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

Zoocci Coke Dope’s ‘satanic’ video is teenage fantasy

19 Jan 2018 - 11:26

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If there’s one thing that drives God-fearing humans into a hysterical frenzy while recoiling in fear, it’s Satanism. Many have misappropriated pagan symbols and seamed them together with religious ideologies in order to form the concept of the devil. And it was Dante Alighieri who gave the world a graphic representation of what awaits sinners in hell. In actual fact, the details of hell are seldom mentioned in the Bible.

One of the images that are flashed in Zoocci Coke Dope's latest video.

Zoocci Coke Dope in his video for the song ‘All Night Long’ featuring A-Reece exploits ‘satanic’ symbolism, albeit far more Halloween and Hollywood than the Inferno. The tone is gloomy and obscure with a blend of magenta and black. The opening sequence, despite the obtrusiveness of the product placement that follows, is eerie, showing us Zoocci standing behind of an illuminated coffin that working adults with children would find cheesy.

The viewer is then shown images of a mannequin holding a crucifix with the inscription RIP, and you hope that the lifeless figure comes to life like the Autons in Doctor Who to add to the strangeness of this video. Some would be thrilled to know that it stays inanimate. Others won’t.

The second image is of a nefarious looking pumpkin – a jack-o'-lantern, which the Irish conceived to scare away the soul of a miserly man named Jack who was denied entry into heaven and hell after he hoodwinked the devil.

The video is filled with images that flash by the screen so fast that it’s easy to miss them; others can be seen without hesitation. Most of the symbols also fit into the illuminati craze that made temporary celebrities out of conspiracy theorists, many of them still living in their parents’ basements.

Other symbols include a crow, owl and wolf. The most compelling image is that of a digital alarm clock with 6:66 on the display. This visual is gripping because it appears for less than a second – similar to the pornographic images in the cult classic Fight Club.

When A-Reece recites his verse, there is an intersection between the word ‘goat’ and a skull of the horned animal on screen. That’s one to upset the vegans.

The intention of the video is not clear, as it is an amalgam of visuals that relate back to the central theme, a satanic nightmare where a bunch of young rappers thrive creatively. What might make it controversial is the use of taboo imagery that has been a major talking point in South Africa for years. At the least Zoocci could be accused of witchcraft and being a devil child. We’ll accuse him of attention seeking.

After a while the repeated images become redundant and the motive of the video is lost to a dark abyss. If it is meant to scare people or be edgy, the video fails in its teenage pursuit to be rebellious, much like the way T-shirts of heavy metal bands look more silly than scary.

Another issue is that of the message conveyed in song and visuals. This video is in the same WhatsApp group as Zakwe’s ‘Sebentin’, and can be summarised by an excerpt from Lewis Carol’s Alice in Wonderland.

“Why is a raven like a writing desk? Have you guessed the riddle yet?” the Hatter said, turning to Alice again.
“No, I give it up,” Alice replied. “What’s the answer?”
“I haven’t the slightest idea,” said the Hatter.”

Artist: Zoocci Coke Dope ft A-Reece
Video: All Night Long
Label, Year: Vth Season, 2018

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