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 creators to earn more from ringback tones

05 Apr 2022 - 17:36

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Kenyan creators have reason to celebrate after a parliamentary proposal to increase earnings generated from ringback tones was signed into law on 4 April.

Kenyan President Kenyatta signing bills into laws at State House in Nairobi on 4 April.

Yesterday, President Uhuru Kenyatta approved the Kenya Copyright Amendment Bill of 2021, which regulates how revenue will be shared among creators, telecommunications companies and premium rate service providers.

The new law entitles artists the right to earn no less than 52% of revenues made from ringback tones, which are subscription-based tunes played by telcos to callers. Telcos, in turn, will pocket 39.5% of revenues, while premium rate service providers, which own the tech and platforms linking callers to ringback tones, will make 8.5%.

Musicians’ lobby groups have continuously fought for a fairer revenue sharing formula, with artists previously receiving only an average of 16% of earnings, while 25% and 51% went to the taxman and mobile phone operators, respectively. The most recent cut for creators was set at 40% on Safaricom’s Skiza Tunes platform, the biggest of its kind in the East African nation.

“Artists put a lot of effort into making their music and Skiza is one of the channels they use to market it,” Kenyan musician and MP Charles Njagua, whose stage name is Jaguar, wrote on social media. “I am part of the 12th Parliament that, through various engagements, passed the bill that has tripled [sic] the revenue earned to 52%. We will continue supporting our own to make their careers a success.”

Other artists who have welcomed the enactment of the law include rapper Khaligraph Jones, gospel musician Daddy Owen as well Guardian Angel and Maureen Kunga from the Elani band, who have called it a step in the right direction.

Artists and creators with existing direct contracts will have to wait until their agreements expire before the new law can apply to them.

The law also mandates the National Rights Registry, under the Kenya Copyright Board, to maintain an online portal for registration of copyrighted works, and to track, monitor and disseminate data or logs related to access of registered works.

Amendments to Kenya’s Copyright Act were tabled in Parliament by Homa Bay County woman representative Gladys Wanga in late November. However, one particular amendment did not sit well with creators after it appeared to encourage piracy of online content. Wanga later withdrew that provision, paving the way for Parliament to pass the amendment bill on 24 February.

Partners Against Piracy convener and the founder of PHAT! Music & Entertainment, Mike Strano, said: “We sincerely appreciate the 12th Parliament for dropping Clauses 5, 6 and 7 in the Copyright Amendment Bill 2021, before it went to the president. These clauses sought to repeal Sections 35B, 35C and 35D in the Copyright Act, which deal with the responsibilities of internet service providers, which would have undone the excellent legislation that this same Parliament passed in 2019.”

Ringback tones have proven to be a reliable revenue stream for many Kenyan artists, with annual gross income estimated at Ksh7.58bn ($65.8m).

With more than nine million subscribers, Skiza Tunes is the largest ringback tones platform in Kenya. At its launch in 2009, Skiza Tunes gave artists 7.5% of revenue generated, before increasing it to 30% in 2017 after negotiations with the Kenya Association of Music Producers, the Performers Rights Society of Kenya and the Music Copyright Society of Kenya.

In August last year, Skiza Tunes revised the rates upwards again to 40%, and will have to increase them once again by 12% due to the new law.

Similar platforms to Skiza in Kenya are Airtel’s Hellotunes and Telkom’s Beat Yangu.

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