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

No end in sight for Kenyan royalties quagmire

11 Oct 2017 - 16:52

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A Facebook post by the Music Copyright Society of Kenya’s (MCSK) has triggered a heated debate among musicians ahead of the society’s annual general meeting (AGM) on 19 October.

Percussionist Joseck Asikoye.

The Facebook update was part of an online rebranding campaign that the former music royalty collection body began on 28 September using the hashtag #mcskchanges to engage with its members.

The post, which was published on 8 October, reads: “Democracy means power to musicians. What if someone took away your right to decide your leaders? We have fought in silence, and this has meant our members dealing with delayed royalties, a smear campaign, baseless court cases and worse off misinformation without knowing why. We have vowed to fight a transparent fight. From now on you'll get informed of your right beyond royalties.”

Registered and non-registered members took the opportunity to highlight their frustrations and brought to light some of the challenges they had experienced with the MCSK.

“I for one feel cheated and robbed of my dues,” Kenyan jazz musician Benjamin Webi wrote. “You can’t talk about ‘power to musicians’ when you do everything but empower them economically. Your people don’t respond to emails, queries go ignored, phone call conversations with your staff are cold, sometimes rude, unfriendly and worse, you can’t give clear information about questions raised concerning the same royalties you purport to be doing everything possible to remit.”

“Until now, so many questions have gone unanswered. No resolution in sight, yet you talk of fighting a war. Which one exactly? Please note, some of us have been members for over a decade. So this comes from a place of acute disappointment and in honesty, a place of resentment.”

Some artists went as far as saying they had stopped recoding and releasing music due to the strenuous relationship they had with the MCSK.

“You are one of the reasons I never recorded my music,” producer Emperar Aizanas III wrote. “I don’t think I will ever give you the pleasure of eating from my sweat. I basically lost all trust in this thing.”

Other members proposed an audit of the organisation's accounts before it could regain their trust.

Jabali Afrika band member Joseck Asikoye, who goes by the name Muzi Eki Mutsibuanyi Wa'nanjero, wrote: “Get off social media and open up the books for scrutiny. Some of us are owed 24 years’ worth of royalties. Stop these games and own up #mcskchanges on social media? Changing from pickpockets to gangsters. Please stop this PR. We need an audit.”

It is the musicians’ hope that the aforementioned issues will be addressed during the MCSK AGM at Masinde Muliro University of Science and Technology in Kakamega County next week. The AGM is normally open to all MCSK members.

MCSK has had a tough year after the Kenya Copyright Board (KECOBO) revoked its licence in February on grounds that the society did not file its returns. MCSK’s license expired on 31 December 2016 and KECOBO went ahead to grant the Music Publishers Association of Kenya (MPAKE) a licence to collect royalties on behalf of musicians. The licence is up for renewal in March 2018.

This was followed by a series of court cases between KECOBO, MPAKE, the MCSK and the Performers Rights Society of Kenya (PRISK). Eventually the High Court of Kenya, through Justice Jesse Njagi, issued a directive in April 2017 overturning KECEBO’s decision to approve MPAKE as the country’s royalty collection body.

An MCSK representative told Music In Africa in July that the society had filed for contempt of court against KECOBO on 25 May after the board had failed to obey the court’s order, which also barred KECOBO from issuing press statements as well as commenting on matters concerning royalty collection.

A high court judge in Kakamega then set a hearing date for 25 July. KECEBO, however, was not present at the hearing, after which the court gave the body 30 days to explain why contempt of court proceedings should not commence pending a hearing and determination of the case on 18 September.

KECOBO was not represented once again, prompting the high court to order the body’s executive director, Edward Sigei, to appear in court to answer on charges of contempt. On October 6, MCSK chairperson Albert Kiarie, through lawyer Conrad Maloba, sought to charge Sigei with contempt of court.

The County Guardian reported on Friday that the court wanted Sigei to appear on 10 November. “The orders of the court must be obeyed by everyone and to disobey the same is to encourage the law of the jungle,” the publication quoted Maloba as saying.

In other developments, Kenya’s three collective management organisations (CMOs) signed in August a memorandum of understanding (MoU) with the Kenya Association of Hotel Keepers and Caterers (KAHC) and the Pubs, Entertainment and Restaurants Association of Kenya (PERAK) that seeks easier payment methods of royalties.

Late last month, the three CMOs also signed an MoU with media owners that is expected to see radio and TV stations paying less in monthly royalty tariffs.

On 3 October, KECOBO announced that it had tabled a new bill in Parliament that if passed into law would punish copyright transgressors. A local publication reported that owners of internet service providers who failed to expunge copyrighted content that is illegally posted on their networks could face up to five years in jail.

The stipulation is contained in the recently published Copyright Amendment Bill of 2017, which states that “the ISP which fails to take down or disable access when it receives a takedown notice shall be fully liable for any loss or damages resulting from non-compliance to a takedown notice without a valid justification”.

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