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

Independent musicians sue Google over alleged AI music copyright violations

10 Mar 2026 - 15:51

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A coalition of independent musicians from across the United States has filed a lawsuit against Google, alleging widespread copyright infringement through the company’s use of artificial intelligence in music generation.

The lawsuit claims that Google operates a network of AI music products, including Lyria 3 and ProducerAI.

The lawsuit claims that Google operates a network of AI music products, including Lyria 3 and ProducerAI, which allegedly copy millions of copyrighted works, remove their copyright management information (CMI), and redistribute them online via platforms such as YouTube.

According to the filing, Google’s system identifies these works as part of its AI training data. When users create music through Google’s AI tools, the company is said to attribute ownership to the end-user, generating false copyright information for works originally created by independent musicians.

Attorney Ross Kimbarovsky of Loevy + Loevy, representing the plaintiffs, said: “Google owns the platform where independent musicians distribute their music. Google runs the system that identifies who owns it. And then Google used both to train a product that competes with the very artists who trusted it with their work. No other defendant in any AI copyright case had this kind of access or this kind of knowledge. Google knew exactly what it was taking and who it belonged to.”

He added: “Independent musicians write the songs, record the vocals, and build careers around their music. Google copied the work of millions of them, stripped off their names, and launched a competing product to 750 million people. That is not innovation. It is theft at scale.”

The plaintiffs also argue that Google’s actions violate standard licensing practices. “Google licenses music every day for YouTube, for commercials, for film. It knows how licensing works. If Google wanted to use a song in an ad, it would need a license. If it wanted to use a song in a movie, it would need a license. But Google copied millions of songs to build a commercial music generator and decided the rules didn’t apply to them,” Kimbarovsky said.

The complaint asserts that Google was aware of potential copyright issues but has not publicly disclosed any agreements or permissions covering its use of copyrighted material for AI training.

Plaintiffs named in the lawsuit include New York singer/songwriter Sam Kogon, Atlanta songwriter and producer Michael Mell, Los Angeles composer Magnus Fiennes, Illinois artists David “Davo Sounds” Woulard, father and son recording duo Stan and James Burjek, and Chicago-based musicians Berk Ergoz, Hamza Jilani, Maatkara Wilson, and Arjun Singh. The filing seeks class certification, allowing the plaintiffs to represent all similarly affected individuals.

The lawsuit seeks a federal jury ruling on damages related to 16 alleged violations under both federal and state law, including copyright infringement, fraud, illegal distribution, false endorsement, and false advertising.

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