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

MTN Nigeria taken to court in ‘biggest copyright lawsuit ever in Africa’

10 May 2016 - 16:54

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The Copyright Society of Nigeria (COSON) is taking telecoms giant MTN to court for 16 billion naira ($80 million). The lawsuit is a result of the alleged failure of the company to pay royalties to deserving parties.

Chinedu Chukwuji, Tony Okoroji; COSON GM and Chairman. Photo:FabMag

The announcement follows the recent partnership between COSON and the International Federation of the Phonographic Industry (IFPI). The partnership propelled the body, which is Nigeria’s only government approved collective management organization for musical works and sound recordings, to restate its commitment to fighting for the rights of people working in the Nigerian entertainment industry.

According to an official statement by COSON, the body chose to head for the law court when repeated entreaties to MTN failed. “COSON has taken several steps, engaged in massive media advertising, organized various programmes, devoted enormous time and resources in appealing to MTN to obtain the appropriate licences and pay requisite royalties for the musical works and sound recordings deployed by the company, but MTN has behaved as if it is above the law and no attempt made by COSON has got MTN to meet its lawful obligations,” reads the statement.

The statement continues: “Supported by numerous exhibits, the Plaintiff in the Statement of Claim said that while in recent years COSON has collected and distributed several millions of naira received from various users of music to its members, affiliates and assignors as copyright royalty, not one kobo (cent) has been collected from MTN, which touts itself as the biggest distributor of music in Nigeria and falsely holds itself out as a good friend of the Nigerian music industry.”

The lawsuit has been described by COSON as the “biggest copyright lawsuit ever in the continent of Africa”. COSON is alleging that “for every Caller Ring Back Tune (CRBT) sold by MTN, the defendant keeps a whopping 60 to 70% of the income to itself, leaving just about 30 to 40% of the revenue to be fought over by the Value Added Service (VAS) provider, the record label, the performer, etc.”

The inefficiency of this formula was also raised by the popstar D’Banj in an address at the recent Nigerian Entertainment Conference in Lagos.

The lawsuit comes at a worrying time for MTN. In October 2015 the company was ordered to pay a N1.04 trillion naira ($5.2 billion) fine by the Nigerian Communications Commission for not deactivating unregistered subscribers from the network. The fine led to the resignation of Sifiso Dabengwa, MTN’s Group CEO. The company is also said to owe taxes in Cameroon. In South Africa, meanwhile, where MTN's headquarters are located, the company was earlier this year accused of failing to pay royalties since 2013 by the Composers, Authors and Publishers Association (CAPASSO). Although MTN South Africa denied the charge, saying that “MTN has never disputed any royalty rates with CAPASSO or any other collecting society,” and insisting that it had requested a revised invoice, they moved swiftly to settle their outstanding debts.

The latest allegation by COSON is likely to do further damage to MTN's reputation, if not its finances.

Commenting on the recent development, COSON Chairman Tony Okoroji said the body is determined to defend intellectual property. “We are resolute that the labour of Nigerian musicians and investors in the music industry, who toil every day to make people happy, will no longer be in vain,” he said. “They cannot make people happy and be sad themselves. Anyone intending to exploit their sweat to serve his own purpose has COSON to deal with.

"The recent crash in the price of crude oil should be a lesson that Nigeria can no longer afford to waste her tremendous intellectual property assets," continued Okoroji. "Our music and our movies - in great demand everywhere in the world - must count for something. They should contribute significantly to the nation’s GDP and provide jobs for hundreds of thousands of our citizens… We have asked our lawyers to go on a ‘rampage’. Our brief to them is clear: there will be no untouchables and no sacred cows; no retreat, no surrender!”

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