stopped judging me by my music. It was like, ‘What kind of cereal does she eat? What kind of drink does she take?’ Besides that, I know we become role models to people, but you must remember we are human beings, too. I felt that I was being mocked for the work I had done. I asked myself, ‘Should I give up or should I continue to inspire my people like I was doing before?’ That’s what was going through my mind.

I would love everybody – because I have learned through my own mistakes – to find the necessary information in whatever they want to embark on, so that they don’t get caught up in certain situations. When I was back on my feet and ready to record Nqaba Yam, COVID-19 happened. I was like, ‘What? This can’t be happening when I’m about to start.’ I went back to square one. I was financially and mentally affected. There is a song on the album called ‘Nyamezela’, which means ‘we are going to keep on keeping on as long as we are alive.’ In life, we tackle things differently, but we suffer in the same way. This album is all about healing and inspiring people.

How long does it take you to write a song?

I can write and freestyle now. I can sing about Music In Africa and how privileged I am to be with Warner Music. With me, it’s about writing about my life and I can make hits every day. I waited for the story, and when my story was done, I decided this was the time to inform the world.

Do you seek approval from anyone before you record your music?

Obviously! It’s the reason why I’m still working with my producer Mjeks. We have been together since my debut album Loliwe, because he understands me and knows how to narrate my story. When I joined Warner, I wanted my story to be heard internationally by somebody, perhaps in New York. Mjeks produced my album and I wrote all the songs. What I do is I write the songs and he rearranges them. We are always together because we understand each other.

Which of your albums impacted your career the most?

Let me tell you something before I answer your question. Loliwe went gold in 13 days and platinum in 17 days. Phendula went double-platinum in one day and Country Girl went platinum in one day. Mgodi went gold in six hours. If we are to talk about which album made an impact, it would be Phedula. Remember, Loliwe is my first born and in our culture, despite having more kids, you will be called by the name of your first born, because it’s how you introduced yourself to the world as a parent. I introduced myself into this world through Loliwe.

What challenges have you encountered in the past five years?

I won’t speak much about the details, but when all those things happened, I reminded myself about the role my mother and God played in my life. I remember that I had to go home to my mother because I felt like I was stepping on people’s toes. My mother asked me, ‘What are you here for? What were you born for?’ And I replied, ‘I came to inspire people’ and she said, ‘Okay, are you done inspiring them?’ I said, ‘No’ She asked me again, ‘Do you want to be praised or do you want to inspire?’ I said, ‘I want to inspire’ and she said, ‘Stay where you are because I am here praying for you every day.’

How do you want to be perceived?

I want people to perceive me as that girl next door. A girl that came to inspire and set the footprint for you so that you can walk towards your goal. I want them to remember me as a girl who came to instil change.

It’s been a decade since you joined the music industry and you have made various achievements along the way. What do you regret the most?

I don’t regret anything. I have been praised, mocked and they tried to put me down and be in my life. I wouldn’t be the woman that I am today if I had listened to what people said. I now know how to respond, react or get away from certain things that happen in my life. I have learnt from my mistakes and the industry, so I have no regrets at all. I had to go through the challenges so that I could be strong.

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