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

US company sitting with unclaimed Nigerian royalties

07 Mar 2018 - 17:17

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At a recent event in Lagos, a panellist speaking about publishing music slammed some players in the Nigerian music business.

Winning Jah discovered that artists like 2Baba and Majek Fashek have not collected their SoundExchange royalties. Photo: Spotify

“I'm not going to name names but they don’t know about music publishing,” Amy Oraefo said.

The US-based Oraefo, who runs music publishing company Replete, was speaking about industry professionals she met in person. But she could have been speaking about a recent report concerning some Nigerian artists and unclaimed royalties in the US. The discovery was made by Winning Jah, a Nigerian artist based in Italy. The reggae act saw a list with the names of Nigerian musicians who had not collected royalties held by SoundExchange, a non-profit organisation in the US.

Established in 2000 as a division of the Recording Industry Association of America, SoundExchange signed an agreement that allows it to pay royalties directly to labels and individual artists. The service, which requires music owners to register with it, collects royalties from sources including satellite and cable music services.

Last year, the company spoke to American publication Fast Company. The resulting article, titled Artists: SoundExchange Has Free Money For You, No Nigerian Princes Involved, explains that SoundExchange deducts only administrative and operating fees. “For many labels, it’s the No 2 source of digital revenue only behind iTunes,” the article said.

Despite SoundExchange saying its registration process to collect royalties is a simple one, several artists are yet to collect royalties.

“You wouldn’t believe what we do to find artists,” the company’s president and CEO, Michael Huppe, said. “And there are a lot of folks we have found, and for whatever reason, they haven’t registered. I can’t tell you why you wouldn’t register to get free money. We see people, call them up and say: ‘Hey, we have money for you!’ Maybe we sound like a Nigerian bank scam.”

The statement about 419 scams might not endear SoundExchange to Nigerian artists on its list, but the company has reached out. “When we went to retrieve royalties, the company asked me whether as a Nigerian I knew anyone on this list,” Winning Jah told Music In Africa.

Following his exchange with SoundExchange, Winning Jah was interviewed by a Nigerian publication that later listed Wande Coal and 2Baba as artists with unclaimed royalties held by SoundExchange. But there are other artists on SoundExchange's list. “Majek Fashek, Victor Uwaifo, Lagbaja, Brymo and many others,” Winning Jah said.

The presence of acts like Fashek and Uwaifo, both of whom were successful in the past, is perhaps a testament to SoundExchange’s non-commercial motivations, as the company is mandated to keep uncollected royalties for only three years. After that time elapses the company has the right to release the funds to offset its costs. "But we’ve repeatedly put that ability off to give artists extra time," Huppe said.

It is now up to the affected Nigerian artists to claim their royalties. Should it become necessary, some help would be provided by their Italy-based compatriot. “If they are still ignorant about collecting royalties, I can voluntarily assist. I am not an enemy of progress,” Winning Jah said.

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