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: Stephen Gawking aka The Nuclear Lyricist

23 Feb 2023 - 09:16

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By Devo Oosthuizen

One of the most interesting and motivational South African hip hop releases for 2023 comes from Stephen Gawking, who goes under the alias The Nuclear Lyricist. Stephen Gawking, real name Ijay Swanepoel, is a KwaZulu-Natal-based artist fighting the good fight as an icon to motivate and inspire. Ijay suffers from a neuromuscular disorder called spinal muscular atrophy (SMA) type 2, which results in the loss of motor neurons and progressive muscle wasting. This is a similar disorder to that of the late theoretical physicist Stephen Hawking.

Stephen Gawking aka The Nuclear Lyricist.

Rather than play the pity card, Ijay’s objective is to use his talent and music as a fighting symbol of hope and inspiration for those who are disabled, different, oppressed, bullied, and everyone in-between.

Stephen Gawking recently dropped his track ‘Cheslin Kolbe In An Office Cubicle’ featuring an all-star South African collaboration with Loufi, Gazelle, HemelBesem and Vicus Visser. The concept of the track? What if South African rugby player Cheslin Kolbe listened to the naysayers, and didn't pursue rugby? He would’ve been discouraged, working in an office cubicle, hearing a voice deep within, as the song plays like his destiny calling.

In real life, Kolbe never listened to the naysayers, and is regarded as one of the greatest rugby players of his generation. How many people listen to the cynics, losing out on their potential because they don’t try? This track is an anthem to motivate and inspire everyone to pursue their dreams, as the old cliché goes, “Rather try and fail, than fail to try”.

Ijay Swanepoel lives by this motto, and has learnt so much by doing so (who would’ve thought he would meet and work with such prominent artists?).

We had the opportunity to chat to Ijay Swanepoel, and here is all that went down.

DEVO OOSTHUIZEN: You mention in your press release that ‘I feel like Nick Fury bringing together the Avengers for the first time, and like them, I feel that this song will be iconic, especially for the Stephen Gawking brand. I still can't really believe it, it feels surreal. Everyone featuring on this track, and everyone behind the scenes that made this possible, is scattered across South Africa and as far as New York. For me, this whole Stephen Gawking project is, and continuously aims to be, the ultimate embodiment of the Rainbow Nation, and what South Africa has to offer!’

For those unfamiliar, how does SMA affect your everyday life, and at what age were you diagnosed?

STEPHEN GAWKING: I was diagnosed around the age of one after my mother realised that I wasn't developing physically in terms of crawling, etc. I could never walk, but my hands had more mobility up to a certain age, but now I can't do anything for myself anymore, I can just use a mouse on PC and drive my electric wheelchair, much like a baby ... but a Boss Baby [laughs].

When, and how did your passion for music start, and when did you discover your immense talent for music and for bringing amazing artists together?

Music has always been around since I can remember. My parents influenced me, and I guess almost primed me without even knowing it, from Eurovision, to many music awards and shows that we recorded on VHS and watched over and over. So, it’s always been there, just dormant I guess. And when I finally decided to give it a try, it all came naturally.

What and/or who motivated you, and how did you find the strength to rise above your immense personal challenge, to pursue your goal to become and artist for change and a fighting symbol of hope and inspiration to those who are ‘disabled, different, oppressed, bullied, and everyone in-between’?

It’s a combination of things, but ultimately most of the credit must go to my parents, and how they complement each other in terms of how they raised and influenced me to become the person I am today. I will explain everything more in-depth one day. But without Johan and Lucy Swanepoel, I would never have been a ‘warrior’ and just another victim of circumstances.

How did you go about getting this group of talent together, inclusive of Loufi, Gazelle, HemelBesem and Vicus Visser, to collaborate on ‘Cheslin Kolbe In An Office Cubicle’?

It was quite the journey and definitely not easy, but I learnt so much about how to work with different people and personalities. And again, a lot of credit to my parents for shaping me to be able to operate in such complex situations. At the end of the day, everything and everyone came together and brought their A game to make this track truly something special and I am very proud of the end result.

What made you specifically reference Cheslin Kolbe as the motivation for your anthem?

I read an article about Cheslin Kolbe and how he explained that everyone doubted him in terms of being too small to play rugby. Kolbe’s father, Andrew, shed a tear during the M-Net documentary Chasing the Sun, as he remembered how his son had been called a ‘dwergie’ [dwarf], and told he was too small to play rugby. However, Cheslin said, ‘Dada, I will become a Springbok.’ He did just that and much more, proving everyone wrong. What an amazing man and a legend!

Given you have four prior singles, also featuring guest performers, who else would you love to work and collaborate with in the future?

The list is long and constantly getting longer. I’m open to collaborating with anyone who would be open to it, no matter the genre. I love the idea of pushing boundaries and bridging genres, cultures and even languages.

What would you deem the biggest success you can achieve with your music and with your message?

The biggest success one can achieve as an artist is to be universally relatable and immortal, but I will also settle for a Grammy or SAMA [laughs].

Which artist and hot tracks are you spinning right now? And who is your favourite South African artists overall, and why?

I mostly listen to top-10 hits and such to stay up-to-date with what’s hot, from Drake to Taylor Swift, who are killing it in the charts. My personal favourite local artist is Jack Parow, and has been since I first heard him. I felt like Goku turning Super Saiyan for the first time or Neo discovering he is The One [laughs].

Where to from here?? What can fans look out for next from Stephen Gawking, aka The Nuclear Lyricist?

We are almost done with single number five, titled ‘Andria The Angelic’. This is a tribute to my late sister, who also had SMA, but type 1, which is much more progressive than type 2. We also have few other tracks in various stages of production. This is just the beginning and I still have a lot of fight left in me and things to achieve.

Follow Stephen Gawking’s handle @NuclearLyricist on all social media platforms and listen to his music here.

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