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

MOONGA K.

MOONGA K.

Solo artists
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Johannesburg, South Africa

In operation since:

2016

Contact person:

MOONGA K.

BIO

Moonga Kapambwe, popularly known as MOONGA K. is a Zambian-born, Botswana-raised artist who wraps his diverse palette into a sound that incorporates R&B, funk, soul, hip hop, rock, pop and electronic styles. Now based in South Africa, his musical journey resembles that of his own self-discovery. “I’d like to think my music creates safe spaces for marginalized groups of people,” Moonga says. “I like to be a voice for people that are afraid to speak out, but more so amplifying their voices.” He's collaborated with artists such as Sampa the Great, PHFAT, Zakes Bantwini & Georgel and gone on to release the SAMA-nominated, CANDID, and the dynamic second studio album, GARDEN, which has amassed over half a million streams to date. His music has been featured in the series Queen Sugar and Love Island USA, he's curated a songwriting camp for TuneCore, appeared in the annual GQ music issue & received a second South African Music Award nomination in 2023 in the Best Pop Album category. His music has also received widespread radio playlisting at in Los Angeles, 5FM in South Africa, Reprezent Radio in the UK, and FBi Radio in Australia.

From a firm musical background, Moonga started singing at 6, performing at 9 and was prompted to write after hearing Frank Ocean’s ‘American Wedding’ at age 14. "It all stems from my childhood," he says. "I'm obsessed with sci-fi and the way that we can be whatever want to be in different worlds and universes, so that inspires my big, experimental ideas". With further influences including Prince, Laura Mvula, D’Angelo, Ntozake Shange and Janelle Monáe, Moonga wraps his diverse palette into a sound that incorporates R&B, funk, soul, hip hop, rock, and electronic styles. With 2017’s FREE, 2018‘s debut album WILD SOLACE and 2020's an ode to growth under his belt, Moonga achieved recognition as Apple Music’s New Artist Spotlight and OkayAfrica’s 2018 list of ‘15 Best South African Albums So Far’ and has received high acclaim from publications such as GQ, AFROPUNK, Rolling Stone, Wonderland, The Fader, UPROXX, Red Bull Music, 10and5, Texx And The City and MusicInAfrica. Having whittled out a path for himself in the alternative scene, the 27-year-old artist has graced the stages of Planet Afropunk, Rocking the Daisies, OppiKoppi, Fête de la Musique, Splashy Fen Festival, Afternoon Express, Expresso, and Sofar Sounds.

These performances offer a chance for the artist's creations to interact directly with fans. "As an artist who's put these sounds and words into the music, you always want to feel accepted by the people," he reveals. What captures audiences' ears are Moonga's poignant lyricism, emotive melodies, textured interiority, and authentic social activism. “I think I've always been a vocal person – a fighter and rebel," Moonga shares. "I definitely dive into socio-political issues”. These elements are all present on his EP's, FREE, an ode to growth, CANDID, produced by SAMA-nominee Greg Abrahams (Låpsley, Msaki, Will Linley) and IV and the albums, WILD SOLACE and GARDEN, his most recent release and second album produced by James McMillan AKA quietmoneymusic (Whitney Houston, Sade, Amy Winehouse, Burna Boy, Mahalia) and FDeeZus (AKA, Nasty C, Amanda Black). "Everything I've released continues to be an amalgamation of all the work I've put out and the artist I've become – detailing my experiences being a young black person in this world,” he says.

With a sound as fluid as his identity, Moonga aims to provide the soundtrack to our collective journeys of self-acceptance through his poignant lyricism, emotive melodies, textured interiority, and authentic social activism, while speaking openly about toxic masculinity, racial injustice, love, community and mental well-being, while tapping more into afrofuturist tones. “It's about being somewhat creatively in the future,” he says. “Not being held back by the idea of being the same, sharing identities and standing in your own light.”

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