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

News

ZIMU urges media scrutiny over ZIMURA audit, election process

22 Oct 2025 - 08:35

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Zimbabwe Musicians Union (ZIMU) president Edith Katiji has called on journalists to investigate alleged irregularities within the Zimbabwe Music Rights Association (ZIMURA), citing governance failures, questionable audit practices, and concerns over the upcoming board elections.

Zimbabwe Musicians Union president Edith Katiji.

In an open letter (attached) addressed to the media, Katiji expressed frustration over what she described as a lack of sustained journalistic attention to issues that, according to her, have long affected the transparency and integrity of the country’s collective management organisation. The letter comes on the sidelines of ZIMURA’s elective annual general meeting (AGM), currently taking place in the capital, where a new board of directors is being elected.

ZIMU recently raised red flags over ZIMURA’s latest audit report, describing it as “invalid.” The union has also alleged that the elections will be overseen by a “convicted felon,” further calling into question the credibility of the process. In its submission, ZIMU contended that the report was invalid on the grounds that ZIMURA’s “executive director”, Polisile Ncube-Chimhini, allegedly signed it under a title that does not exist within ZIMURA’s governance structure. The letter referred to a High Court ruling in Farai Fred Nyakudanga v Polisile Ncube-Chimhini (HH 438-25), which determined that she does not hold the position of executive director.

Katiji outlined several grievances, including the alleged disqualification of some members from contesting in the upcoming elections, intimidation of whistle-blowers, and ongoing investigations by the Zimbabwe Anti-Corruption Commission (ZACC) into reported cases of financial misconduct and racketeering.

She also cited the case of veteran musician Patrick Mukwamba, who reportedly receives minimal royalties despite his longstanding contribution to Zimbabwean music, as evidence of financial disparities within the organisation.

ZIMU claims that its repeated efforts to bring these concerns to light, through demonstrations, press briefings, and official reports, have not received sufficient media coverage. Katiji urged journalists to hold ZIMURA accountable and to help “reclaim the dignity and rightful earnings” of local artists.

ZIMURA has not yet issued a formal response to the allegations. The association, which is mandated to collect and distribute royalties on behalf of musicians, has faced similar accusations in the past, though it has consistently defended its operations as compliant with corporate governance standards.

The upcoming AGM is expected to draw attention from the wider music community, as artists await clarity on the union’s claims and the future leadership of ZIMURA.

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