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

Kenya court gives conflicting ruling on royalty collection

28 Jul 2017 - 12:17

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The Kisumu High Court in Kenya yesterday barred the Music Copyright Society of Kenya (MCSK) from collecting royalties, an order that is in direct conflict with a Kakamega High Court pronouncement dated 25 May 2017.

Former MCSK CEO Maurice Okoth speaks during a press conference in 2016.

The case was filed by the Kisumu Association of Bar Owners and Kisumu Green Garden Restaurant on 13 July. The Kenya Copyright Board (KECOBO) and the Music Publishers Association of Kenya (MPAKE) were enjoined in the Kisumu matter as interested parties. The two parties asked that the court stop the MCSK from harassing music users and businesses in the name of collecting royalties without a valid licence.

The Kisumu High Court judge quoted section 46(1) of the Copyright Act, which states that “no person or association of persons shall commence the business of a copyright collecting society except under or in accordance with a certificate of registration granted under this section".

“This ruling clearly shows that there are two conflicting court orders from the high court of Kenya,” an MCSK representative who did not want to be named told Music In Africa. “It was brought to the Kisumu judge’s attention that there is another order in Kakamega, which allowed the MCSK to continue with royalty collection temporarily until the case was heard on 28 September. She ignored and failed to address that fact. The MCSK will be seeking a stay of the orders pending an appeal of the ruling.”

The Kakamega case

On 31 May 2017, Kenyan musicians David Amunga and Laban Juma Toto sued KECOBO and the attorney-general in a case where the MCSK and MPAKE were listed as interested parties. The two wanted KECOBO barred from interfering with the MCSK’s mandate of collecting royalties as well as issuing statements on the matter. According to the two, KECOBO’s decision to decline MCSK’s application to renew its registration amounts to an unfair administrative action that contravenes articles 36, 40 and 47 of the Constitution.

The high court sitting in Kakamega went ahead and suspended its decision to deny the MCSK a licence to collect royalties on behalf of Kenyan artists. The court set 28 September as the hearing date of the application together with other applications on the same matter filed by other parties.

“This matter is certified as urgent, I hereby grant orders stopping the decision of KECOBO of approving the licence of MPAKE and revoking the licence of MCSK pending the hearing and determination of this case,” the judge said.

MCSK vs KECOBO

MCSK’s licence to collect royalties and represent more than 15 000 of its members expired on 31 December 2016. Its application to renew the licence was declined and communicated through a letter by KECOBO dated 17 February.

In March 2017, KECOBO issued a press release that announced the approval of a licence for a new collection body, MPAKE, which represents authors, composers, arrangers and publishers. KECOBO also renewed the licence of the Kenya Association of Music Producers (KAMP) and the Performers Rights Society of Kenya (PRISK). The bodies were given permission to operate from March 2017 to February 2018.

“The decision was made after the new association satisfied the requirements of Section 46 of the Copyright Act, 2001, and Regulation 15 and 16 of the Copyright Regulations 2004,” the statement from KECOBO reads .

However, the MCSK had failed to attach their last audited financial statements as well a list of its members and the amount of royalties collected and paid out.

Reactions from artists

In 2016, three members of the Elani music group accused the MCSK of giving the band meagre returns despite their songs receiving massive airplay throughout the year.

On 3 April 2017, a number of artists held protest at the deputy president’s office. According to them KECEBO had unfairly denied MCSK a licence. They said MPAKE was not eligible to represent artists since one of its directors, Maurice Okoth, was alleged to have been responsible for the collapse of the MCSK by swindling millions of Kenyan shillings during his time as CEO.

On 7 March, the Nairobi Musicians Association (NMA) released a statement backing KECOBO’s decision not to renew the MCSK’s licence until it tabled its audited financial statements and met all of KECOBO regulations.

MCSK goes to court

On 5 April, the MCSK filed an application that resulted in the court prohibiting KECOBO from interfering with the society’s collection of revenues on behalf of its members. It also ordered the board to stop issuing press releases about the MCSK. The case continues on 8 November.

“We filed for contempt of court against KECOBO on 25 May 2017 after they failed to obey the court’s order,” the MCSK representative said. “According to the court, they were banned from issuing press statements as well as commenting on matters concerning royalty collection. The high court judge set a hearing date for 25 July 2017 which was on Tuesday this week.

"KECOBO was not represented during the hearing, hence the court gave them 30 days to explain why contempt of court proceeding should not be commenced pending hearing and determination of the case on 18 September 2017 after which the court will give directions. We have placed a notice on the Daily Nation newspaper on the same."

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