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

Stogie T sets Lyric Theatre ablaze

07 Aug 2017 - 13:43

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Is he Stogie T or Tumi? It’s difficult to tell the difference when the South African hip hop artist is on stage in his element. To the audience, Tumi will be Tumi regardless of a new suit or narrative.

Stogie T posing with an 'expensive' stogie.

Tumi and the Rebirth of Cool, a band that gets its name from the Miles Davis compilation album Birth of the Cool, played an eccentric show at the Lyric Theatre in Johannesburg on July 29, where ticket sales were based on talent and not on No 1 radio hits. Botswana-born singer Mpho Sebina set the tone with an astounding opening performance that had the audience captured in the power of her voice. As soon as the show began, it was difficult to make sense of how anybody would enjoy live music while sitting down – in a theatre of all places. The Japanese are pretty good at enjoying live performances from the comfort of a chair, but in South Africa fans prefer to spill beverages over each other while swaying uncontrollably from side to side.

Kaya FM presenter Shane Ngwenya emceed the show. His baritone voice was pleasant to listen to but his stodgy presentation made him an unnecessary accessory. While introducing the show, he mentioned the sponsors, during the first intermission he did the same and before the headliner went on he spoke only about the sponsors, underselling the main act in the process. Corporate.

Tumi is an artist with a formidable repertoire enjoyed by his old fans and those who were introduced to him in the post-Volume era. When he got on stage he said there was a reason people called him an OG. The reason, he said, was that everybody had a different story to tell about how they met Tumi. The statement resonated with many in the audience and his words were met with a resounding round of applause.

The rapper took time to talk about the name change and explained the meaning of Stogie. He said a quality cigar took seven years to be at its best. The cigar is a metaphor for his personal growth, because he, like a stogie, had passed through many hands. The metaphor is not that profound because at the end of it all Stogie T still sounded like good ol’ Tumi, and a stogie is actually a long, thin, cheap cigar if the dictionary meaning is anything to go by. Of course, 'Cohiba Behike T' doesn't have the same ring to it, so we'll let Tumi keep his new name for now.

The OG in Tumi Molekane's method is no myth; on the night, he recited songs that displayed his indubitable cadence. His lyrics were not subordinate to his performance – he values the writing process. He performed the song ‘76’ with singer Pebbles who walked onstage to euphoric screaming from the audience. Former The Soil member Samthing Soweto was another artist featured on the night. The young rising star stole the show with his modulated voice that had the audience in rapture. Tumi was also accompanied by DJ Kenzhero, who provided scratches throughout the show. This brought old-school authenticity to the performance. Emtee was also supposed to be at the gig but the rapper, who features on Stogie T’s song ‘By Any Means’, was a no-show.

Before introducing upcoming trap rapper Yanga, who also features on ‘By Any Means’, for the last song of the night, Tumi told a story about how Yanga had said to him that the DNA of hip hop was still the same but the form was different. This was in relation to a new presentation of trap that isn't heavily reliant on lyrics. The end of the show was perhaps a little underwhelming; the audience was expecting an encore and although they cheered for more, the musicians continued to bow and disappeared backstage for good. It was the same feeling you get when you lift a cup of tea to your mouth only to realise it’s empty.

Stogie T lived up to the legacy of Tumi’s live performances, gelling flawlessly with his band like he used to with the Volume, and fusing genres like hip hop, rock and jazz into a style that other South African rappers are yet to execute correctly. In addition to his open political critique, Tumi’s interdisciplinary approach lets him enjoy a cult following that will be there long after his colleagues have been forgotten. There was a metamorphosis of sorts during the Lyric Theatre performance: the audience first saw the sombre political commentator – Tumi – after which the braggadocio alter ego Stogie T appeared with an air of cynicism that can be seen as poking fun at an absurd hip hop scene defined by women, money, cars and bling.

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