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

Features

FlexBoogie: 200 truths about love and hip-hop

26 Oct 2016 - 13:30

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Like most hip-hoppers, South African musician FlexBoogie has big dreams. The difference is he’s in no rush. Nor is he afraid of being caught in the shadow of giants like AKA and Cassper Nyovest. Flex says these artists have paved the way for others to follow.

South African musician FlexBoogie has big dreams.  Photo: Supplied

He has a visual production broadcasting company and record label, BecauseBlack, he has just released his latest single, On Road, in preparation for his debut album, and he’s got a book titled 200 Truths About Love in the pipeline. Music In Africa asked him about his further plans for global domination.

Tell us about your latest release On Road: what's it about?

The song On Road is about me getting a few things clear about my life, my artistry, but also an homage to my days running the streets in South Africa, London and Tottenham, carving a name for myself on stage and facing obstacles throughout. A callous warning almost to not be messed with. Mountains will be moved on my way in and up. It's started. #Powers

Who did you work with on the track and how did the collaboration come about?

I featured PdotO on the track and it was produced by V the Vowel. I chose to work with P because 1: I've always been featured on his songs but I didn't have a song with him and 2: because he's just an amazing lyricist who gave the song pace and stood out in the midst of V's production magic. Overall the song is a movie, if you visualize what we're both describing. I love it.

Is it part of a bigger project/EP/album?

On Road is part of my debut album Powers. An entry into the mired, troubled and heavily blessed and favoured life and times of FlexBoogie.

What has the response been to On Road in terms of sales, downloads, views etc?

The response has been okay. I don't mind the masses not paying attention to me right now, there's a lot of noise but good music stands the test of time. It's going to catch fire. I like that people/fans are heavily intrigued by the music. That's always a plus. The download numbers could climb higher and they will.

How are your other BecauseBlack ventures doing? What other projects are brewing?

BecauseBlack, yeah? What a blessing this company has become. We've got a few new advancements in the pipeline that I can't talk about freely as yet BUT they are game-changing for content creators. Let's get black creatives working, noticed, valued and celebrated, so they can get paid properly. That's all I can say for now.

Tell us more about your book 200 Truths About Love

200 Truths About Love has recently been picked up by Pelmo Books to get published and will hit the shelves in 2017, shortly before the album Powers comes out. I'm looking forward to people finally having this book and keeping it. The growth I've seen of the many women who have taken my work in is immeasurable and I'm proud to add that much in their lives. I pray it touches more people and I can't wait to meet those I know will love it on the book tour too.

What are your views on the state of hip-hop in South Africa? What's it like trying to carve out a niche for yourself when you've got huge acts like Cassper Nyovest, AKA, Nasty C and others grabbing most of the headlines?

I'm honestly not concerned with comparing my journey to others and joining the throng of complaining artists. The game is fair, according to how one plays it. I love it. I love that change is coming and I love how guys like Cass have shifted the business paradigm for the rest of us to capitalize on and make more chances, while creating greater opportunities for other artists to thrive. Let's win, man.

Hip-hop right now seems to be to South African music what kwaito was in the '90s. Does that mean there'll come a time when hip-hop fades? What do you do then?

The one mistake people should never make with hip-hop is consider it a passing trend. This is not just music, it's a whole culture I've seen change whole communities positively. You can't stop something like that. Hip-hop is for life and so, no, I don't think it will fade. It will always recreate itself. Always.

Which artist do you most admire and want to emulate?

Fam. I'm FlexBoogie. I am magic. I'm voodoo. I'm God-made. I want to be like no one and no one will ever be like me. In terms of admiration: Janelle Monae's whole Wondaland label and brand. That's Black Power. That's admirable.

What's next for FlexBoogie?

The Powers album. 200 Truths About Love . Dancing and advancing on My Throne. World stages. Wild-ass showcases on tour. And, of course, flying the BecauseBlack Co. banner all over Africa in 2017.

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