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

Emerging Cameroon: Skxnnx

12 Jul 2024 - 13:38

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Cameroonian artist Skxnnx’s (pronounced as skinny) career began while in high school, where local influences ignited his passion for music, leading to his affiliation with the GOFT Family collective. After earning an engineering diploma, he pursued music and modelling, eventually relocating to Russia, first settling in St Petersburg before heading to Moscow, a decision he says has profoundly shaped his artistic path.

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In Russia, Skxnnx released a number of singles, including ‘ERA’, ‘What’s Poppin’ and ‘Wi Ma Broz’. Following a brief hiatus, he co-founded the Glizzy Gang with Nigerian rapper Rain Of Asini, before going on to release solo projects like ‘Upthemundo’ and ‘Ctrl Mundo’.

His latest release, ‘Trouble Kid’, delves into themes of youth and rebellion, drawing from personal experiences to resonate with listeners.

The artist recently spoke to Music In Africa as part of our Emerging series highlighting exciting new talent from the continent about his creative process, an upcoming EP, and more.

MUSIC IN AFRICA: Growing up in Cameroon, what were some of your earliest musical influences, and how did they shape your passion for music?

SKXNNX: I was heavily influenced by Makossa, a local genre led by international figures like Manu Dibango, Richard Bona, and Petit Pays. Growing up, I fell in love with hip hop because it fits the spirit of rebellion and non-conformism that drives me.

What inspired your decision to leave Cameroon and pursue your aspirations in Russia? Can you walk us through that pivotal moment in your life?

My decision to leave Cameroon was fuelled by the understanding that the social and economic situation there wasn’t aligned with my vision. After university, I tried different approaches to achieve success. I launched an online shopping store, played in a few local movies, and made a few records, but none matched my expectations. The environment was not favourable for me to express myself as I wanted.

Your latest single, ‘Trouble Kid’, delves into themes of youth and rebellion. What personal experiences or observations inspired you to explore such themes?

We live in an era of mass control, where governments establish laws and programmes to mould consciences as they wish, with the primary goal of keeping the majority in ignorance and servitude. As soon as you start to think differently from the masses, you are labelled a failure. It takes courage and self-sacrifice to choose your path despite preconceived ideas. These sounds are for all souls who seek their paths and use their differences as a strength.

As an artist based in Moscow, what has been your experience navigating the music scene there, especially as someone with a unique cultural background?

Moscow is a cosmopolitan city with various cultures, and the music scene is also composed of different genres, led by rap music.

Who are some of the artists that inspire you?

Kid Cudi, Young Thug, Travis Scott, Playboi Carti, and I will add Kanye West for his entrepreneurial spirit.

How do you approach collaboration compared to solo projects?

I approach both with the same mindset: giving my best and putting my feelings into the beat. This is what I always do.

What do you hope listeners take away from your music, especially from tracks like ‘Trouble Kid’? Is there a specific message or emotion you aim to evoke?

I aim to share my emotions and my story with my audience. Music is the easiest way to express my inner self. The message behind ‘Trouble Kid’ is: “Don’t let anyone define who you are or try to change who you are to fit a certain standard. Confidence and dedication are the keys to success.

What goes into your creative process when crafting a new song?

My process is very spontaneous. I listen to beats until one of them evokes something in me, and then I express myself on the beat by freestyling and having fun. I don’t write lyrics because it kills the spontaneous feeling of the creative process.

Looking ahead, what can fans expect from you?

I am constantly discovering myself and my potential. I will continue to release music to share with my audience and I am planning to release an EP this year.

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