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

Zimbabwe: ‘Enemy of the state’ misses Tuku

19 Jul 2017 - 10:14

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Exiled Zimbabwean chimurenga (liberation) musician Thomas Mapfumo says that contrary to popular opinion, he has always been friends with fellow Zimbabwean musician Oliver Mtukudzi. Best known to his fans as Mukanya, Mapfumo is based in Oregon, US, where he has lived since 2004.

Thomas Mapfumo says he has always been friends with Oliver Mtukudzi.

Mtukudzi and Mapfumo, who were both part of Wagon Wheels in the late 1970s, have often differed publicly on a variety of issues. The two veteran artists have different songwriting philosophies. Best known as Tuku, Mtukudzi’s songs are more subtle while Mapfumo is more direct.

But in an interview with the Daily News, Mapfumo , who turned 72 last week, insisted that he had always had great respect for Tuku, who is eight years his junior.

“Oliver is a very good friend of mine; we have come very far and I miss him a lot,” Mapfumo said, adding that he was very disappointed in February when Mtukudzi cancelled his US tour after he was denied a visa.

“It has been a long time since I last spoke to Oliver. He used to come here and we would meet every time he was here. I heard that they denied him a work visa to come and perform in America early this year and I was very disturbed.”

Mapfumo, who is critical of Zimdancehall artists for promoting “vulgar lyrics and violence” believes Mtukudzi is doing a great job to promote “authentic” Zimbabwean music. “I respect that group of old musicians like Mtukudzi and of late Alick Macheso as they have promoted our Zimbabwean music but nobody is supporting them,” the ‘Nyoka Musango’ singer said.

In addition to Mtukudzi, Mapfumo, who conceded this week that he was homesick, said he was missing another veteran Zimbabwean musician, Zexie Manatsa, 73.

“I do not even know where Zexie is now and I hope I will be able to speak to him soon. Zexie is a very good friend. Remember, I played at his wedding in Rufaro Stadium [in 1979] and that shows how close we were. I think it would be a good idea to collaborate with some of these great artists [Mtukudzi and Manatsa].”

Manatsa, best known for hits such as ‘Tea Hobvu’, ‘Chipo Chiroorwa’, ‘Vaparidzi Vawanda’, ‘Ndipeiwo Pfumo’ and ‘Musango Munehangaiwa’, quit music for the pulpit in 1987 after a string of misfortunes. The veteran musician is now a pastor at a local church.

Mapfumo said he missed his fans and friends. “I am disconnected because I haven’t seen most of my friends for many years and some have passed away. I don’t even know what Harare looks like now. I can only imagine, even though I am constantly following the events happening at home through the media and through some people close to me, but it is still not enough.”

But Mapfumo does not see himself returning to Zimbabwe any time soon. “I am always thinking of coming home but I will remain stuck in foreign lands unless the situation changes. I don’t think that is going to happen any time soon unless there is a change. Even if I would like to come back, it seems I am regarded as an enemy of the state.

“If the situation changes for the better, I will pack my bags and catch the earliest flight to come and perform in Zimbabwe,” Mapfumo said.

Asked what his biggest regret was on the occasion of his 72nd birthday, Mapfumo singled out his life in exile. “The biggest regret is that I am not a free man. I am not living in Zimbabwe. It’s a pity that we fought for the liberation of this county, yet we only achieved dictatorship and oppression. I miss freedom, I miss home and I miss my fans,” he said.

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