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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NFTs and crypto technology for musicians

Accueil/Non classé/NFTs and crypto technology for musicians

This article explores emerging digital technologies and how they are evolving to provide new revenue streams for South African musicians.

Why NFTs?

NFTs are an innovative tool to prove and show ownership. Through their distinctive footprint, NFTs, which are unique digital assets, accurately record who owns a piece of digital content on a secure blockchain – a digital ledger where the purchase transaction is recorded.

Through the use of unique metadata for each piece of music stored as an NFT, an artist can easily track the spread of their work and earn their rightful royalties. Some musicians even offer fans splits on future royalties as an added incentive for purchasing NFTs. Artists can, moreover, create a digital marketplace for their music, as purchased NFTs can be sold or traded – much like a form of currency – among consumers at a later stage.[3]

Some musicians, especially during the COVID-19 pandemic – which has drastically affected the live performance circuit – have turned to selling their music in the form of NFTs. A good example is US musician Daniel Allan, who began by selling 50% of his upcoming album’s royalties in the form of NFTs, and is now selling digital copies of his songs as NFTs for thousands of dollars each.[4] As more and more musicians have followed suit, Catalog has emerged as a marketplace for music NFTs, on which 140 artists have, according to a TIME report, sold over 350 records for more than $1m combined.[5]

[video:https://www.youtube.com/embed/WWC0EXrXaZM width:744 height:446 autoplay:0]

Video: US musician Daniel Allan has been an early adopter of NFTs.

The South African context

South Africa is still taking baby steps towards embracing the digital arts marketplace. A 2021 survey conducted by Finder, based on an analysis of the NFT uptake in 20 markets across the globe, showed that only 8.3% of surveyed South African internet users owned NFTs. South Africa is number 12 out of the 20 surveyed countries and trails countries such as Nigeria, the United Arab Emirates and Vietnam – but is ahead of Canada, Singapore and Argentina.[6] 

The survey further shows that an additional 9.4% of South African internet users were planning to own NFTs in the future.[7] This might indicate that now is the perfect time for artists to consider experimenting with NFTs and other digital assets – and this suggestion seems to be supported by the findings of Music In Africa’s Revenue Streams for Music Creators in South Africa 2022 report, which shows that NFTs are already contributing an average monthly income of R22 520 for early investors in the South African music industry. 

South Africa’s first NFT-based marketplace for content creators, Momint, was launched in May 2021. To ease South Africans into the concept, both South African rand and cryptocurrency are accepted for trade on the platform. Former rugby player Bryan Habana sold a 3D turntable for R150 000 on the platform a few weeks after its launch, while musicians such as Goldfish and The Kiffness have been some of Momint’s early adopters. The company, which plans to launch globally soon, is in talks with more creators to join and sell their work on the platform.[8] 

Binance, a cryptocurrency exchange company founded in 2017 that now operates from the Cayman Islands, has spotted the continent’s potential. In June, the company launched Binance NFT, a marketplace for NFTs and digital collectibles, and included African artists such as Nigerian rappers MI Abaga and Flaz on its 100 Creators programme, which includes creators from different parts of the globe. At the time of writing. M.I Abaga was reportedly launching an exclusive NFT collection as part of the programme.[9]

[video:https://www.youtube.com/embed/gLsgW3nlf5A width:744 height:446 autoplay:0]

Video: Ahren Posthumus, CEO and co-founder of Momint, discusses the emerging NFT industry.

Blockchain and cryptocurrency payment

 In recorded music business, the artist is usually the last to receive remuneration. The process of receiving royalty payments involves a lot of paperwork and multiple third parties. This problem could be solved by the use of cryptocurrencies in transactions. Cryptocurrency, which is independent of institutional control, is known as a disintermediated form of payment for services and goods, as it allows for a secure transaction to take place directly between buyer and seller.[10] 

American rapper 50 Cent is one of the few artists who have famously benefited from cryptocurrency. As early as 2014 he accepted Bitcoin payment for his album Animal Ambition. TMZ reported in 2018 that the album made 50 Cent approximately 700 Bitcoin, which, although worth several hundreds of thousands of dollars at the time – had surged to $7.7 million in 2018, the year in which the rapper reportedly remembered he was accepting cryptocurrency payment for the album.[11] 

As with all industries, the widespread uptake of cryptocurrency could cause major disruptions to the way things currently operate. Don Tapscott’s 2016 book Blockchain Revolution identifies some potential applications in the music industry:[12]

  • Payment of royalties can be executed automatically. For example, if artists could receive their payments from digital service providers (DSPs) through cryptocurrency, this would allow for instant, and accurate, payments to artists from streaming platforms. 
  • This method of payment would provide total transparency and data protection.
  • In addition to system of managing payments, the blockchain that underpins cryptocurrency transactions could act as a digital rights management database.

However, as their value can fluctuate at any moment, cryptocurrencies are also highly volatile – and the sudden risk of losing money due to dips in the market is a real concern for many artists. As a result, while musicians recognise cryptocurrency’s potential to revolutionise the industry in their favour, the widespread use of this technology is still rare.[13] 

Final thoughts

Though they are growing in stature, the future of digital market places for assets such as NFTs and other crypto technologies remains uncertain. However, if one educates themselves enough about how they work, they could position themselves to make game-changing moves when the market is ripe. If history is anything to go by, the earliest adopters tend to become pioneers of the future, and this may prove the case for South African musicians looking to earn a revenue stream through emerging digital technologies.

Resources and citations 

This article is part of the Revenue Streams for African Musicians project, supported by UNESCO’s International Fund for Cultural Diversity in the framework of the UNESCO 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions, the Siemens Cents4Sense programme, Siemens Stiftung, Goethe-Institut, the National Arts Council of South Africa and Kaya FM. 

Editing by David Cornwell and Kalin Pashaliev

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