NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud to announce 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 launching a new national programme designed to create jobs, address skills gaps, and strengthen 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 will recruit and train participants, match them with host organisations, and place a minimum of 1 000 workers across the country. 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

Chaque année, nous fournissons des informations générales afin de guider les participants dans la préparation de leur voyage. En plus de ce site, des mises à jour importantes seront envoyées par e-mail à tous les délégués inscrits. Assurez-vous de vous inscrire dès que possible. Pour plus d'informations, veuillez contacter [email protected] Continuez à consulter cette page pour plus d'information.  

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

Pour les praticiens et les organisations culturels et créatifs opérant en Afrique australe, l’accès au financement reste un défi majeur. La pandémie de COVID-19 a également eu un impact massif sur les politiques gouvernementales, les dépenses et l’économie en général, et a vu les dépenses consacrées à la culture reléguées plus bas dans la liste des priorités. De plus, les industries culturelles et créatives citent régulièrement quatre domaines principaux où l’investissement est nécessaire pour la croissance : une visibilité accrue, la mobilité incluant l’accès à de nouveaux marchés, le financement et les structures de soutien.

Music In Africa Live
Music In Africa Live

MUSIC IN AFRICA LIVE Lancé en 2020 pour une durée de 3 ans, Music In Africa Live est une initiative visant à soutenir l'écosystème de la musique africaine face aux contraintes imposées par la pandémie de COVID-19 ; le projet a été lancé par la Fondation Music In Africa (MIAF) en partenariat avec le ministère fédéral allemand des Affaires étrangères, Siemens Stiftung et le Goethe Institut. Plus de 30 aides sont disponibles dans le cadre de la troisième édition de Music In Africa Live, dans 3 catégories :  showcases, renforcement des compétences et plaidoyer, en conformité avec les modalités énoncées.

Instrument Building And Repair Project
Instrument Building And Repair Project

The overarching objective of Music In Africa Foundation’s Instrument Building and Repair (IBR) project is to encourage the formalisation and professionalisation of instrument-making and repair in Africa, especially in relation to indigenous African instruments. Background In 2014, the Music In Africa Foundation (MIAF) identified as one of its focus areas for development the need to encourage young people from music and music-related sectors to consider instrument-making as a career. This need extended itself from the recognition that the making of traditional African instruments is not a widely practiced skill and seems to be limited to the older generation. Traditional African instrument makers are also few and far between, making communication and logistics between teachers and learners an obstacle. When instrument building workshops take place, budgetary constraints do not allow teachers or learners the time to explore the finer details of an instrument. Based on these observations, the MIAF designed and piloted the first IBR workshop at the Dhow Countries Music Academy (DCMA) in Zanzibar in February 2015. In 2016, the foundation received funding from the South African National Lotteries Commission to implement a much bigger version of the project in Johannesburg. The project drew participants from five African countries. 25 students from South Africa, Ghana, Senegal, Kenya and Ethiopia were trained on how to build and repair musical instruments. The instruments that they made were: Traditional Instruments: Umakhweyana and Marimba Conventional Instrument: Dulcimer guitar The workshop culminated in a traditional instruments concert at the Wits Theatre in Johannesburg. It is the MIAF’s aim to roll out similar workshops in as many African countries as possible over the next few years. Objectives Developing awareness of musical instrument makers in Africa with a view to promote their work to a wider global audience. Facilitating the sharing and transfer of skills in indigenous instruments between countries on the continent. Encouraging the formalisation and professionalisation of instrument-making and repair in Africa, especially in relation to indigenous instruments. Helping instrument makers develop their careers. Fostering the rapid monetisation and sustainable development of instrument-making and repair in Africa. Promoting constant exchange of ideas, expertise, experiences and know-how among instrument makers in Africa. Facilitating the identification of existing gaps in the field with a view to contribute new solutions. Facilitating the transfer of knowledge and skills of indigenous instruments between younger and older generations. 2020 edition The MIAF has also announced that multi-instrumentalist and instrument maker Joe Makhanza will facilitate one of the workshops on the building of the kamale ngoni instrument. Kamale ngoni is a kora-like, stringed instrument that originated in West Africa. The instrument contributed to the rise of Wassoulou music in the 1970s and 1990s. Makhanza was born in Giyani in South Africa's Limpopo province. He completed a bachelor of music degree and a post-graduate diploma in arts marketing from Wits University. He is currently completing his masters in ethnomusicology and is a part-time lecturer in African music studies at Rhodes University. He plays the kora, mbira, valiha, masenqo, xiwewe, ngoni ba and xizambi, among others. He also manufactures the aforementioned instruments. The MIAF will confirm more trainers who will join the workshops as well as the other instruments that will be featured in the 2020 IBR programme.  Apply to participate here. Connect with us on Twitter, Instagram and Facebook, and subscribe to our monthly newsletter. The Music In Africa Instrument Building and Repair project is funded by the National Lotteries Commission. It is implemented in partnership with Siemens Stiftung, Goethe-Institut, Wits Theatre and Kaya FM.

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Copyrights, royalties and music piracy in Swaziland

Accueil/Non classé/Copyrights, royalties and music piracy in Swaziland

Music piracy

Like any other place in the world, music piracy is a major concern in Swaziland. This is made worse by the fact that Swaziland still doesn’t have a Copyright Bill. At shops and internet cafes, vendors in all towns are illegally selling music to the public. They duplicate original work and distribute music all over the country at low prices. Consumers are often misled and convinced to buy – some even think they are doing the right thing, not noticing that what is given to them is not the original work. For artists in Swaziland, a small country with a population of less than 1.3 million, it’s hard to make money through CD sales.

Even though Swaziland don’t have a Copyright Bill, piracy is still a crime. Although it doesn’t happy often, police do conduct raids and pirates can be arrested and sentenced or pay a fine of E60 (R60 or about US$4). Most offenders can afford to pay the fine and after doing so will simply continue with their illegal business.

Copyrights and royalty collection

Royalty refers to the compensation for the use of property usually copyrighted works, patented inventions or natural resources, expressed as percentage of receipts from using the property or as a payment for each unit produced.

On 6 November 2015, a draft of the Copyright and Neighboring Rights Bill of 2014 was submitted to Swaziland’s parliament before the Ministry Of Commerce, Industry and Trade. The objectives of the bill are to provide for the protection of copyrights subsists (and therefore of the protection of expressions of folklore), the authorization and protection of neighboring rights, and the establishment of a Copyright Office and a Copyright Society. It also outlines the penalties for infringing copyright laws, and necessitates the repeal of the old Copyright Act of 1912.

Where copies of a sound recording are made for commercial purposes, the new draft law call for a notice consisting of a symbol (P) and the date of the first publication of the recording to be printed on the copies, placed in such manner as to give reasonable notice of the claim of protection.

The proposed law stipulates that a Copyright Office must be established. This shall be responsible for registration of copyrights and other matters in terms of the Copyright Act. The offices shall be public and form part of the civil service.  The office must have the staff required to carry out the provisions of the act.

The Copyright Office will be responsible of all matters affecting copyrights in Swaziland, specifically:

  • supervising the Copyright Society,
  • advising government and its agencies on all matters pertaining to copyright,
  • monitoring the position of Swaziland in relation to international copyright conventions, treaties or agreements,
  • advising government on the conclusion of bilateral and multilateral agreements on copyright between Swaziland and other countries,
  • organising outreach and awareness creation programmes to inform, educate and sensitize the public on matters of relating to copyright, and
  • maintaining a database on copyright matters and authors and their works.

The Copyright Society shall be a non-profit-making body corporate, capable of suing and being sued in its corporate name and subject to the Act, and of performing all acts that bodies corporate may by law perform. The society shall represent and defend the interest of copyright owners in various categories of works protected in terms of the act in Swaziland and abroad.

The operations of the Copyright Society shall be governed by the Copyright and Neighbouring Rights Society of Swaziland Board. The board shall consist of a representative from the Ministry, a registered legal practitioner, two representatives of an association considered by the Minister to be representative of authors, two representative of an association representative of performers, one representative each  from the ministries responsible for information , culture and education, and one representative of traditional leadership.

Penalties

Section 69 of the draft Copyright and Neighboring Rights Bill of 2014 states that Swazi musicians will have to apply in writing for an individual or blanket authorization of any “utilization of expressions of folklore”. The minister will then grant authorization and may attach a tariff as he may determine, the proceeds of which shall be collected in a central fund to be created for the development and promotion of national culture and folklore.

According to the bill, a person cannot temper with a work without the authority of the owner of the copyright. Any person who causes a literary or musical work to be performed in public, or any person who causes a broadcast to be re-broadcast (knowing that the copyright subsists in the work and the performance) shall be guilty of an offense.  Any person guilty of such an offense will be liable to a fine not exceeding E20 000 (R20 000 or about US$1300) or to imprisonment not exceeding three years, or both, depending on the offence.

A person who imports or distributes copies of “expressions of folklore” derived from Swaziland or copies of translations, adaptations, arrangements or other transformations of such expressions made outside Swaziland without the authorization of the Minister commits an offense for which he or she is liable on conviction to a fine not exceeding E25 000 (R25 000 or about US$1640) or to imprisonment for a period not exceeding five years, or both.

If a person utilizes an expression of folklore in contravention of section 66 of the Copyright and Neighboring Right Bill , he or she commits an offense and is liable on conviction to a fine not exceeding E10 000 (R10 000 or $650) or imprisonment not exceeding two years, or to both.

Conclusion

Swazi musicians hope the proposed law will improve the local music industry and help protect their work. With the Copyright and Neighboring Rights Bill, Swazi musicians will be able to make money from royalty collection and will compensated for their musical works.

There have been ongoing negotiations between the Swaziland Arts and Music Association (SWAMA) and the Southern African Music Rights Organisation (SAMRO). SWAMA president Lutfo Dlamini wants SAMRO to help SWAMA members collect their royalties. All this bodes well for the future of copyright protection and royalty collection in Swaziland.

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