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

Big Three labels sue AI firms for copyright infringement

25 Jun 2024 - 15:13

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The Recording Industry Association of America (RIAA) has announced the filing of two copyright infringement cases against AI music companies Suno and Udio.

RIAA chairman and CEO Mitch Glazier.

RIAA said the cases are based on “the mass infringement of copyrighted sound recordings copied and exploited without permission by the two multi-million-dollar music-generation services.”

The plaintiffs in the cases are music companies that hold the rights to sound recordings infringed by Suno and Udio, including the Big Three labels – Sony Music Entertainment, Universal Music Group and Warner Records. The claims cover recordings by artists of multiple genres, styles and eras.

The landmark cases for responsible AI against Suno AI and Uncharted Labs Inc – the developers of Suno and Udio – were filed on 24 June in the Boston and New York federal courts, respectively. The cases seek to stop the unlicensed use of copyrighted sound recordings to train generative AI models.

They seek declarations that the two services infringed the plaintiffs’ copyrighted sound recordings, and injunctions barring the services from infringing the plaintiffs’ copyrighted sound recordings in the future. The plaintiffs are also seeking damages for the alleged infringements that have already occurred.

The RIAA says the litigation would assure artists, songwriters and rightsholders control of their works. “The music community has embraced AI and we are already partnering and collaborating with responsible developers to build sustainable AI tools centred on human creativity that put artists and songwriters in charge,” RIAA chairman and CEO Mitch Glazier said. “But we can only succeed if developers are willing to work together with us. Unlicensed services like Suno and Udio that claim it’s ‘fair’ to copy an artist’s life’s work and exploit it for their own profit without consent or pay set back the promise of genuinely innovative AI for us all.”

RIAA chief legal officer Ken Doroshow added: “These are straightforward cases of copyright infringement involving unlicensed copying of sound recordings on a massive scale. Suno and Udio are attempting to hide the full scope of their infringement rather than putting their services on a sound and lawful footing. These lawsuits are necessary to reinforce the most basic rules of the road for the responsible, ethical and lawful development of generative AI systems and to bring Suno’s and Udio’s blatant infringement to an end.”

While the facts of each case are distinct, they also contain a common set of core allegations regarding the training, development and operation of Suno and Udio.

“AI companies, like all other enterprises, must abide by the laws that protect human creativity and ingenuity,” an excerpt from the lawsuit reads. “There is nothing that exempts AI technology from copyright law or that excuses AI companies from playing by the rules. These lawsuits seek to enforce these basic principles.”

Some AI tech companies have argued that using copyrighted materials to train AI should be considered as ‘fair use’ because such materials are sometimes used to create new technologies or products. But music companies are arguing that fair use does not extend to generative AI because the creations of this technology directly compete with the original works.

The move has received support from music organisations such as the American Association of Independent Music, the American Federation of Musicians of the US and Canada, the Artist Rights Alliance, the National Music Publishers’ Association and the Recording Academy, among others.

The Suno and Udio complaints are available here and here.

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