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

Nigeria’s music stakeholders call for COSON audit

03 Jun 2019 - 12:42

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The newest chapter of the long-running Copyright Society of Nigeria (COSON) controversy sees a group of music professionals call for the body to be audited.

Tony Okoroji has been urged to submit COSON records for external auditing.

The controversy began when COSON leadership split, following the reelection of Tony Okoroji by one group of COSON members and the election of Efe Omorogbe by a different group.

The disagreement between both leaders led to the Nigerian Communications Commission (NCC) banning COSON from collecting royalties on behalf of its members, following an unheeded directive that fresh elections be held to solve the problem. Led publicly by Okoroji, who has headed it since its creation, COSON continued to function, albeit not fully.

Now, Omorogbe and other music stakeholders, including Chocolate City group head Audu Maikori, creative entrepreneur Obi Asika and artist Sunny Neji, have requested an independent audit of the COSON’s financial statements. Last year, a call for a probe failed to materialise.

COSON members “demanded an audit of the account of the organisation but Okoroji refused, citing the cost as an unnecessary burden because its books had been audited by internal auditors,” Omorogbe said recently. “However, the Music Publishers Association of Nigeria (MPAN) has offered to underwrite the cost of the audit. And personally, if the books are audited, and Okoroji is absolved of any wrongdoing, I would apologise to him in any way he wants. Our stance has nothing to do with the chairmanship or board positions.”

Corroborating Omorogbe’s claim, MPAN’s chairman Olumide Mustapha said his body would pay for the audits to be done.

“We just simply wanted a second opinion,” Mustapha said. “The general legal requirement of any company is to have the financial statement audited every year, and, based on the AGMs we have been attending in the last two years, an independent forensic audit would make everybody more at ease. Right now there are questions and those questions would be better answered if there is independently verifiable information that everyone can accept.

“For example, we noticed that there was an almost N200million decrease in the amount collected last year compared to the year before. There were also certain large increases in cost like security which rose from N1 million from the year before to N31 million ($100 000) last year. I broached these questions at the AGM and of course, there were some explanations, but if verified by an independent party, there won’t be any issues.

“As an organisation, MPAN has said we would be willing to underwrite the cost of a forensic audit and they haven’t responded. Until they respond officially to that, we have to deem it that they have not agreed to it.”

Omorogbe bemoaned Okoroji’s apparent refusal to renew COSON’s licence, which expired on 20 May and some of its financial records. “For now, COSON cannot carry out its statutory duties,” he said. “Meanwhile, the body generated N200m less than it did the previous year. It also spent N31m ($100 000) on office security, as against N1m ($3 200) the preceding year. For legal fees, the society allegedly spent N34m ($110 000), whereas it only spent N17m ($55 000) the previous year.”

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