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

¸Zimbabwe

ZIMAs: Musicians still place value in our awards

31 Jan 2020 - 09:09

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The recently held Zimbabwe Music Awards (ZIMAs) received backlash from musicians, critics and fans, who criticised the manner in which the 2020 edition award ceremony was held. ZIMAs organisers are under scrutiny for their “inability” to give Zimbabweans a state-of-the-art show, which was last held four years ago.

ZIMAs marketing and public relations manager Benjamin Nyandoro. Photo: Facebook

One would ask if it is the lack of resources which materialised the awards outcome in a country that is in a dire economy. But some concerns raised in the media cannot be used as an excuse to attribute to these unfortunate results. The main complaints raised ranged from categories, performances at the event to time management.

As such, the extent at which the event was criticised clouded the good things that came out of the ZIMAs. The event, which was streaming live on Facebook, had astounding visual announcements for nominees and winners. The hosts, Star FM presenter Chief Koti and ZiFM radio personality Miss Becky, displayed creativity at the awards.

Music In Africa spoke with ZIMAs marketing and public relations manager Benjamin Nyandoro, who dismissed some of the comments and labelled them unscrupulous.

Responding to why his organisation failed to honour the late Oliver Mtukudzi, a few days after the first anniversary of his death, Nyandoro said: “Put it this way, it becomes opportunistic and hollow of meaning, that is not our model and approach. This award is not in comparison to. It is based on the year's theme, and ZIMA 2020 focused on yester year celebrations. Our judges picked Andy Brown and that does not take away anything from other deserving artists.”

On the Best Male Award, which most critics contended it was meant for rapper Ti Gonzi but went to Ishan, Nyandoro said the ZIMAs 2020 judging system ensured that there is no conflation of categories adding that “no set of judging information of one category influenced another.”

The Best Hip Hop award, won by Takura who released one song last year, also came under scrutiny and Nyandoro had this to say: “We would rather draw deductions from the system. The outcome was Takura but we do appreciate concerns raised by the public on these categories.”

The R&B & Soul category also came under the spotlight, with critics questioning how Gemma Griffiths – an Indie singer – ended up in that grouping late alone winning the award against Brian Nhira, Nyasha David and Berita.

“Our model entailed artists submitting and specifying which categories they are in,” Nyandoro said. “It could be another effort towards ZIMA 2021 to create conversations around our music genres and their compatibility to universally defined genres.”

Griffiths’ victory in the Best Female Artist of the Year was also received with mixed feelings. Critics claimed that she did not release hit songs save for featuring on Winky D’s hit song ‘MuGarden’. The award, they said, could have been awarded to Tammy Moyo, Shasha and Janet Manyowa.

Commenting on why most award recipients were not present at the event thus not placing value on the ZIMAs, Nyandoro differed.

“I do not agree. Musicians still place value, but that does not take away the need to engage them on possible grievances that we may not be aware of at the moment.”

Responding on why it took the organisers long to start the event, he said: “We had the red carpet affair and immediately moved to the main auditorium for the awards. Yes, we started off a little late, but it was not a train smash.”

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