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

Overviews

Music piracy and royalty collection in Zimbabwe

21 Jan 2015 - 09:39

cc-img flag-img

Music piracy is the copying and distribution of music for which the composer, recording artist, or copyright-holding record company did not give consent. Like many countries, Zimbabwe grapples with growing figures of music piracy every year.

Photo: Flickr/Muses Touch

Over the past decade, music piracy has transformed from a small, part-time activity enjoyed by a few music enthusiasts into a booming business and a source of income for many Zimbabweans. In almost every city there are hundreds of vendors selling illegally-produced CDs and DVDs, usually at very low prices. It is possible that up to 85% percent of local music sold in Zimbabwe is illegally produced.

The effects of music piracy are greatly felt by stakeholders in the sector, particularly musicians, record companies, retailers and the government. Musicians, most of whom have lost faith in the formal CD market, are embracing new distribution methods and generally shunning traditional approaches. Top record companies such as Gramma Records, Ngaavongwe Records, Metro and the Zimbabwe Music Corporation (ZMC) no longer print as many copies as they used to ten years ago. This has created a permanent shortage in the formal CD market, which is easily filled by the pirates.

A study conducted by online publication Jive Zimbabwe in 2011, found out that more consumers preferred buying CDs on the streets than from legit outlets. With pirated music CDs averaging between US$ 50 cents and 1US$ per copy (compared to about US$5 for a legit copy), a lot of music retailers that used to exist in the city of Harare such as Spinalong, are unable to operate and have since closed down. With the illegal market more popular now than it has ever been, most musicians have no option but to put their material on that market as well. In 2011 the Zimbabwe Association of Recording Industries (ZARI) introduced a low quality CD called the “budget CD” to lure consumers from the illegal market. Another example is that of prominent gospel musician Kudzi Nyakudya, who was arrested in 2012 for pirating and selling his own music.

It is difficult to ascertain the full impact of music piracy to Zimbabwe’s economy. The obvious reason is that there is no authoritative body that releases music-related statistics in Zimbabwe. Furthermore the country’s economy has experienced significant challenges due to a myriad of factors in recent years. It is estimated, however, that at least 10000 jobs have been lost in the music sector and related industries since the early 2000s. In addition, music sales have significantly declined. Currently popular albums sell between 5000 and 10 000 copies. It is very unlikely that an album will ever sell above the 100 000 mark surpassed by some albums in the past, such as Simbaradzo by Alick Macheso (sold over 300 000 copies), Maruva Enyika by Leonard Zhakata (over 100 000 copies) and Chitekete by Leonard Dembo (over 100 000 copies). With these challenges most musicians balance music with other things to make ends meet. Only well-established musicians such as Oliver Mtukudzi and Alick Marcheso can rely entirely on music.

Anti-piracy measures and royalty collection

Zimbabwe lacks a dedicated anti-piracy organisation, following the closure of the Anti-Piracy Organisation of Zimbabwe (APOZ). APOZ was granted a licence to operate as a copyright watchdog in 2008 but was shut down by the ministry of justice and legal affairs on 26 September 2012, for allegedly supporting pirates. APOZ was founded by Innocent Matsengarwodzi. During its tenure, it worked with organisations such as the Zimbabwe Music Rights Association (ZIMURA), Zimbabwe Union of Musicians (ZUM) and the Zimbabwe Republic Police (ZRP).

With APOZ no longer operating, hopes are on ZIMURA – a collecting society established in 1982. ZIMURA collects and distributes royalties for musical works that have been publicly performed or played. Thus it protects public performance rights, although there are plans to venture into mechanical rights. In addition, ZIMURA holds several copyright awareness workshops throughout Zimbabwe. Current membership stands at around 2000. ZIMURA offers two types of memberships; for composers and publishers. Currently, professionals can apply for ZIMURA membership online at www.zimmusicrights.org. A once-off membership fee of US$50 and US$100 is required for composers and publishers respectively.

Copyright registration and legislation

Currently, no official form of copyright registration is available in Zimbabwe. Zimbabwean copyright laws stipulate, however, that all original music is protected by copyright from the time it is recorded or written down in some format. The copyright legislation in Zimbabwe is mainly composed of two acts; the Copyright and Neighbouring Rights Regulations (2006) and the Copyright and Neighbouring Rights Act (2000). The later stipulates that any person found guilty of infringing the provisions of the copyright law is punishable by imprisonment for a period of two years or a fine. The other laws pertaining to anti-piracy measures and copyright enforcement are: The Intellectual Property Tribunal Act [Chapter 26:06], the High Court Act, the Magistrate Court Act [Chapter 7:10], the Criminal Procedure and Evidence Act [Chapter 9:07], the Competition Act [Chapter 14:28], the Commissions of Inquiry Act [Chapter 10:07] and the Customs and Excise Act [Chapter 23:02].

Zimbabwe is also a member of the International Convention and Treaties on Copyright and Related Rights, the Berne Convention for the Protection of Literary and Artistic Works and the WTO Agreement on Trade Related Aspects of Intellectual Property Rights (TRIPS). The country is also part of the African Regional Intellectual Property Organisation (ARIPO) Development Community.

Useful Contacts:

  • African Regional Intellectual Property Organization - Tel: + 263 4 794068; email: [email protected]
  • Zimbabwe Intellectual Property Office - Century House East, 38 Nelson Mandela Ave, Harare; tel: +263 4 775544-6 / 777372 / 781835
  • National Arts Council of Zimbabwe - tel: +263 4 336389 / 304530; email: [email protected]
  • Zimbabwe Music Rights Association - tel: +263 33 6185; email: [email protected]; web: www.zimmusicrights.org

Further reading:

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