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

Kenyan band Elani slams copyright society over royalty disparity

14 Jan 2016 - 08:23

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Kenyan pop group Elani has called on the Music Copyright Society of Kenya (MCSK) to be transparent and accountable, asking the organization to show the world the audits for their music, radio play and the methods they use to determine how much they give an artist. In a hearfelt tell-all video clip posted online, the trio of Brian Chweya, Maureen Kunga and Wambui Ngugi chronicles their seven years on the Kenyan music scene and their current struggles.

Kenyan trio Elani. Photo: www.musicnation5.com

“The structures within the music industry in Kenya have failed the musician," they claim in the video. "Those entrusted to distribute the money which is generated by our hard work have failed us. The organizations whose sole purpose is to manage and distribute the funds that our blood, sweat and tears have created have failed us. We spent all we had to make the best music we could. We sincerely deserve to get our due.”

In the video, the trio says 2014 was one of their best years. During that year the group released about five singles but only received KES 31 000 (about $300) as royalties for songs that had been receiving substantial airplay. According to media reports, MCSK claimed this was the amount that the trio was entitled to as they registered late with the body. Additionally, while it might have appeared that the group’s music seemed to be receiving massive airplay, not all stations were playing their music; out of the 42 radio stations in Kenya, only 10 played the group's music.

Elani claims to have gone to the MCSK offices to look at the airplay logs but were given contradictory stories: they were told that certain radio stations were giving false logs and that MCSK doesn't monitor all stations. They allege that upon performing their own investigations by calling media outlets, they realised that the officials had lied to them. After Elani complained and followed up with the radio stations, the MCSK reportedly gave them a further KES 300 000 (about $2930). Speaking to Pulse magazine, MCSK CEO Maurice Okoth revealed that after the trio's complaints, the society checked their records and discovered a mistake on their part: they had failed to monitor their songs for the period dated July 2013 to June 2014. The KES 300 000 was therefore compensation for the royalties lost within that period, during which their song received massive airplay.

Elani's compensation is not the end of the matter, however, and the MCSK's mistake suggests a wider problem for all Kenyan artists. "If Elani deserves 300 000 and all they are getting is 30 000, how many other artists are there who deserve ten times what it is that they receive, only because they don't come and ask?" ask the band.

While most people sympathized with the group for the misfortune, others were not buying this story. One Philip Etemesi commented in response to the Youtube video: "Okay, MCSK sucks. That's not news. But this doesn't explain why you guys have been unable to release other hit songs. More so, big artists like you shouldn't be relying on MSCK to survive. I think the issue lies with your management. You should be doing more gigs that earn you good money."

The general feeling, however, is that the MCSK has failed Kenyan artists. In 2015, Alex Apoko (popularly known as Ringtone), led hundreds of MCSK members in a demonstration during the society’s awards ceremony at Carnivore. He said the society was betraying its members by using the revenue collected to hold the awards, rather than staging a fully sponsored event.

The MCSK in the last quarter of 2015 witnessed a lot of resistance from the artists with the battle being taken to the court. In November 2015, it was accused of withdrawing KES 6 million ($58 600) irregularly. CEO Maurice Okoth claimed there were records accounting for the money that was used to pay members. “MCSK has been declared an illegal entity by the Director of Public Prosecutions, despite getting a letter from the office of the Attorney-General to prove our legitimacy and authority to collect money on behalf of artistes,” Okoth said at the time.

There has been widespread dissatisfaction directed at the society and the new claims by Elani put the MCSK further into the spotlight.

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