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

European Music Managers Alliance wants streaming business changes

11 Nov 2020 - 08:57

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The European Music Managers Alliance (EMMA) is demanding a number of changes to the business practices and revenue models employed by major record labels and digital service providers. 

EMMA is demanding for urgent changes in the music streaming business.

The demands were noted in a statement issued by the association, which is headquartered in Tallinn, Estonia. It touches on the increasingly important role that streaming is playing during a time when concerts are on hold due to the COVID-19 pandemic, and the $1m per hour that it generates for the big three record labels.

The organisation represents more than 1 400 members around the world, including European songwriters, musicians, producers and DJs. It pinpoints four areas that it believes need urgent attention.

“As a result of the COVID-19 pandemic, music streaming has assumed a new importance,” EMMA says. “While other revenues paused overnight, services such as Spotify, Apple Music, YouTube and Deezer ensured the recorded music business continued to function. The world’s three major record labels currently generate more than $1m per hour from streaming. The need for change has become critical. It must happen now.”

EMMA called for new contracts between artists and major music corporations to be modified, including bringing an end to “practices whereby three major labels receive substantial, upfront and unattributable payments as part of their licensing agreements.”

The body added that black box royalties had to be phased out, claiming that the multibillion-dollar funds typically belong to the lowest-paid songwriters but are often “reallocated by market share to the highest-earning” songwriters.

Next, the alliance expressed support for new streaming payment models. It said the models should focus mainly on a user-centric payment structure designed to counter stream manipulation and fraud by distributing royalties directly to individual creators based on fan interest as opposed to a share of total streams.

EMMA’s final suggestion concerns a coordinated, European Union-wide reopening effort for music and cultural industries after the pandemic (read EMMA’s full statement, attached below).

Meanwhile, a coalition of American music makers called the Union of Musicians and Allied Workers recently launched the Justice at Spotify campaign, which makes a number of demands on the music streaming service. The demands echo those made by EMMA as well as the #BrokenRecord and #FixStreaming campaigns in the UK, which are pushing for better cent-per-stream payouts.

In addition, the British Parliament launched in mid-October an inquiry into the economic impact of music streaming on artists and record labels.

“With streaming currently accounting for more than half of the global music industry’s revenue, this inquiry will look at the business models operated by platforms such as Spotify, Apple Music, Amazon Music and Google Play,” the Parliament said. “Music streaming in the UK brings in more than £1bn [$1.3bn] in revenue with 114 billion music streams in the last year. However, artists can be paid as little as 13% of the income generated.”

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