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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Hip hop: The basics of freestyling

11 Jul 2017 - 13:37

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What is freestyling or 'coming off the top'? You’ve might have seen rappers showing off this amazing ability on radio, in the school playground and on shows like MTV Cyphers. It’s an exercise that, when done right, leaves the audience in awe of a rapper’s talent. For some, the ability to freestyle is second nature and for others it is learnt and perfected through years of practice. Some even say that freestyling is a prerequisite ability if one wants to be regarded as a true rapper. However, some are indifferent about this particular art.

Fahrenheit vs Pava Gunz at Scrambles for Money: Roadtrip.

Straight off the dome (improvised freestyle)

Freestyling 'off the top' requires an emcee to be aware of their surroundings and also use prior knowledge to construct a verse. Because they’re improvised, freestyle verses might not always be coherent and unsuited words are sometimes used to fit a rhyme and foster flow. Being aware of the surroundings allows a rapper to come up with witty lines and contextual references. Prior knowledge also makes it possible to augment what is being said. A rich vocabulary, general knowledge and attention to detail contribute to being a good freestyle rapper.

Speaking about the philosophy of freestyling, South African rapper and Johannesburg tour guide Bongani ‘25th Magic’ Mathebula says that for a rapper such as himself the words almost exist outside of his being – almost floating around freely – and all he has to do is order them in an intelligible manner to make sense.

Freestyling is essentially the relationship the emcee has with words in the moment of improvisation.

In this video, 25th Magic performs a typical freestyle 'straight off the dome'.

Written freestyle

Written freestyles are verses created without the intention of recording them, and are presented in cyphers, which are gatherings of rap artists who freestyle among each other. Such verses can be written to boast the emcee’s writing abilities. Awareness of one’s surroundings is the one element that isn’t required because the subject matter has already been established. A rich vocabulary, however, is always important.

Emcees who opt to freestyle about their immediate surroundings often do so to prove to the audience and their peers that they’re improvising on the spot, while those who choose a more cerebral approach are sometimes charged with premeditating their rhymes.

There are also those who are such masters of freestyle rapping it’s often almost impossible to tell whether their compositions are improvised or written. Written freestyles can easily be passed off as ‘off the top’ when they’re delivered flawlessly. The problem, however, is when the same verse is recycled for different settings. This could lead to the performer losing their street cred, as it were. Rappers are most likely to get away with using the same verse if they perform for different audience members who don’t always frequent the same spaces, and also provided that a verse has not been recorded.

Here is an example of written freestyle by South African rappers Rouge, Maraza and Priddy Ugly:

South African rappers on Sway in the Morning

South African rappers AKA, Nasty C, Kwesta and Cassper Nyovest have appeared on the popular American radio show Sway in the Morning. The show’s host, Sway, is known for asking his guests to freestyle on air. When AKA made an appearance on Sway’s show, he stated that what he was about to ‘spit’ was “not a free[style]” and proceeded to read from his phone. Nasty C also did the same but after the first verse he continued without reading. Kwesta and Nyovest also presented prewritten verses but they recited from memory. The advantage of prewritten verses is that they add quality and limit the possibility of an emcee being too repetitive when appearing on radio or TV.

Here is Nasty C on Sway in the Morning:

Battle rap

Freestyling is also popular with battle rappers. In recent times, however, a written format of battle rap has been adopted to improve the quality of recorded battles.

In its purist form, freestyling in battle rap is about perception and how best to ridicule your opponent without having to prepare. This often happens with unplanned battles. In the event that a battle is planned and the participants are known, the emcee will prepare his roast beforehand. Statik Black who is often involved battle rap says: “With written battles people prepare a show for a flawless rap performance. Freestyling and writing go hand in hand when it comes to the development of the emcee.”

One notable freestyle battle was between Adamus and Prokid in 2004. In what rappers call ‘reverse psychology', the two would use each other’s diction to create an ongoing narrative throughout the battle, which proved to the audience that the rappers were freestyling without the aid of prewritten verses.

Freestyling in cyphers

There are many formats emcees can use to freestyle during cyphers. The cipher can be free-flowing where each emcee recites for as long as deem necessary. Another format that can be adopted during a cypher is when the emcee who is next in line builds his verse based on the last word that the previous rapper used, much like the Adamus-Prokid example. The audience can also be brought into the cypher to ‘throw’ words and names for the emcees to rap about. Preplanned cyphers such as MTV Cyphers, which features various South African rappers, give the emcees time to prepare their freestyles. This practice is regarded as rigid because it doesn’t give the emcees freedom to engage with each other the same way improvising does.

Freestyling is an element of rap that displays a rapper’s aptitude with words. However, not every rapper, including some well known names, can freestyle straight off the top. Freestyle is an intrinsic part of the hip hop culture. Every once in a while, a rapper will recite material that won’t make it onto an album, for the sake of entertainment and to show off his or her writing and improvisational skills.

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