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

How to - Legal

Read the Fine Print and all other Pages Carefully

21 Nov 2014 - 10:34

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by Andile Qongqo

FACT: A CONTRACT IS THERE TO PRIMARILY PROTECT THE INTERESTS OF THE ONE WHO DRAFTED IT.

Up to this day, you still hear stories of musicians who sold millions of albums but made small change.  And as usual, record companies are partly to blame (and they really are).  But the musicians are also to blame because they did not understand the contract they signed. Every woman/man has the power to choose his/her destiny.  That’s the true meaning of freedom. The sad truth about the recording industry is that it’s controlled by a select few; the major record labels.

Photo by Think Panama

So, as long as record companies are running things, musicians will be exploited. And the only way this is going to change is if musicians started drafting their own contracts. It may not be practical (yet), but it’s not impossible. The next time you are asked to sign a contract you didn’t draw up, know that its main purpose is to protect the interest of the one who drafted it.

Here are a few points to be aware of when signing a major record label contract:

  • A major label usually signs a new artist on an exclusivity basis, meaning the artist becomes property of the record label: all your performances have to be approved by your label.
  • Contracts don’t normally mention as to what happens if the recording label goes bankrupt. If a label files for bankruptcy, all the music you recorded with the label gets dissolved with the label. All your hard work down the drain.
  • The label will demand you give them the option of extending the contract when it expires, but you don’t get that option. Which means, if the label makes money out of you, they get first priority to offer you another contract, but on the other hand, you don’t get ask for a new contract unless the label wants you.
  • You maybe happy with the album, but it won’t be released until the label says so. There are a number of reasons why a label will delay an album release: it could be that, for some reason, they don’t feel like it’s the “right time” to release you, or your release may compete with one of their star artists.
  • Producers get paid from your royalties, so the more producers you use, the less you get from royalties.
  • There’s nothing on the contract that forces the label to release your album at a certain date. You could wait for months before your album gets released, sometimes it is for legitimate reasons like doing some market research to see if your music has a market, sometimes it could be the label delaying the release just to show you who’s the boss (this normally happens to new artists who are too opinionated for the label’s liking).
  • It’s up to the label to choose producers, session musicians, studio, CD artwork, etc. You have little say as to who you want on your album when you are a new artist under a major record label, the label makes all the decisions.
  • All costs of making and releasing your album are recoupable, including any advance money they give you. Everything the label spends money on to release your album is recoupable (the label will reimburse itself against your royalties): recording studio, producers, session musicians, marketing, travel expenses, any accessories. You will want to make sure you don’t waste anything, don’t waste studio time, don’t choose too expensive clothing for any appearances (if it’s up o you) and don’t overspend at hotels; phone calls, meals, movies etc.
  • The label may acquire 100% copyright control of all the songs you record. You may be credited with copyright ownership on songs you created, but the label owns the recordings; meaning the label owns the songs as they sound on the CD because the label paid for recording costs. If you decide to part ways with the label & you want your songs back, you’ll have to buy them back from the label (they won’t be cheap).

Contracts contain long sentences with a lot of commas, which make them hard to read. A typical contract will read:

“RIGHTS IN MUSICAL COMPOSITIONS:

As to any Composition wholly or partially written or controlled directly or indirectly by Artist which is recorded and released pursuant to the provisions hereof (hereinafter referred to as "Controlled Composition(s)"), Artist agrees to assign to Company or Company's Publishing Affiliate, One Hundred (100%) percent of Artist's interest in the copyright of the Controlled Composition, as well as the sole and exclusive right to administer and protect such interest in the Controlled Composition throughout the world, for the frill life of the copyright including any extensions and renewals thereof Company or Company's Publishing Affiliate, will account to Artist, and pay Artist according to the provisions of the songwriter-publisher contract attached hereto as Exhibit "B".Notice how many commas they use and after how long the full stop comes."

As an artist, you are an independent service provider, which means you won’t get any benefits (pension, medical benefits) or bonuses if the label makes an unexpected profit from your album. This is one of the reasons why many musicians have been penalized by the tax man; many musicians assumed their labels would take care of their tax issues, whereas that is not the case.

Originally published on www.mio.co.za

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