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

Sony Music sues Triller for non-payment

01 Sep 2022 - 10:25

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Sony Music has filed a lawsuit against video-sharing platform Triller for missing several payments due under the licensing agreement with the major music rights holder.

Triller CEO and chairperson Mahi de Silva.

The lawsuit was filed in New York this week with Sony claiming Triller has not made payments in a timely manner. Sony said the issues started when it ended its deal with Triller after missed payments in March, after which Triller stopped making payments completely. The music label said the outstanding debt amounts to millions of dollars, but its requests for payment have been ignored.

Breach of agreement

Sony and Triller entered a content distribution agreement in September 2016, which allowed the video-sharing platform to reproduce, distribute and create derivative works of the music company’s sound recordings, artwork and metadata. In return for using the content, Triller agreed to pay Sony a licensing fee among other considerations, with an initial payment due at execution of the deal, followed by payments on the first day of each month from March this year to November.

“While Triller had historically failed to make payments in a timely manner under the agreement, its failures recently escalated,” the lawsuit reads. “Starting in March 2022, Triller failed to make any monthly payments required under the agreement, totaling millions of dollars … After months of Sony Music requesting that Triller pay its outstanding and overdue fees, and near-total radio silence in response.

Sony Music notified Triller that the non-payment was in material breach of the agreement on 22 July 2022. The label also provided a sample list of 50 sound recordings that remain “available in the Triller Audio Library”, which the platform publicly performed weeks after their licensing deal was terminated on 8 August.

“After Triller failed to substantively respond, much less cure its breach of the agreement by making payment, Sony Music terminated the agreement on 8 August 2022. In doing so, Sony Music expressly informed Triller that its continued use of Sony Music Content would constitute willful copyright infringement.”

Triller’s licensing woes

Sony’s recent lawsuit adds to a number of other cases. In US producers Timbaland and Swizz Beatz are suing Triller demanding $28m in missing payments after the platform acquired their song battle platform Verzuz in 2021.

Last year, Triller renewed its licensing agreement with Universal Music Group. This was after Universal had accused Triller of “shamefully” withholding payments owed to our artists and refusing to negotiate a new licensing deal. In response, Triller said it did not need a deal with UMG to continue operating as Universal’s relevant artists were “shareholders or partners on Triller, and thus can authorise their usage directly.”

Triller’s substantial fundraising

Earlier this week, Triller announced that it had raised a substantial amount of capital in the form of debt and equity in a recent financing round ahead of its expected IPO. Triller’s CEO and chairperson Mahi de Silva confirmed the fundraising with an amount to the tune of more than $300m.

“This was an important step for Triller to be properly funded entering the public Markets” de Silva said. “We want to thank our partners, investors and supporters whom to date have helped supercharge Triller from a startup in 2019 to a household name today, having raised over $300 million dollars, supporting over 750 million monthly interactions and over 300 million users across all of its platforms. We have only just begun.”

The company said it expects to list on the Nasdaq in New York during the final quarter of this year. The move to go public was unveiled in June with Triller announcing that it had filed an S-1 form with the SEC. Before that, Triller had initially planned an IPO through a merger with Seachange, but later backtracked on that move.

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