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

Zambian rapper won’t stop criticising government

09 Feb 2018 - 11:54

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Freedom of expression remains a worrisome subject in most African countries, prompting many artists to practice self-censorship. Music plays a significant role in people’s lives and artists use it as a medium to express their identity. However, many artists are prevented from doing so due to various political and religious ideologies

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In Africa, politics play a big role in muzzling and intimidating musicians. Some governments are on record for creating draconian laws bent on silencing artists. A good example is Zimbabwe where chimurenga musician Thomas Mapfumo fled the country for the US in 2005 after his ‘Hokoyo’ (Watch Out) song caught the attention of then Zimbabwean president Robert Mugabe’s government. Mapfumo recently said he would return to Zimbabwe following a change in leadership late last year.

Like Mapfumo, Zambian hip hop artist Pilato (People in Lyrical Arena Taking Over) fled the country two weeks ago to South Africa when his song ‘Koswe Mumpoto’ (Rat in the Pot) was perceived as a criticism of President Edgar Lungu.

But Zambia’s high commissioner to South Africa, Emmanuel Mwamba, reportedly denied that the musician had been threatened. "There is no threat whatsoever being unleashed against the artist,” Mwamba said. “There are no threats at all either from the government, the ruling party or state security organs.”

Most of Pilato's songs are political, dealing with poverty and social issues affecting Zambian people. In 2010, he released a song mockingly labelling non-performing Zambian MPs as "mental patients". This was followed by ‘Bufi’ (2013) – a highly politically charged song that tagged the late Zambian president Michael Sata as a "father of lies". The song was met with resistance from the ruling party, which saw tactics of intimidation carried out against him.

Born Fumba Chama, the award-winning artist, whose music is highly influenced by his rough upbringing, spoke to Music In Africa about his ‘Koswe Mumpoto’ song, intimidation, the state of freedom expression in Zambia and his relationship with Lungu’s government.

MUSIC IN AFRICA: Reports say you fled the country after releasing ‘Koswe Mumpoto’. Is this true?

PILATO: It is true that I left Zambia because my life was threatened after releasing the ‘Koswe Mumpoto’ song. I am out of my own country because I want to stay alive and unharmed.

What is the song all about?

The song talks about a type of leadership that steals instead of serving those that entrusted them the leadership. It’s a song about a self-serving type of leadership. The song is satire, it’s an analogy that represents leaders that behave like rats.

How was the song received after its release?

The response has been great. I am grateful for the support I have received.

Reports say you were threatened. Did you report this to the police?

I was threatened by the ruling party's thugs who have been behind several political assault crimes. I did not report to the police because the police have lost their power to these thugs who even brutalise and hack people even at the police station.

Do you think President Lungu accepts criticism from musicians?

I have no evidence that he does accept criticism from anyone. I am so sure he doesn't accept criticism even from himself.

A warrant of arrest was issued for your failure to attend a court hearing. Did you know about this court hearing before you left?

No. I wasn’t aware as I had been to the courts several times and we were told the courts had not received the cases from the station that arrested us. It’s a lie that I ran away from the courts, the court cases are just starting now, and they were never there.

What’s the state of freedom of expression in Zambia?

The current leadership appears to be so committed to taking away freedom of expression from anyone who disagrees with either the government or the political party that is in power. Anyone who expresses a divergent view risks losing their job if they are civil servants or imprisonment. In the past we have had a student who was arrested for opposing the arrest of the leader of the opposition party. Recently a certain doctor in Western Province was convicted for three years for expressing his views. I have personally been arrested for protesting against a scandalous procurement of fire trucks at a much exaggerated price.

Will you continue releasing songs that criticise the government?

Yes of course I will. As long as we are not the best country in the world I will continue contributing to the betterment of my country through music.

What’s your message to fellow artists and the Zambian people regarding the state of affairs in the country?

I would like them to search their hearts and live the things they believe.

What should the government do to improve the state of the music industry in your country?

The best place is to invest in the sector and formulate policies that would benefit the state and the artist. The industry lacks modern and necessary infrastructure to adequately sustain the music industry. Anti-piracy laws must be reinforced so that the government can benefit more alongside the makers of music.

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