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 Society of Nigeria sues former label owner

05 May 2017 - 14:20

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The Copyright Society of Nigeria (COSON) has demanded a retraction of recent statements made by Ope Banwo against the society and its chairman Chief Okoroji.

Tony Okoroji.  Photo:Erave

Banwo, an entrepreneur and former record label owner, posted a statement on social media accusing Okoroji of certain actions in a note titled "Time to blow whistle on Tony Okoroji: How did Tony Okoroji spend over 300 million naira [$950 000] in Copyright Royal collection on behalf of Nigerian artists”.

Besides a retraction, COSON is demanding "a conspicuous and unreserved apology" to Okoroji and the copyright body. This apology is to be posted on Facebook and published in Nigerian newspapers within seven days. The body is also asking that Banwo pay 200 million naira to Chief Okoroji and COSON.

A letter dated 5 May from COSON's lawyers to Banwo made available to the public lays out the terms of the suit. "We refer to your widely circulated publication on Facebook titled 'Time to blow whistle on Tony Okoroji: How did Tony Okoroji spend over 300 000 000 in Copyright Royal collection on behalf of Nigerian artists' and other vile statements you have repeatedly published in the last fortnight against our Clients," it says.

"By the said publications, you have made several blatantly false, baseless and malicious statements including innuendos which were clearly intended by you to lower the hard won reputation of our Clients and to incite stakeholders in the Nigerian music industry to revolt against our Clients and to distort and destroy their legacies. Our Clients have also been informed that having not been invited and not being a member of Copyright Society of Nigeria (COSON) and not having any genuine business to do at COSON, you on Friday 28 April 2017 stormed the offices of COSON at Omodara Street, Opebi, Lagos, and without anyone’s permission and with a smartphone began to livestream the images of the staff of COSON at work and the premises of our Clients on the Internet accompanied by very vile, false and inciteful statements and commentaries made by you against our Clients also clearly intended to engineer a revolt against our Clients.

"We are informed that you are a lawyer and as a lawyer, you ought to know better. We have been instructed by our Clients to demand and we hereby demand a retraction of the false and injurious statements you have published against our Clients and to tender a conspicuous and unreserved apology to our Clients published on Facebook and in the Guardian Newspaper, the Sun Newspaper, the Punch and Vanguard Newspapers within 7 (seven) days of receipt of this letter. Furthermore, you are to pay to each of our clients the sum of N100 000 000 (One Hundred Million Naira each) for the significant injury you have caused our Clients.

"Be informed that if you fail, refuse or neglect to meet the demands of our Clients, our instructions are to deploy every instrument and process allowed by the laws of the Federal Republic of Nigeria to seek redress against you."

COSON has rarely been out of court in the past year, as it has taken various establishments and individuals, including a Lagos hotel and a telecommunications company, to court. With regards to the new case, the copyright body's lawyers have some experience in similar matters; they won a defamation case for Okoroji against the singer Onyeka Onwenu last year.

Despite the COSON letter, Banwo on 6 May posted some questions to the public through his Twitter account, one of which asked: "Would somebody please ask Tony Okoroji of COSON why he is fighting against competition in music copyright collection in Nigeria?" apparently referring to the recent approval given to the Musical Copyright Society of Nigeria (MCSN) by the Nigerian government after years of being dragged to court by COSON.

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