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: MCSK promises era of openness and transparency

26 Jan 2024 - 13:16

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Kenya’s largest and oldest collective management organisation (CMO), the Music Copyright Society of Kenya (MCSK), has announced it has entered a new era of openness and transparency.

 

From right: MCSK Chairman Lazarus Muli, Kirinyaga County Women Rep Njeri Maina and musician Kasolo during an event to mark the disbursement of royalties by the MCSK in Nairobi on 25 January 2024.

The MCSK, which distributed Ksh20 million (about $125 000) for the period 1 January 2023 to 31 December 2023 on 25 January, said long gone are “the days of whining among its membership due to low distributions despite heavy airplay by the media, the transport and hospitality industry.”

“In 2024, we are looking forward to greater support from the government, better engagement with members and a new chapter of openness and transparency,” the MSCK CEO Ezekiel Mutua said.

The society has requested a closer collaboration with the Ministry of Interior so that its officers can conduct collections from users in a safer and more efficient manner.

According to the MCSK, CMOs can collect over Ksh2 billion annually, allowing for better distribution to its members. Further, the society expects better collections in the coming months after the gazettement of new tariffs and the introduction of the blank tape levy, also referred to as the remuneration for private copying, which came into force in September 2023 but was suspended following a legal suit against its implementation. The MCSK currently estimates that only about 15% of users are compliant.

Further, the MCSK says its members will soon be able to monitor the performance of their works following the deployment of new technology which will also enable a more ‘scientific’ distribution model as the society continues to use a combination of general and scientific contributions currently. Currently, the society says it is in the process of evaluation by the International Confederation of Societies of Authors and Composers (CISAC), which aims to protect the rights and promote the interests of creators worldwide, as it seeks to rejoin the global body.

In its latest disbursement, the society reports that it has paid its highest-grossing member Ksh757 092, whilst the lowest paid member will receive an estimate of Ksh5 000.

Members have also been encouraged to continue updating their works and catalogues regularly with the secretariat as the board extends the current distribution period by two months to 29 March to enable its members to access their royalties.

Over the years, many rightsholders have spoken out about their frustration with the way that the Kenyan royalty space is being managed. Collective rights management in Kenya has been marred by licence disputes, allegations of corruption and lack of transparency.

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