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

SAMRO members demand answers over lost money

13 Aug 2018 - 11:12

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Composers, songwriters and arrangers are up in arms over an UAE investment deal that went sour for the Southern African Music Rights Organisation (SAMRO), City Press has reported.

SAMRO CEO Nothando Migogo says a report into an investment that went amiss in the UAE is taking longer than initially expected 'due to the complexity of the issues'.

The weekly newspaper says SAMRO members are unhappy about the delay of a report on the loss of some R48m ($3.5), previously reported to be R40m, that SAMRO invested to set up a collective management organisation (CMO) in the Middle Eastern country.

The members accuse SAMRO of not following internal processes in approving the investment, not consulting members who wanted an independent and transparent process when appointing the forensic investigators, stalling the release of the report because a former acting CEO’s account of what happened contradicts the testimony SAMRO management gave the investigators, and exposing a "woeful" lack of risk assessment conducted by SAMRO before making the investment.

City Press says it has seen a 26 July letter to members by SAMRO CEO Nothando Migogo, saying the forensic report into the investment was delayed until Monday last week. Attached to the letter was a note from the lead investigator in the case, Boyce Mkhize, of forensic auditor SekelaXabiso.

“Having produced an interim report to the board, we came across information that contradicted some of the initial statements we had received and which were part of the interim report,” Mkhize wrote.

City Press said its sources had told the publication that the contradictory information was contained in a letter from former acting CEO Reverend Abe Sibiya. The letter had confirmed that SAMRO had not involved the International Confederation of Societies of Authors and Composers (CISAC) before committing to the investment, and that SAMRO delegates never met with the necessary partners when in Dubai.

“We want that report. We have been in contact with the SAMRO chair and told him we want to know what these contradictions are in the information given to SekelaXabiso because that’s a red flag," Gospel Music Association president Tebogo Sithathu told City Press.

The report was still not released by Friday when City Press contacted Migogo about the members' claims.

“The forensic audit is taking longer than initially expected due to the complexity of the issues and the number of parties involved, as well as the legalities to be considered in publishing any contents of the report," she told the publication.

“Good progress is being made and we will inform our members when the report is ready for discussion. We choose not to respond to your other questions until the report has been shared with the membership. It is only fair that they receive feedback from the organisation itself, rather than through the media.”

Sithathu also questioned the credibility of the investigation. “We also want to see the terms of reference of the investigation and we want answers to the allegations in the media that the investigator, Mr Mkhize, has been found wanting ethically. Was due diligence done in appointing the investigators? We fear that the credibility of the report is already tarnished and it hasn’t even been released yet,” Sithathu said about previous reports alleging corruption regarding an internal audit report when Mkhize was the CEO of the provincial Mpumalanga Economic Growth Agency. Mkhize has denied the claims.

“The allegations were never investigated," he said. "I was never given the chance to tell my side of the story. They were used to rubbish my name and, even so, they would have no bearing into an objective investigation into SAMRO based on facts.”

On the "woeful" lack of risk assessment, City Press cited a 2015 report in the international Licensing Journal, which showed that setting up a licensed body in the UAE would cost about R200m, placing in doubt SAMRO's initial estimates in the venture.

“It’s a good thing Samro bailed when they did,” a source told City Press, “else they might have lost five times the amount. They obviously never studied the Licencing Journal report or else they would never have taken the risk.”

The UAE investment was spearheaded in late 2015 by former SAMRO CEO Sipho Dlamini, who is currently the managing director of South Africa and sub-Saharan Africa at Universal Music Group. In July last year, Migogo took the reins at the embattled CMO, which has been forced to weather a number of scandals, including a government probe into alleged royalty fraud and the recent axing of non-executive board director Arthur Mafokate.

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