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

Reviews

Wake up kids, Nasty C’s back with Strings and Bling

09 Jul 2018 - 16:35

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When Wu-Tang Clan member Ol' Dirty Bastard interrupted singer-songwriter Shawn Colvin's speech, he said: "Wu-Tang is for the children." What he meant was that children could learn by listening to Wu-Tang because the hip hop group had a positive message for them.

Nasty C knows a lot about human anatomy in his latest album.

Nasty C last week released Strings and Bling, an album that is for children, but not in the way that ODB meant. The album is a product that was written for kids with teenage drama, puppy love and those who have just discovered sex and alcohol.

Nasty C made a formidable entrance into the South African music scene about three years ago. He quickly gained respect from artist such as Cassper Nyovest who he featured on ‘Juice Back’, a song that Nasty C allegedly stole. In no time, along with a bunch of other artists, he signed to the now mute Mabala Noise on which he released Bad Hair, an album that featured SAMA Song of the Year ‘Hell Naw’. Despite his achievements and occasional hits, the rapper has a knack for saying strange things and releasing underwhelming but memorable music – and he hasn’t disappointed on Strings and Bling.

The offering has an almost perfect production quality and Nasty C didn’t compromise on beat selection. The title track’s guitar has a nostalgic element that’s accentuated by a haunting “Oh my God” in the background. With an exception of a few songs, the instrumentals would be fitting for an R&B album. Something good to listen to on a Sunday and blues before that rude awakening that you have work the following day.

Nasty C's cadence is a contributing factor to the catchiness. He doesn’t limit himself to the trap trope where everything ends up sounding the same. There is a good balance of singing, rapping and doing whatever it is that trap artists do... This can be heard in songs such as 'Another One Down' and 'Casanova'.

Lyrically, the album is everything to write home about, informing the recipients that there’s nothing to write home about: Nasty C comes across as juvenile in the construction of his rhymes, some of which are poorly thought through. “I don’t want no sex, cos your p*ssy got an echo” in ‘Jungle’ is one such example. His excellent grasp of human anatomy is also presented in ‘King’ featuring American rapper A$AP Ferg where Nasty says, “Nah, I’m serious the shine is too bright it might f*ck with your iris." He must’ve spent many days playing truant when he was still a pupil.

Thematically the album is a mix of what sounds like post-existential crisis-gloating and depressive moping over relationships. There is a contrast in this album. On the one hand Nasty C shows that he can be an egomaniac through lines like “never introduce myself and it ain't cos I got no manners”. On the other, he shows a tender side in songs like ‘SMA’, ‘My Baby’ and ‘Mrs Me’. So what's Nasty C's position? Is he a player or committed to that one (supposedly) lucky lady? Nasty C will figure it out when he gets a little older.

At the end of the album, Nasty C goes full circle to his infantile fantasies in ‘Jiggy Jigga’ where he talks about how his underpants cost more than his iPhone. Who cares? No one wants to hear about a guy's underpants, even if they're made of gold leaf and Jay-Z's bubble gum for an elastic.

If content is anything to go by, Strings and Bling is subpar but that is compensated for by the production and Nasty C's flows, which makes the absurd sound great. The final product is a good listen if you are a high school student, or if you have the acumen of a 17 year old.

Artist: Nasty C
Album: Strings and Bling
Label, Year: UMGSA, 2018

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