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

Zim: Will HIFA live up to its billing this year?

09 Apr 2018 - 14:48

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This year’s Harare International Festival of the Arts (HIFA), which is running under the theme We Count, kicks off from 1 to 6 May, three days after the Thomas Mapfumo Big Bira Concert at Glamis Stadium. The HIFA team, which includes its chairman, former Harare mayor Muchadeyi Masunda, artistic director and founder Manuel Bagorro and his sister, Maria Wilson, the executive director, and Tafadzwa Simba, the associate executive director, with a host of many others who play different roles in the well-spoken HIFA team, are expected to deliver magical moments.

Freshlyground will perform at HIFA this year.

I am pleased to note that HIFA has become an institution, so have many local artists who seem to appear at the event every year.

As Bagorro puts it: “How dull the world would be if we didn’t have some form of artistic life. How would we share the things that cannot be communicated in any other way and have fun at the same time? How would we rise above words to articulate the most poetic aspects of being human? The arts can express who we are as individuals and as a vital nation. This is our opportunity to articulate who we want to be, so speak up.”

Indeed, HIFA is speaking out this year as We Count how things unfold. Two popular music groups from South Africa, Beatenberg and Freshlyground, will take centre stage at HIFA this year.

Beatenberg is a pop band based in Cape Town, composed of Matthew Field, Robin Brink and Ross Dorkin. They gained national attention in 2014 from their 'Remember You' collaboration with DJ Clock and Pluto and became the No 1 popular song on South African radio for 19 consecutive weeks. Their second album The Hanging Gardens of Beatenberg (2014) generated hit singles including 'Beauty Like a Tightened Bow', 'Scorpionfish' and 'Remember You'.

With the new dispensation in Zimbabwe, controversial band Freshlyground, also from Cape Town (whose lead singer is Zolani Mahola of 'Doo be Doo be Do Wawa' fame) who were banned from perfoming at HIFA in 2014, are back in the country. The ban was over their song titled 'Chicken to Change'. The ZANEWS puppet show music video portrayed former president Robert Mugabe as a chicken afraid to relinquish power. The video also showed Mugabe, in a puff of feathers, transforming into a poultry version of his former self in the back of his presidential limousine.

The band, which is made up of South Africans, a Zimbabwean and one Mozambican, was due to perform at HIFA in 2014, but Zimbabwe’s immigration department revoked the members' working visas without explanation. It is speculated that this was due to the launch of the 'Chicken to Change' song.

The song and accompanying video are the result of a collaboration between Freshlyground, best known for performing the World Cup anthem 'Waka Waka' with Shakira, and cartoonist Jonathan Shapiro, who was also at the time in hot water for portraying former South African president Jacob Zuma as “raping” Lady Justice. The 'Chicken to Change' video condemned Mugabe for clinging on to power for more than 30 years and urged him to “become the hero he used to be” by stepping down.

The South African Afro-fusion group was billed to perform at the closing ceremony of Hifa in May 2014. “The group was sent back because they did not have a valid work permit," the then regional immigration officer, Francis Mabika, said. "Their permit had not yet been processed so they could not be allowed to enter the country.” The then Home Affairs minister Kembo Mohadi said that for anyone coming to any country to work, they should have a permit and failure would result in denial of entry.

“Those are the laws of the country. Do you want us to bend the laws of the country just to suit a South African group? The officials who refused them entry were just implementing the laws of the country,” Mohadi said at the time.

However, HIFA had a different story to tell. When I spoke to Elvas Mari, the former director of the National Arts Council of Zimbabwe, he also had a different story to tell. None of the responsible officers I spoke to mentioned the 'Chicken to Change' song as the root cause of the band’s deportation.

We hope this time HIFA has got all their papers in order. It looks like the timing is right this time as there is no 'Chicken to Change' song to worry about with the new dispensation. Whether by hook or by crook, the change has already taken place.

In my view, HIFA should have also taken advantage of the arrival of Mapfumo and incorporate him into this year’s We Count ceremony.

Mapfumo, who was also regarded as a controversial artist at a time when most Zimbabwean musicians were immersed in pusillanimity due to fear of the Mugabe regime, like his Nigerian counterpart Fela Kuti, plucked enough courage to sing 'Corruption', 'Pamuromo Chete', 'Zvichapera', 'Pasi Paenda', 'Nhamo Zvakare', 'Mamvemve' and 'Disaster'. It would definitely have been more fun if HIFA had included him in this year’s programme, but HIFA starts planning its events at least six months in advance.

I attended HIFA in 2014. Despite the non-appearance of Freshlyground, the captivating performances from other groups took the thousands of fans gathered for the ceremony down memory lane as the performers dished out songs from yesteryear greats such as Dolly Parton, Kenny Rogers, UB40, Bob Marley, The Bhundu Boys, Tupac, Mapfumo and many more.

The show kicked off with the singing of the Zimbabwe national anthem after which old school classics were played one after another, non-stop. The mood of the crowd at the spectacular show said it all with loud cheers which came through memories of the good old days that were brought by the old-school songs performed in a style that demonstrated creativity.

The final act of the opening night of the show was full of fireworks, which drew loud cheers from the crowd. And indeed when they left, the crowds were wondering what would be in store for them next after such a memorable show.

We hope that this year’s ceremony is bigger and better as it delivers more politically controversial and humourous acts. As expected, there will be firework displays at the end of the ceremony on the closing night.

Fred Zindi is a professor at the University of Zimbabwe. He is also a musician and an author of several books on music. This article was first published on The Standard.

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