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

News

SAMPRA takes on SABC, IMPRA over needletime payout

13 Jun 2018 - 14:34

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The South African Music Performance Rights Association (SAMPRA) is at loggerheads with the South African Broadcasting Corporation (SABC) and fellow collective management organisation the Independent Music Performing Rights Association (IMPRA) over what it calls a disproportionate royalty payout.

The SABC owns and regulates 18 radio stations in South Africa.

The SABC, which regulates 18 radio stations, last week announced that it would pay out about R22m ($1.7m) in needletime royalties for the 2014-15 period. This after it was reported last year that the SABC owed artists millions in needletime royalties. SAMPRA and IMPRA were owed more than R52m since March 2014.

Minister of Communications Ayanda Dlodlo said during a parliamentary Q&A session last year that the reason for non-payment to SAMPRA and IMPRA was because “both societies have not agreed on the percentage split of the amount based on the play history reports SABC has generated”.

The SABC announced last week that the R22m would be split 75:25, with IMPRA receiving the greater portion of the payment.

SAMPRA now says the split is unfair and inversely proportional to IMPRA’s repertoire of less than 10% played on SABC radio stations.

“We have, on more than one occasion, presented documentation to prove to the SABC that we own more than 90% of the repertoire. The SABC has purposefully ignored this information and decided that they will pay 75% of the royalties to IMPRA instead of at least 90% of the royalties to SAMPRA,” SAMPRA CEO Pfanani Lishivha said in statement.

SAMPRA also questioned the SABC's decision to go ahead with the payment while there was an ongoing dispute.

“The SABC has created the impression that SAMPRA doesn’t want to be paid by the SABC or has delayed payment. This is incorrect. We argued that payments should be made in accordance with the legislation and playlists,” Lishivha said.

“All the playlists indicate that we own at least 93% of the songs that the SABC and other commercial radio stations have been playing. Why then has IMPRA, which owns less than 10% of all songs broadcast in this country, been given the bulk of the payments due to our artists?”

Yesterday, SAMPRA sent a letter on behalf of Lishivha to its members accusing IMPRA of attempting to poach its members.

"Some of you [SAMPRA members] have made us aware of the fact that you’ve been contacted by IMPRA urging you to apply for membership. This is a desperate act by IMPRA to gain you as members, since they have already claimed to be representing you. The SABC also knew that they were donating artists’ royalties to the wrong organisation. Now that there’s a huge backlash against their shenanigans, they want you to help them get out of the mess they find themselves in," the letter reads.

In an emotive five-page response, IMPRA accused Lishivha of peddling lies.

“What SAMPRA isn’t stating in its statement is that it collected needletime royalties from the retailers well knowing that a portion of those belong to our members. This fact has now been confirmed in the engagement we had with some of the retailers in the past few months,” IMPRA said.

"As for its statement that it represents 93% of the market, that number from our perspective is a moving target. At some point it was sitting at 85% and then it moved to 90%. Now it seems to be vacillating between 90% and 93%. However, assuming that there is a percentage of the industry that do not belong to SAMPRA as members, it begs the question why is the remaining amount not paid over to IMPRA as it is not in dispute? We are so bold as to state that the only reason it remains unpaid is that SAMPRA harbours a subliminal wish to see the obliteration of IMPRA."

SAMPRA has now said it will take the SABC royalty matter to the courts.

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