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

LaSauce takes it slow on Broken Lipstick

06 Dec 2017 - 13:10

cc-img flag-img

South African singer LaSauce released her debut album Broken Lipstick last week. After listening to the offering for the first time, a quote from Slowness, a book by Milan Kundera, came to mind: “The degree of slowness is directly proportional to the intensity of memory; the degree of speed is directly proportional to the intensity of forgetting.”

LaSauce uses slowness to make Broken Lipstick memorable.

Based on this philosphy, the listener is compelled to think that LaSauce walked into the studio and asked the engineer that the sound of the album should unconsciously border on existentialism, turn-up and heartbreak. But the way in which the heartbreak element is addressed in the trajectory of the songs is unusual.

In ‘Messed Up’ featuring Lisa, LaSauce talks about dumping a cheating boyfriend, but in the next song, ‘Ncese’, the singer dramatically twists events when she affirms her undying love for her man even though he mistreats her. In ‘Won’t Let You’, LaSauce refutes the idea that she is not beautiful and asserts that she knows herself. She could have stayed away when he initially wronged her.

The sporadic nature of her relationship is well detailed. At one point LaSauce claims her power as an independent woman in ‘Shine’, featuring Davido and Emtee. This might be giving her too much credit because she professes love for the man in a remix of ‘Number One’ by Gang of Instrumentals. It looks like artists have an unwritten rule where they record slowed-down versions of an already existing song with the thrust of giving it a better feel. Cassper Nyovest did it in the remake of Destiny and kwaito artists built a genre by slowing down European house music in the 1990s. Sampling can be both good and bad and LaSauce could have benefited if she made 'Number One' an entirely new song without using a hook familiar to audiences.

Breaking away from the motif of make-up and break-up, in ‘Mama’, LaSauce shows appreciation for her mother who, despite financial difficulties and personal hardships, always made ends meet.

Songs such as 'Coolerbag', 'Party' and 'How It Is' can be danced to without making you contemplate the current state of the romantic relationship you're in, owing to their upbeat tempo. The last few songs in the album are a relief from the lento delivery.

While the majority of the album constantly teeters between love and heartbreak, it is difficult to move past how slow LaSauce sings. If you don’t have a taste for music that sounds like the equivalent of watching paint dry, then Broken Lipstick is not an album you would spend time listening to. At the same time, the slow tempo makes the lyrics easy to remember. This is true in the case of 'I Do' featuring label mate Amanda Black.

The beat production, although crisp with a signature rap sound, has unpredictable tempo changes that could disorient the most skilled dancer. The quality is top-tier even though it is sometimes difficult to ignore LaSauce’s nasal screech that pierces the ears when she inundates the listener.

Artist: LaSauce
Album: Broken Lipstick
Label, year: Ambitiouz Entertainment, 2017

Please log in to post a comment.

Most popular

Disclaimer: Music In Africa provides a platform for musicians and contributors to embed music and videos solely for promotional purposes. If any track or video embedded on this platform violates any copyrights please inform us immediately and we will take it down. Please read our Terms of Use for more.

newsletter banner

Subscribe to our monthly Newsletter

Follow us on social media