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

Warner Music Group seeks dismissal of AFM lawsuit over AI licensing deals

16 Jul 2026 - 09:05

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Warner Music Group (WMG) has asked a federal court in New York to dismiss a lawsuit brought by the American Federation of Musicians (AFM) over the company’s artificial intelligence (AI) licensing agreements with AI music platforms Suno and Udio.

Warner Music CEO Robert Kyncl. Photo: Shannon Finney

In a letter filed with Judge Edgardo Ramos on 10 July, Warner requested a pre-motion conference ahead of a formal motion to dismiss the case. The company argues that the lawsuit is an attempt to influence ongoing collective bargaining negotiations over AI-related issues.

“AFM filed this lawsuit in an improper attempt to place a judicial thumb on the negotiation scales, asking this Court to impose contractual terms that only collective bargaining can create,” Warner said in its filing.

The AFM sued Warner Music Group and Universal Music Group, alleging that the companies breached the Sound Recording Labor Agreement (SRLA) by licensing recordings featuring union members to Suno and Udio without providing payment or credit to the performers.

The union is seeking a share of the revenues generated from those licensing agreements, as well as a portion of any proceeds the record companies received through settlements of copyright infringement claims against the AI companies.

Warner contends that the SRLA, signed in March 2023, does not cover the licensing of recordings for AI model training because such uses were not contemplated when the agreement was negotiated.

“Music-focused platforms like Suno and Udio did not exist" when the agreement was signed, Warner said, adding that "neither the SRLA nor any AFM agreement contemplates compensation related to the licensing or other use of content for training AI models.”

The company also argued that the union's own complaint acknowledges that AI-related uses fall outside the scope of the existing agreement.

According to Warner, Article 21 of the SRLA, which governs the use of recordings in other media, does not itself establish legal rights to compensation but instead refers to separate agreements that would need to govern such uses.

“Because no contract entitles AFM members to any portion of AI licensing revenues, neither AFM nor its members have been injured.”

Warner further argued that Warner Music Group Corp. should not be named as a defendant because it is a holding company rather than a record label.

“Warner Music Group Corp. is not a signatory to the SRLA, does not itself own copyrights, was not a plaintiff in the copyright infringement lawsuits against Suno and Udio, and thus does not have licences with Suno or Udio.”

The company identified Warner Brothers Records and Atlantic Recording Corp. as the Warner entities that are signatories to the labour agreement.

Warner also maintained that the dispute should be resolved through collective bargaining rather than litigation, noting that AI is currently a central issue in negotiations over the next version of the SRLA.

“AFM's claim for relief would require the Court to set rates and terms the AFM is currently seeking at the parties' bargaining table. That would improperly intrude on the collective bargaining process.”

The company rejected the union's claim that it had an obligation to notify the AFM about the Suno and Udio licensing agreements, arguing that no such requirement exists under the current labour agreement.

In addition to seeking dismissal of the lawsuit, Warner has asked the court to pause the discovery process while its motion is considered, arguing that the case contains “substantial threshold defects”.

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