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

More sour grapes with AKA’s StarSigns

25 Jan 2018 - 14:02

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AKA is not the kind of artist you’d be listening to if you’re hoping to hear profound philosophy. This applies to many commercially successful rappers and singers in South Africa. They’re not the type of creatives who can rack your brain with their bars. But in his latest offering ‘StarSigns’ featuring heavyweight lyricist Stogie T, AKA seems to be going deeper than most of his counterparts – save for the garish auto-tune that he uses even when he addresses the crowd at live shows as well as a chorus that sounds like the ramblings of a madman.

AKAs 'StarSigns' featuring Stogie T takes jabs at rivals the two rappers have in common.

To be fair, the bars are average, and do we still call them bars if the rapping has become singing? AKA opens with a line that suggests he’s been waiting for a prophecy about where his life should go. “I’ve been waiting for a long time / It’s written in my star sign,” he sings. He then descends into an abyss where he doesn’t confirm whether the prophecy was fulfilled or not. “Take off the shoes, hop in the swimming pool (splash).” Okay we get it, the man wants to take a swim or maybe it’s an indirect reference to Aquarius. Whatever it is, it makes little sense. “Who got the juice? who go the Liqui-fruit? (cash) / Who got the sauce? who got the minerals? (man).” He asks rhetorical questions that the adlibs painstakingly attempt to answer, while at the same time the rhymes are lazy yet somewhat well thought out if you’re 15.

AKA delivers sarcasm with a serious tone in the verses while referencing recent issues in the music industry. “I be getting so much money niggas think I’m signed to Mabala now.” Here AKA takes a jab at the controversial record label that has been accused of buying awards for its artists. The rapper then continues to gloat about his achievements. American author Sidney Sheldon once wrote, “Vanity is the devil’s mirror.” ‘StarSigns’ is AKA’s mirror. In fact, AKA’s entire catalogue is a reflection of his inflated ego.

Mr Forbes (AKA’s not so gangster surname) had a choice to either rap or use auto-tune. He opted for the latter and his delivery would have been more poignant if he made the right choice.

Stogie T is the redeemer in this song. Sort of. The rapper formerly known as Tumi is known for his lyricism. That’s not saying much when compared to SA’s other big-name rappers. He himself thinks he’s a hip hop authority in the country. Even Cassper Nyovest is threatened by him if we have to go by his reaction at the South African Hip Hop Awards last year. And it’s true – Tumi has one thing Cassper and most other SA rappers don’t – content.

His verse on ‘StarSigns’ has shrewd wordplay and strategically takes shots at both Riky Rick and “Mufasa”.

"Me and B [Bonang] share a legacy / Bad grammar and a booking fee.” Here he uses AKAs ex-girlfriend as leverage for a bar. “How ironic, so much Gucci and no material or music,” he says about Riky Rick. Hold it right there! It’s not ironic, a Gucci sense of fashion is not equal to creating music. And it’s not like Riky Rick doesn’t produce music – he’s actually very productive. The real irony here is that Stogie T’s ‘Diamond Walk’ video was shot in front stores such as Prada and Luis Vuitton in Johannesburg’s glitziest mall, Sandton City. So it’s a clear case of the pot calling the kettle black.

The final line in Tumi’s verse (“You can’t get Mufasad by antelopes”) is pretty corny (it makes a proper noun into a verb) but delivers an effective message: Tumi is the Mufasa of rap, not Cassper Nyovest, because Cassper, contrary to a nationwide fad, is the antelope. This is much like saying “My daddy can beat up your daddy, so there!”

Tumi could have at least called out the two rappers by name. Is he scared? Nobody knows. Probably.

‘StarSigns’ is a well-packaged song with great production efforts on an average trap beat. The rhyme schemes are enthralling at times but the content doesn’t quite make the desired impact. The vocoder is also AKA’s safety blanket that someone needs to snatch from him while he’s asleep.

Artist: AKA ft Stogie T
Video: StarSigns
Label, Year: Beam Group, 2018

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