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 CMOs under fire over royalty payments

15 Aug 2019 - 11:37

cc-img flag-img

Kenyan music industry regulator the Kenya Copyright Board (KECOBO) says royalties collected by the country's three licensed collective management organisations (CMOs) for the second quarter of 2019 were not distributed correctly.

Kenyan rapper Khaligraph Jones has rebuked the MCSK.

KECOBO said the Music Copyright Society of Kenya (MCSK), the Kenya Association of Music Producers (KAMP) and the Performers Rights Society of Kenya (PRISK) distributed only 88 million Kenyan shillings ($850 000) out of the 118 million shillings that were collected.

"The amount distributed represents 68% of the total income of 118 million Kenyan shillings jointly collected by the CMOs," KECOBO said in a statement. "This represents a shortfall of 2% from the 70% level set by the KECOBO board of directors as a precondition for licensing the three societies."

The KECOBO statement was released a day after MCSK members accused the CMO of short-changing them when it had distributed 44 million shillings in royalties. On 13 August, about 14 000 MCSK members received 2 530 shillings each via mobile money for the April to June 2019 period. Soon after the payments were made, several musicians took to social media.

"MCSK don't you ever dare send me peanuts again," rapper Khaligraph Jones said in a tweet. "I have given authorisation for my music to be pirated. Don't collect money on my behalf anymore and do not arrest anyone playing my music on the streets."

MCSK CEO Milka Kulati said in a 14 August press statement that the latest tranche of payments were based on collections from public performances.

"We have several classes of distribution, namely radio and TV, which are payable in February each year, and PP [public performances], which is paid in October. However, we have been able to pay in August, which is three months ahead of our distribution calendar.

"The royalties collected are from small business owners such as barber shops, salons, malls and public transport vehicles. We have had battles with owners of major hotels and pubs here in Kenya not paying royalties to our artists and even using court orders to hamper the royalty collection process."

A breakdown by the MCSK shows that out of the 44 million shillings collected, the body had paid 34 million to its registered members and 3 million to the Kenya Revenue Authority. Mobile money transaction fees were equated to 1.2 million shillings while 3.5 million went to international artists via international CMOs.

Meanwhile, NTV Kenya reported on 14 August that PRISK had last week paid out 19 million shillings to its 4 000 members, who each received just over 4 000 shillings. KAMP is yet to pay out the 88 million shillings it has collected.

KECOBO boss Edward Sigei has assured Kenyan creators that the board will ensure that the 70% target is reached in the course of subsequent distributions this year. He said royalties collected in the first quarter of 2019 were being reconciled and would be distributed in due course.

Please log in to post a comment.

Most popular

Disclaimer: Music In Africa provides a platform for musicians and contributors to embed music and videos solely for promotional purposes. If any track or video embedded on this platform violates any copyrights please inform us immediately and we will take it down. Please read our Terms of Use for more.

newsletter banner

Subscribe to our monthly Newsletter

Follow us on social media