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

Overviews

Copyrights, royalties and music piracy in Swaziland

18 Apr 2016 - 09:40

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This text provides an overview of the related subjects of copyrights, royalty collection and music piracy in Swaziland.

Money in Swaziland. Photo: internationalpoliticalforum.com

Music piracy

Like any other place in the world, music piracy is a major concern in Swaziland. This is made worse by the fact that Swaziland still doesn't have a Copyright Bill. At shops and internet cafes, vendors in all towns are illegally selling music to the public. They duplicate original work and distribute music all over the country at low prices. Consumers are often misled and convinced to buy - some even think they are doing the right thing, not noticing that what is given to them is not the original work. For artists in Swaziland, a small country with a population of less than 1.3 million, it’s hard to make money through CD sales.

Even though Swaziland don't have a Copyright Bill, piracy is still a crime. Although it doesn’t happy often, police do conduct raids and pirates can be arrested and sentenced or pay a fine of E60 (R60 or about US$4). Most offenders can afford to pay the fine and after doing so will simply continue with their illegal business.

Copyrights and royalty collection

Royalty refers to the compensation for the use of property usually copyrighted works, patented inventions or natural resources, expressed as percentage of receipts from using the property or as a payment for each unit produced.

On 6 November 2015, a draft of the Copyright and Neighboring Rights Bill of 2014 was submitted to Swaziland’s parliament before the Ministry Of Commerce, Industry and Trade. The objectives of the bill are to provide for the protection of copyrights subsists (and therefore of the protection of expressions of folklore), the authorization and protection of neighboring rights, and the establishment of a Copyright Office and a Copyright Society. It also outlines the penalties for infringing copyright laws, and necessitates the repeal of the old Copyright Act of 1912.

Where copies of a sound recording are made for commercial purposes, the new draft law call for a notice consisting of a symbol (P) and the date of the first publication of the recording to be printed on the copies, placed in such manner as to give reasonable notice of the claim of protection.

The proposed law stipulates that a Copyright Office must be established. This shall be responsible for registration of copyrights and other matters in terms of the Copyright Act. The offices shall be public and form part of the civil service. The office must have the staff required to carry out the provisions of the act.

The Copyright Office will be responsible of all matters affecting copyrights in Swaziland, specifically:

  • supervising the Copyright Society,
  • advising government and its agencies on all matters pertaining to copyright,
  • monitoring the position of Swaziland in relation to international copyright conventions, treaties or agreements,
  • advising government on the conclusion of bilateral and multilateral agreements on copyright between Swaziland and other countries,
  • organising outreach and awareness creation programmes to inform, educate and sensitize the public on matters of relating to copyright, and
  • maintaining a database on copyright matters and authors and their works.

The Copyright Society shall be a non-profit-making body corporate, capable of suing and being sued in its corporate name and subject to the Act, and of performing all acts that bodies corporate may by law perform. The society shall represent and defend the interest of copyright owners in various categories of works protected in terms of the act in Swaziland and abroad.

The operations of the Copyright Society shall be governed by the Copyright and Neighbouring Rights Society of Swaziland Board. The board shall consist of a representative from the Ministry, a registered legal practitioner, two representatives of an association considered by the Minister to be representative of authors, two representative of an association representative of performers, one representative each from the ministries responsible for information , culture and education, and one representative of traditional leadership.

Penalties

Section 69 of the draft Copyright and Neighboring Rights Bill of 2014 states that Swazi musicians will have to apply in writing for an individual or blanket authorization of any “utilization of expressions of folklore”. The minister will then grant authorization and may attach a tariff as he may determine, the proceeds of which shall be collected in a central fund to be created for the development and promotion of national culture and folklore.

According to the bill, a person cannot temper with a work without the authority of the owner of the copyright. Any person who causes a literary or musical work to be performed in public, or any person who causes a broadcast to be re-broadcast (knowing that the copyright subsists in the work and the performance) shall be guilty of an offense. Any person guilty of such an offense will be liable to a fine not exceeding E20 000 (R20 000 or about US$1300) or to imprisonment not exceeding three years, or both, depending on the offence.

A person who imports or distributes copies of “expressions of folklore” derived from Swaziland or copies of translations, adaptations, arrangements or other transformations of such expressions made outside Swaziland without the authorization of the Minister commits an offense for which he or she is liable on conviction to a fine not exceeding E25 000 (R25 000 or about US$1640) or to imprisonment for a period not exceeding five years, or both.

If a person utilizes an expression of folklore in contravention of section 66 of the Copyright and Neighboring Right Bill , he or she commits an offense and is liable on conviction to a fine not exceeding E10 000 (R10 000 or $650) or imprisonment not exceeding two years, or to both.

Conclusion

Swazi musicians hope the proposed law will improve the local music industry and help protect their work. With the Copyright and Neighboring Rights Bill, Swazi musicians will be able to make money from royalty collection and will compensated for their musical works.

There have been ongoing negotiations between the Swaziland Arts and Music Association (SWAMA) and the Southern African Music Rights Organisation (SAMRO). SWAMA president Lutfo Dlamini wants SAMRO to help SWAMA members collect their royalties. All this bodes well for the future of copyright protection and royalty collection in Swaziland.

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