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

Copyright Amendment Bill: Music bodies welcome Ramaphosa’s decision

23 Jun 2020 - 13:56

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The Trade Union for Musicians of South Africa (TUMSA) and Sheer Publishing have welcomed President Cyril Ramaphosa’s move to decline signing the Copyright Amendment and Performers’ Protection Amendment bills into law.

Protesters, led by Gabi Le Roux and David Alexander, marching against the Copyright Amendment Bill in Johannesburg, South Africa, on 28 August 2019. Photo: Music In Africa

Ramaphosa sent back the two controversial bills to Parliament for reconsideration after expressing reservations regarding their constitutionality. The two bills had been in Ramaphosa's in-tray for more than a year.

Part of the backlash the Copyright Amendment Bill has received is based on the introduction of the terms “fair use” or “fair dealing”, which could result in the exploitation of creators.

“My office received submissions against the signing of the two bills into law as well as submissions in favour of my assenting to the two bills," Ramaphosa said in a 16 June letter to National Assembly speaker Thandi Modise. “In considering the numerous and varied submissions made and the process followed in Parliament to pass the bills, I have a number of reservations as to the constitutionality of the bills. These reservations lead me to conclude that in its present form, the bill may not pass constitutional muster and may therefore be vulnerable to constitutional challenge.”

Ramaphosa further expressed concerns about creators’ rights to ownership of their work. “It further regulates the manner in which related performances are made and shared. These provisions mean that going forward, copyright owners will be entitled to a lesser share of the fruits of their property than was previously the case. The impact of these provisions reaches far beyond the authors it seeks to protect those that live in poverty as a result of not having been fairly protected in the past.”

TUMSA’s Gabi Le Roux told Music In Africa that the union noted “with much gratitude the announcement by our beloved leader, President Cyril Ramaphosa, to send the Copyright Amendment Bill and Performers’ Protection Amendment Bill back to Parliament for review.

“The fact that the President took a year to apply his mind on these bills means that our leader realised the haphazard and one-sided way the bills were rushed and manipulated through Parliament under the previous administration. It’s typical of the way things were done during the dark days of State Capture. There is clearly hope for our nation again under President Ramaphosa.”

Sheer Publishing founder and managing director David Alexander echoed Le Roux's sentiments. “While the music community is heartened to see that the poorly drafted Copyright Amendment Bill was sent back to Parliament for more consideration, it was frustrating that we were a signature away from commercial disaster in the local music industry. Although the primary reason the president sent it back is its lack of constitutionality, it is also not the only reason that he has taken this course of action, and he has listed a couple of other issues, which I believe will give the drafters more reason to engage with the practitioners in the industry in the next round.

“The creators and the businesses that support them, whose daily labour will be governed by the bill, know that we don’t live in an isolated country at the tip of Africa, but in a globally networked economy where the impact of legislation in our own country will impact our ability to provide the fruits of our labour for sale in the global marketplace.”

Alexander said that even before the COVID-19 pandemic, creators were already at a disadvantage due to big tech's minute returns in terms of compensation.

“In a COVID-19 world, where our lives are much more online and the ability for the music industry to earn from live in-person performance is completely or largely limited, then national legislation must protect our right to be fairly remunerated from the use of our creative output on all media and platforms. I know that our current Copyright Act requires modernisation and we would like to be partners with the drafters in the process. We can look to the Copyright Directive in Europe and the attempts to close the safe harbour provisions for platforms around the world for better examples of how to integrate the challenges of modern technology while protecting the rights of the creator.”

In August last year, TUMSA and the Music Publishers Association of South Africa led a peaceful demonstration in Johannesburg to implore Ramaphosa not to sign the Copyright Amendment Bill into law. The two groups marched to the Gauteng sport, arts, culture and recreation MEC's offices and handed a memorandum, which was submitted to Ramaphosa. A similar demonstration was held in Cape Town in April where Ramaphosa was expected to unveil new trains.

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