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

Zimbabwe Musicians Union raises red flags over ZIMURA audit report

20 Oct 2025 - 14:57

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The Zimbabwe Musicians Union (ZIMU) has called for an immediate review of the 2024 audit report of the Zimbabwe Music Rights Association (ZIMURA), citing alleged governance failures, misrepresentation, and breaches of corporate protocol.

Embattled ZIMURA “executive director” Polisile Ncube-Chimhini.

In an open letter dated 19 October 2025 addressed to Baker Tilly Chartered Accountants, ZIMURA’s auditors, ZIMU president Edith Katiji accused the firm of overlooking several procedural and ethical irregularities in its audit of the music rights body. The letter was also copied to the Companies and Intellectual Property Office (CIPZ), the Ministry of Sport, Recreation, Arts and Culture, and the National Arts Council of Zimbabwe (NACZ).

Questions over audit validity

Katiji claimed that ZIMURA’s 2024 audited financial statements failed to comply with the organisation’s Articles of Association. She said the report was signed by only two individuals, board chairperson Albert Nyathi and “executive director” Polisile Ncube-Chimhini, without the mandatory third signature from the company secretary. According to Section 59 of the Articles of Association, the company seal must be accompanied by two directors’ signatures and that of the secretary.

ZIMU further argued that the document was invalid because Ncube-Chimhini allegedly signed under a title that does not exist in ZIMURA’s governance structure. The letter cited a High Court ruling in Farai Fred Nyakudanga v Polisile Ncube-Chimhini (HH 438-25), which found that she does not hold the position of executive director.

Alleged omission of material facts

Katiji criticised the auditors for failing to disclose Ncube-Chimhini’s reported fraud conviction, while noting that the audit made reference to unrelated legal cases such as Simbisa Brands Zimbabwe (Pvt) Ltd. She said the omission of information about the conviction undermined the integrity and transparency of the report.

“While every citizen has the right to appeal, the conviction stands until overturned,” Katiji wrote. “Responsible governance demands immediate suspension, not concealment or legitimisation.”

The musicians’ body alleged that ZIMURA continues to face multiple governance and legal challenges, including police investigations into fraud and misappropriation of funds, as well as ongoing court cases involving board members. ZIMU said the auditors’ failure to reference these matters amounted to a “serious breach of professional responsibility.”

The letter also raised concerns about the accuracy of the directors’ list in the audit report, stating that it did not match official records lodged with the Deeds Office. It named Philip Chipfumbu as one of the directors omitted from the published list.

Auditor independence questioned

ZIMU questioned Baker Tilly’s professional conduct, suggesting that the firm may have relied on information supplied by ZIMURA’s management without independent verification. The union said the audit created confusion by alternately assigning responsibility for financial statements to both “management” and the “board,” which contradicts ZIMURA’s Articles of Association.

Katiji urged the audit firm to withhold the report from presentation at ZIMURA’s Annual General Meeting (AGM) scheduled for 22 October 2025, warning that using the document to guide governance decisions “would be reckless and a breach of ethical responsibilities.”

ZIMU has requested an urgent reassessment of the 2024 audit, public disclosure of Ncube-Chimhini’s legal status, and cooperation with regulatory authorities to restore transparency. The union also called for scrutiny of ZIMURA’s legal adviser, Witness Zhangazha, who has reportedly been referred to the Law Society of Zimbabwe over alleged misconduct.

Katiji said the credibility of both ZIMURA and Zimbabwe’s audit profession was at stake if the issues were not addressed.

Neither ZIMURA nor Baker Tilly had issued a public response to the letter at the time of publication.

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