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

Collecting society slams MTN for ‘not paying royalties since 2013’

03 Feb 2016 - 15:35

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African mobile giant MTN is facing allegations that it has failed to pay music copyright royalties to songwriters since 2013. The company, which allegedly owes just under R1 million (US$60 000) for 2014, has also allegedly failed to declare music sales data and earnings for 2015 to songwriters.

One of many MTN stores all over Africa. Photo: www.moneyweb.co.za

The Composers, Authors and Publishers Association (CAPASSO), the royalty collecting society that represents songwriters and their publishers for music digital sales, this week announced that attempts to license and collect the outstanding royalties and reports from MTN and its subsidiary Content Connect Africa (CCA), which is responsible for delivering some of the music available on MTN music platforms such as CallerTunez, have been met with nothing but constant rate disputes and an unwillingness to enter into licence agreements”.

CAPASSO’s Business Affairs manager Wiseman Ngubo said: “Following more than a year of negotiations with both MTN and CCA, it is remarkable that both these parties are now disputing the licence fee rate, even though MTN previously paid royalties at the same rate in 2013. The rate has not increased.” This is apparently despite other industry players, including competitor mobile companies and other suppliers of music to MTN (such as Madlozi, a company affiliated to Kalawa Jazmee) agreeing and duly paying music royalties at the same agreed rates.

CAPASSO claims that MTN’s attitude to songwriter royalties is not new, claiming that “failed negotiations and rate disputes have been the order of the day for over five years”, while the mobile giant continues to sell hit singles such as Black Coffee’s ‘We Dance Again’ and K.O’s ‘Caracara’.

'An increasingly relied-upon revenue stream for songwriters'

According to CAPASSO CEO Nothando Migogo, “As CD sales steadily decline, digital music sales are an increasingly relied-upon revenue stream for songwriters and composers. Songwriters are excited to see their songs on sale by MTN as caller ring-back tones or downloads, but are shocked when CAPASSO tells them that it hasn’t received royalties or, in some cases even reports, for these sales”.

“The unfortunate thing is that songwriters, who are also artists, don’t realise that even if they receive payment for their role as the artist or singer on a song, they are still owed another royalty for their role as a songwriter. It is this songwriter royalty that CAPASSO collects. It is even worse for songwriters who don’t perform on the actual song. They don’t even benefit from the first type of royalty which may (or may not) have been paid by MTN,” explained Migogo, adding that numerous “hidden” songwriters or featured artists on other artists’ hit singles have been at CAPASSO’s door demanding reasons for the missing royalties.

With the call by mobiles giants (including MTN) for more regulation of ‘over-the-top’ (OTT) services such as Whatsapp and Skype due to the negative impact these services have had on their profits, CAPASSO says MTN’s disregard of its own governance and corporate citizenship obligations is “even more glaring and ironic”.

MTN denies allegations

MTN has strongly denied CAPASSO’s allegations, claming that they are waiting for CAPASSO to send them an invoice. When approached by Music In Africa for comment, Larry Annetts, MTN SA’s Sales, Marketing and Distribution Executive, said that MTN “has noted the allegations” from CAPASSO about failing to pay royalties to songwriters since 2013, but believes them to be “devoid of all truth”.

“MTN prides itself at being at the forefront of music development in South Africa and across the continent,” said Annetts about the company, which sponsors among other things the South African Music Awards (SAMAs) and the Bushfire festival in neighbouring Swaziland, and in October 2015 signed up rapper Cassper Nyovest as a brand ambassador.

“MTN has in the past collaborated with collecting societies in respect of the payment of all royalties owed. In a bid to expedite payment to artists, MTN even initiated its own process to settle outstanding royalty payments that were delayed [by] industry issues,” said Annetts. “MTN had a close working relationship and engaged extensively with the National Organisation for Reproduction Rights in Music (NORM), the predecessor of CAPASSO, and even settled outstanding royalties with CAPASSO in late 2014.

“MTN has been working with CAPASSO to settle royalties for the current period. CAPASSO had sent MTN an invoice for royalties that contained duplicated claims. MTN requested CAPASSO to submit a revised and correct invoice in respect of invoices payable. To date the revised invoice has not been sent,” he continued. “MTN has never disputed any royalty rates with CAPASSO or any other collecting society. Since 2014 MTN has required all content providers to obtain all necessary licenses and engage directly with the regulators.”

With both bodies claiming the moral high ground, it remains to be seen whether CAPASSO will in fact deliver the “revised invoice” or if the MTN will be forced to cough up the cash - and apologise to the songwriters who are still owed their royalties.

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