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

SABC owes millions to South African artists

07 Jun 2017 - 16:17

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The South African Broadcasting Corporation (SABC) owes musicians more than R75m ($5.8m) in royalties. This is according to a response by Minister of Communications Ayanda Dlodlo to a written question by an opposition member of parliament.

Communications Minister Ayanda Dlodlo.

In a document sent out to the minister, the Democratic Alliance’s Phumzile van Damme asked: “What amount does the SA Broadcasting Corporation owe in royalty payments to the (i) SA Music Rights Organisation [SAMRO], (ii) SA Music Performance Rights Association [SAMPRA], (iii) Association of Independent Record Companies [AIRCO], (iv) Independent Music Performance Rights Association [IMPRA], (v) Recording Industry of South Africa [RiSA], (vi) Composers, Authors and Publishers Association [CAPASSO] and/or (vii) any other relevant association, (b) for how long has each amount been outstanding and (c) by what date will each outstanding amount be paid?”

Van Damme shared the response via Twitter on Tuesday morning. “A reply to my parliamentary Q reveals that the SABC owes local musicians approximately R75 000 000 in royalties,” her tweet reads.

In one of her replies to Van Dame, Dlodlo said the reason for non-payment to SAMPRA and IMPRA was because “both societies have not agreed on the percentage split of the amount based on the play history reports SABC has generated”. SAMPRA and IMPRA are collectively owed more than R52m, which has been outstanding since March 2014.

SAMRO is among those owed millions by the SABC with more than R14m outstanding as of April 2017. According to Dlodlo’s reply, payment to SAMRO is scheduled for the third quarter of this fiscal year.

AIRCO‚ RiSA and CAPASSO are owed between R2.4m and R3m each.

In April, SAMRO denied claims that that the SABC owed it R400m, as well as assertions that the two parties had taken their altercation to the copyright tribunal.

“We are not taking each other to the copyright tribunal and the SABC does not owe us R400m,” SAMRO spokesperson Tiyani Maluleke said at the time. “In previous years, the SABC has consistently paid SAMRO a tariff for its radio airplay and we haven’t had a problem as far as that is concerned. We are always in negotiations with the public broadcaster for the television tariffs.”

The full response to Van Damme’s questions can be accessed here. You can also download the attached document below.

Meanwhile, the SABC has on several occasions made headlines for losing millions in taxpayers’ money without batting an eyelid. Last month, the struggling broadcaster submitted a funding proposal to Dlodlo following a meeting by the Department of Communications, National Treasury and SABC’s top management.

It’s not clear how much funding the SABC is pursuing but the proposal’s submission follows reports that the SABC had made a loss of R1bn in the 2016-17 financial year. The SABC began breaking records in losses after former chief operating officer Hlaudi Motsoeneng unilaterally introduced a 90/10 local content policy just over a year ago. In July last year, Motsoeneng paid tribute to 180 local musicians by allocating R50 000 to each of them.

A few months later, in October, he defended the public broadcaster's R411m loss, saying the SABC was not in the business of making a profit. “For me, it's not a loss. If we can play in the space of commercial earning, you will always get profit. But we are not in the business of profit. We are in the business of servicing our audience,” he said.

Motsoeneng was removed from his position as chief operating officer after it was found that he had lied about his qualifications. The revelations were made in a report by then public protector Thuli Madonsela into his fitness to hold office. A ruling by the Western Cape High Court in December last year found that he was unfit to hold any office at the SABC.

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