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

CISAC report details private copying revenue stream

01 Dec 2020 - 17:19

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Music rightsholders could get more income from private copying levies if governments used sufficient legislation and effective collection mechanisms.

CISAC director-general Gadi Oron.

This is according to the International Confederation of Societies of Authors and Composers‘ (CISAC’s) new Private Copying Global Study published recently in partnership with French mechanical rights association BIEM and Dutch body Stichting De Thuiskopie. It follows CISAC’s 2020 Global Collections Report released in October.

The study provides an overview of private copying systems and the legal environment across 194 countries and five continents. It describes the legal and enforcement measures needed to maximise income for rightsholders, and demonstrates the potential economic benefits if levies are effectively implemented to cover digital devices.

“The new report offers invaluable insight and important guidance to decision makers for unlocking the economic potential of private copying levies to the benefit of local creative communities”, CISAC director-general Gadi Oron said.

According to its Global Collections Report, private copying income grew by 9.8% last year. However, effective legislation and enforcement of the revenue stream were singled out as key factors for its success.

In Malawi, income grew five-fold to €1m in 2019 following the adoption of a new law the previous year. Eight African markets currently report private copying collections, including Morocco, Tunisia and Cape Verde.

BIEM president Georg Oeller said: “Private copying has always been a key concern of BIEM members. Today’s publication is the result of a good cooperation between three complementary organisations in the defence, diffusion and acknowledgement of private copying around the world. We hope this report will help in further developing the scope of private copying, in terms of territories and equipment concerned, at the benefit of the creators by raising awareness of the authorities.”

Stichting De Thuiskopie director Hester Wijminga said: “In 1991, Thuiskopie started compiling information on the existing private copying systems in the world in order to learn and share best practises in collecting and distributing private copying remunerations on behalf of rightsholders. Now, so many years later, we are pleased that in partnership with CISAC and BIEM we are able to present a global report on private copying. Sharing our knowledge and combining our expertise have resulted in the most extensive and complete work on private copying yet to be published.”

The study is intended as an information tool to inform governments and policymakers. It contains much of the information stakeholders need to know with regard to private copying, from the legal framework to its practical implementation.

Elements in the new study include collection figures for both authors’ and neighbouring rights, detailed information on tariffs and the media devices subject to levies, and data on private copying collections from 2015 to 2018.

The study also includes a comprehensive economic analysis of private copying revenue trends in the last four years, with levy income estimates based on levies paid by two hypothetical households in different territories. The economic analysis provides an estimation of revenue potential per device for seven target countries with potential future regulatory amendments, including Nigeria, Bulgaria, Canada, Denmark, Japan, South Korea and Mexico.

Download the Private Copying Global Study here.

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