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

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5 music videos 'banned' in East Africa

Home/Non classé/5 music videos ‘banned’ in East Africa

But if the authorities thought ‘Zigo’ was raunchy, they could not have been prepared for what followed a few months later, when a female Tanzanian artist, Snura Mushi, released ‘Chura Dance’ with another controversial video. Clearly it was just the tip of the iceberg – and of course Tanzania is not the only East African country that has seen music videos being restricted or banned. In nearby Kenya, Rwanda and Uganda, musicians and video producers have also found themselves clashing with authorities over how far they can push the notion of freedom of expression in their videos.

Across the East African region, critics have long felt that authorities tend to use double standards when it comes to the censorship of works of art. While international content enjoys undisrupted broadcasting, authorities tend to only act on local content, and when certain members of the public express their discomfort. For example, in February 2016, when Kenyan rapper Noti Flow teamed up with Art Attack to release ‘Same Love’, a song and video promoting tolerance for homosexual relationships, the Kenya Film Classification Board (KFCB) could not hide its dismay and not only banned the video but went as far as asking Google to pull it from YouTube, although this of course was not to be.

Authorities such as the KFCB have on various occasions found themselves at the receiving end of criticism from the public, many of whom disapprove of these bodies acting as ‘moral police’ and attempt to dictate what is fit (or not fit) for public consumption. One Kenyan commentator, for example, recently weighted in on the decision by the KFCB to censor Coca-Cola adverts, writing: “Your work is not to regulate immorality. You need to relook at the law and your mandate so that you can develop this country, not stifle talent, information, entertainment and education and information.”

In 2014 Uganda passed its strict Anti-Pornography Act. In Kenya meanwhile, following the banning of the Coca-Cola adverts, the KFCB has asked all media houses to comply with its Programming Code as from 1 July 2016. The code expects all TV and radio programmes to adhere to its basic principles, with any breach resulting in serious penalties, including revoking broadcast licenses.

Despite these measures, East African artists have not been shy to push the limits. Here we feature five popular music videos that have in recent years been deemed offensive by authorities. Ironically, official attempts to censor or ban them from public broadcasters have simply helped to promote curiosity and drive up views on online platforms such as Youtube.

1. Sauti Sol – ‘Nishike’ (Kenya)

YouTube views: 1.8 million+

In 2014 Kenyan pop group Sauti Sol set the interwebs ablaze when they released the video for ‘Nishike’ (Touch Me). While it was rated  ‘too hot’ for Kenyan TV stations, many could not get enough of it and YouTube offered them the chance to watch the video over and over. For moralists the video was seen to objectify women. Despite the steamy scenes that got many hot under the collar, the creativity of the production team was of great quality. The story revolves around a man taking his lover on a fantasy ride. Expertly directed by young Enos Olik, the song’s video was nominated for East Africa’s Best Music Video at the Channel O Music Video Awards and was arguably Kenya’s most watched music video of 2014.

[video:https://www.youtube.com/watch?v=KYFQRuqQ7EM autoplay:0]

2. Panadol wa Basajja – ‘Ensolo Yange’ (Uganda)

YouTube views: 38 000+

Jemimah Kansiime, the Ugandan female artist also known by her stage name Panadol wa Basajja, was charged under the country’s strict anti-pornography laws after appearing scantily-clad in her video for ‘Ensolo Yange’. Uganda’s Ethics Minister Simon Lokodo described the video as “very obscene and vulgar” and threatened to send the artist to jail for 10 years. The censorship and its subsequent contestation raised questions worldwide on whether there should be some space allowed for so-called ‘erotic’ entertainment and encouraged debate over where exactly these limits should be drawn.

[video:https://www.youtube.com/watch?v=Sao0nn3N5x4  width:744 height:446 autoplay:0]

3. AY ft. Diamond Platnumz – ‘Zigo’ (Tanzania)

YouTube views: 6.4 million+

Within two months of release, the remix of ‘Zigo’ had garnered over 2.9 million views. A few months down the line, the video’s popularity has shown no signs of waning, with Youtube hits passing the six million mark, despite (or perhaps largely because) the Tanzania Communications Regulatory Authority (TCRA) banned ‘Zigo’ from all TV and radio stations in Tanzania. AY has put the TCRA to task, demanding an explanation as to just why ‘Zigo’ was banned.  

[video:https://www.youtube.com/watch?v=oZS3fekWNOM autoplay:0]

4. Snura – ‘Chura Dance’ (Tanzania)

YouTube views: 795 000+

Tanzanian female artist Snura Mushi recently released ‘Chura Dance’ with another controversial video, which features women twerking frantically on the beach. It was a hit among fans, with the video going viral on YouTube soon after its release. The powers that be were shocked at the video, however, and not only banned it but also barred the artist from performing the song in public, clearly fearing the prospect of widespread public displays of twerking. The artist was asked to pull down the video from YouTube until she could ‘amend’ the song and video, but really, why would she?

[video:https://www.youtube.com/watch?v=LOQJs0cuBgQ width:744 height:446 autoplay:0]

5.  Urban Boyz – ‘Ancilla’ (Rwanda)

YouTube views: 98 000+

When Rwanda’s Urban Boyz released the video to their ‘Ancilla’ track in 2014, there were mixed reactions over whether the trio had gone overboard – or what many people termed as ‘too much Westernization’. The country’s Ministry of Sports and Culture decided to ban the song from public viewership after holding extended talks with the band. The two parties apparently reached some degree of “mutual consent”, with the trio reluctantly agreeing that the song would no longer be aired in public – although of course viewers keep watching online, ensuring that the video is now nearing the 100 000 mark on YouTube.

[video:https://www.youtube.com/watch?v=l0ItLmqcjCU width:744 height:446 autoplay:0]

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