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

German court rules against Suno in GEMA AI copyright case

03 Aug 2026 - 14:37

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A German court has ruled against music-generation platform Suno in a copyright case brought by collecting society GEMA, finding that the company infringed copyright in connection with the training and operation of its artificial intelligence (AI) models.

GEMA general counsel Kai Welp.

The Munich Regional Court reportedly ordered Suno to disclose information about its revenue and pay damages. The company has said it disagrees with the ruling and is considering an appeal.

GEMA brought the case against Suno over allegations that the AI company used copyrighted works from its members to train its models without authorisation. The collecting society also argued that Suno’s technology could generate audio content that was substantially similar to existing musical works.

The dispute also raised questions about whether the use of copyrighted material to train AI systems can be protected under the fair use doctrine in the United States, where Suno’s models were allegedly trained.

In a summary of its decision, the Munich Regional Court said copies of musical works had been made during the training process in the US and that US copyright law therefore applied to alleged infringements occurring there.

The court also distinguished the case from two US cases involving AI companies Anthropic and Meta, in which courts found that certain uses of copyrighted works for AI training could qualify as fair use. According to the German court, the key difference was that Suno’s systems could produce outputs containing elements substantially similar to the original works following simple, open-ended prompts.

The court also reportedly found Suno liable under German copyright law in relation to the storage of its AI models on servers in Germany, as well as the reproduction and public performance of allegedly infringing soundalike recordings.

Suno disputed the court’s findings and said it was assessing its legal options.

“We built Suno around a core belief: to empower everyone to experience the joy of making music,” a Suno spokesperson said. “Our tools give people the ability to create new songs, whether they are top artists, product developers, songwriters using our tools in their workflows or everyday music fans.

“From the beginning, we trained our models to create new songs, not reproduce existing ones, and built protections into our platform. We disagree with today’s ruling – which rests on a fundamental mischaracterisation of how Suno’s technology works, how it is used and how US law applies – and are evaluating all available options, including an appeal.”

The decision marks another legal victory for GEMA as copyright holders and AI companies continue to dispute how protected works may be used in the development of generative AI systems.

GEMA general counsel Kai Welp said the case demonstrated the need for further regulation of AI systems in Europe.

“It is astonishing that the AI systems apparently store almost complete works to a considerable extent,” Welp said. “We were able to prove this with our methods and the recent scientific literature also indicates that this is only the tip of the iceberg.

“It is also very pleasing how the legal situation in the USA is assessed, and that we can sue in Munich regardless of where the training takes place. This is a huge step for the creatives. However, in order to effectively enforce our rights and prevent providers from moving to copyright-hostile countries, we will also need the support of the European legislator.”

The ruling comes as Suno faces wider scrutiny over the use of copyrighted music in AI development and as the company pursues licensing agreements with music industry stakeholders. The case is expected to remain subject to further legal proceedings if Suno proceeds with an appeal.

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