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

Interview: DJ Spoko

09 Feb 2015 - 10:36

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by Adrian Martens

A scorching New York sun towered over Queens’ MoMA PS1 art gallery as performers set up their gear for the first showcase of the incredible “Warm Up 2014” series. Acts included Pantha Du Prince, ad/jus/ted and even a surprise performance from Manhattan native Blood Orange, but the one performance which seemed to captivate the audiences attention (and mine) was that of Atteridgeville-based producer, Marvin Ramalepe (or DJ Spoko).

DJ Spoko

“Hello New York, I’m going to turn this place into a township!” exclaimed a voice through PS1’s soundsystem. The exhuberant disc jockey spun music reminiscent of the Shangaan tradition, ranging from Shangaan Electro to Gqom. Trained by Shangaan Electro pioneer Nozinja, Spoko brings an electric South African energy with him onstage.

Before Spoko’s set, this Bacardi House producer was wondering around the halls of PS1 enjoying the artworks. “This one is my favourite,” he said as he pointed toward a self portrait by Austrian painter, Marina Lassnig. Beside Spoko was his friend and cameraman Wills Glasspiegel, who along with True Panther Sounds founder Dean Bein, made sure Spoko’s show was documented. Spoko was happy to do a quick interview with Music In Africa before his set...

How does it feel to bring your music to such an incredible place like New York?

DJ Spoko: I’m living the dream out here man, somebody better not wake me up because it’s just too good!

How did you get into music production?

DJ Spoko: Well, I’m somebody who isn’t scared to try new things. I was interested in music for a while, and when I went down to Soweto, people were telling me there were Shangaanis working on electronic stuff, so I went to check it out. I ended up spending three years of my life there, studying the style of music, sound engineering, and production. It came to the point where other producers were asking me how their music sounded, and since I thought their music was too slow I told them to speed it up so they could sing slower in half time. We made it so we could sing at 90, while the beat stays at 180. That’s why it’s difficult when you mix Bacardi with House music, because Bacardi is only on 123 bpm, but you can’t mix it with house because in reality the beat is going on 246 bpm. We were making this new type of music.

What advice would you give to all the young artists out there making Shangaan music?

DJ Spoko: If you’re real with yourself, you mustn’t worry about the songs that get scrapped or the music you’ve lost along the creative process, just keep making music and build up a fan base. I’ve been doing music for 15 years and I started touring the world like three years ago. I had like 12 years of hardship in the game, but now everything has worked out and I’m playing here in the big city. This guy from the township with all these fans and supporters, its crazy man.

How were you discovered?

DJ Spoko: The guy who was filming me earlier, Wills – visited South Africa to discover the music scene. But when he arrived, he found out about another part of the Shangaan scene, which was where I was involved. When he got back to the US he contacted me about my music. And I was like “Whoa this guy is a friend of Nozinja! How did we not meet?” We spoke via email and I ended up doing a remix of a track by Glasser and sending it to him. Next thing you know I’m doing some remixes for these guys over in France, which is when Dean gave me a shout and told me he wanted to do something with the music. I told him it was hard because here I am in the township, how is this gonna work? I said he should come to South Africa and feel what I feel, and see the Shangaan scene. So he did just that. After that we signed a deal to True Panther Sounds I released my first EP, Ghost Town.

What’s next for DJ Spoko?

DJ Spoko: I’ve got an album coming out under Lit City Trax called War God: it’s about 20 tracks long. It should be out soon but I’m also working on another collaborative EP with Mujava. I’ve also been working with Spoek Mathambo, Andre and Bergie on the Fantasma EP.

How does the audience react to your music in the United States compared to back in South Africa?

DJ Spoko: It’s so much crazier in America man, I make party music and the people here like to have fun! I love South Africa, but it is also time to bring the new sound of Mzanzi to different places.

You’re also in another group with Spoek Mathambo called Fantasma, how did the two of you meet?

DJ Spoko: The first time we met was when Spoek was filming me for his movie, Future Sound of Mzanzi. People were telling me: “There’s this boy! He stole your name!” I said, “No he’s never met me that’s not possible!” So when we met, we spoke about music and then suddenly we’re in this band and now we’ve got a deal over in the UK and a tour soon. I can’t believe it sometimes.

Any last thoughts or shoutouts?

DJ Spoko: Shout out to my main guys Dean, Wills, Spoek, Bergie, Andre, Nozinja, the True Panther Family - and Mzansi!

* Hear DJ Spoko’s new track from the compilation album The Devil’s Rebels below:

[audio:https://soundcloud.com/djspokom/dj-spoko-afrikamotherland autoplay:0]

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