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

SA collaborators talk about new song tackling mental health stigma

23 Feb 2024 - 09:23

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Introducing a pioneering collaboration that transcends the boundaries of music and advocacy, ‘Demons and Disorders’ is a bold anthem spearheaded by Stephen Gawking, aka The Nuclear Lyricist, Aewon Wolf and Nathan Blur, who unite in a shared mission to ignite change and foster empathy.

Demons and Disorders collaborator Nathan Blur. Photo: Thabo Nyembe

The three South African artists have combined their artistic platforms to confront the pervasive stigma surrounding mental health. In a world fraught with challenges, their collaboration stands as a beacon of hope, inspiring us to embrace understanding support, and resilience.

We spoke with the artists about what motivated them to release the new track.

How does this collaboration cultivate empathy, mutual understanding and support for one another’s mental well-being?

STEPHEN GAWKING: I want to stress that everyone faces struggles, and there’s no shame in them. It’s important to persevere and keep pushing forward. Aewon hopes listeners find enjoyment in the music and are inspired to be kind to one another. Nathan aims for people to connect with the song’s vibe while relating to its lyrics. Music invites personal interpretation, encouraging listeners to explore their own imaginations. Our aim with this track was to evoke a range of emotions, leaving a memorable impact on listeners.

Mental health struggles affect millions worldwide, yet the stigma around the issue prevents open dialogue. How does ‘Demons and Disorders’ aim to break down these barriers and encourage listeners to prioritise mental health awareness and support?

SG: ‘Demons and Disorders’ takes a profound and serious stance on a societal issue that demands open discussion – free from judgment or stigma. The song embarks on a philosophical quest, probing the depths of depression and seeking ways to address it. Its chorus serves as a universally resonant anthem, capturing the shared experience of ‘barely holding on’ at some point in life.

Each of you has faced personal challenges on your journey as artists. How does sharing these experiences through ‘Demons and Disorders’ promote a sense of solidarity and resilience among your fans?

SG: By openly sharing our struggles, we aim to foster recognition among others that we all encounter inner demons, irrespective of our backgrounds or identities. This acknowledgment underscores the significance of unity, as it highlights our shared experiences and challenges. Through collaboration, we strengthen our collective resolve, demonstrating the power of working together to overcome obstacles.

AEWON WOLF: As a creative individual, I believe my primary role is to authentically convey the story surrounding this issue. Additionally, having lost artist friends to depression, I’ve witnessed first-hand how effectively it conceals itself and can catch anyone by surprise. While I cannot definitively say whether I technically suffered from depression myself, as I was never diagnosed, I can certainly attest to experiencing dark episodes that align with its various descriptions. During these challenging times, small acts and signs of kindness played a crucial role in pulling me through. Therefore, drawing from my personal experiences was instrumental in telling this story.

NATHAN BLUR: The message of this song is important because it sheds light on universal issues that everyone faces. Vulnerability allows people to connect with the song’s message. The song concludes with the line, ‘Something’s got to be done and it starts with you.’ I hope this line raises awareness about what others are going through and underscores the role we all play in making the world a better place.

The power of music to heal and uplift is undeniable. How do you see ‘Demons and Disorders’ serving as a beacon of hope for those grappling with mental health issues?

SG: By offering reassurance that individuals are not alone in their struggles and that experiencing challenges with mental health is a common human experience. We aim to bring some clarity to the darkness of depression and this shared objective is what brought us all together to work on this song.

‘Demons and Disorders’ blends various musical genres to convey its message. How does this eclectic fusion of styles reflect the complexity of mental health struggles and the need for diverse perspectives in addressing them?

SG: Like the diversity found in music, mental health encompasses a wide range of experiences. However, it doesn’t discriminate; its effects can be felt by anyone. This shared vulnerability is a common thread among us humans. Therefore, standing together in solidarity is the most effective approach to combat it, as demonstrated through this song.

Stephen Gawking, in your role as a beacon of hope, how do you leverage your platform to champion mental health awareness and combat stigma, especially for individuals confronting disabilities?

SG: Through my journey, I aim to demonstrate that even with a progressive muscular disease, I continue to persevere. If I can overcome obstacles to pursue my dreams and passions, then what’s stopping anyone else? Ultimately, these pursuits give me a sense of purpose, and I hope to inspire others through my music and accomplishments.

Aewon Wolf, your dedication to spreading love and compassion comes through in your music. How does ‘Demons and Disorders’ amplify your message of understanding and support for others’ mental well-being?

AW: This song resonates with those values by tackling a topic frequently polarised and scrutinised without exploring the genuine human experiences beneath the scientific and religious explanations. Upon closer examination of the song, you’ll observe that following all the anecdotal analysis and reflection, I close with a straightforward call to action: ‘Just being nice.’ Essentially, this encourages demonstrating love and compassion towards all individuals, recognising that we can never fully comprehend their struggles.

Nathan Blur, your soulful music resonates deeply with listeners. How does ‘Demons and Disorders’ harness the power of emotion to connect with audiences and foster empathy for mental health struggles?

NB: I believe most of the connection with this song will stem from listening to the lyrics. I hope the song encourages people to be more aware of the mental and physical struggles others face. It’s always challenging to know if listeners will interpret your music the way you intended. Music is subjective, and its meaning can be heavily influenced by everyone’s unique experiences. If we manage to spark a thought or conversation, I think we’ll have achieved our goal.

Collaboration often brings about personal growth and new perspectives. How has working on ‘Demons and Disorders’ challenged and inspired each of you to prioritise your own mental health and well-being?

SG: For me, the entire process was incredibly therapeutic, reaffirming the deep satisfaction that comes from collaborating with fellow artists to craft something unique. This ongoing creative journey nourishes my soul and contributes to my overall well-being in a profound way.

AW: I’ve developed a newfound appreciation for my lifestyle choices as they enhance my artistic expression by allowing me to create from a place of contentment. Through my music and artistry, I aspire to impart elements of this happiness to others, aiming to spread positivity and inspiration.

NB: This song served as a reminder for me to always prioritise my health. As creatives, our success often depends on how many people like us. The constant pursuit of universal approval can lead to mental health issues, a struggle many of my peers have faced. I recently stopped creating to please others and instead focused on making music that I love. I always strive to stay grounded and ensure that I prioritise activities that bring me joy. It’s not always easy – late nights, early mornings, social media trolls, and so on. Sometimes it feels like you’re ‘barely holding on.’

Listen to Demons and Disorders here.

This interview was supplied to Music In Africa by Devographic Music Agency.

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