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 seeks removal of 135 000 fake songs impersonating its artists

23 Mar 2026 - 09:08

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Sony Music has said it has asked streaming platforms to remove more than 135 000 songs created by fraudsters impersonating its artists, as concerns grow over the spread of AI-generated deepfakes in music streaming.

Sony global digital business president Dennis Kooker.

The company said the tracks, which falsely used the names or likenesses of its artists, included deepfake material linked to acts such as Beyoncé, Queen and Harry Styles.

The issue has drawn attention as AI-generated music continues to appear on major streaming services. Industry publication Digital Music News has reported on the rise of such deepfakes on platforms including Spotify, which does not require music created with artificial intelligence to carry a label.

Sony said the number of fraudulent uploads was increasing as AI tools became cheaper and more widely accessible. According to the company, the 135 000 removals account for only a small share of the total number of fake tracks uploaded to streaming services.

Since March 2025, Sony said it had identified 60 000 tracks falsely claiming to feature artists from its roster, including Bad Bunny, Miley Cyrus and Mark Ronson.

Dennis Kooker, president of Sony’s Global Digital Business, told the BBC that the most serious cases could disrupt official release campaigns and affect artists’ reputations.

“In the worst cases, [the deepfakes] potentially damage a release campaign or tarnish the reputation of an article,” he said.

Kooker said the problem was often linked to periods of heightened public interest in an artist’s work.

“The problem with deepfakes is that they are a demand-driven event,” he said. “They are taking advantage of the fact that an artist is out there promoting their music. That is when deepfakes are at their worst, building off of and benefitting from the demand an artist has created. Ultimately, it distracts from what the artist is trying to accomplish.”

The spread of fake tracks has affected both living and deceased artists. Last year, country singer Blaze Foley, who is dead, was among those targeted when deepfake songs were added to his official Spotify page, despite there being no new releases planned by his estate.

Rapper Tyler, the Creator was also affected around the release of his album Don’t Tap the Glass, when several AI-generated tracks with similar titles appeared on Spotify, according to Digital Music News.

The publication also reported a similar case involving King Gizzard and the Lizard Wizard after the band removed its music from Spotify. It said a new act then appeared on the platform with songs that closely resembled the band’s removed material, with some tracks carrying similar names.

The growing number of deepfake songs has added to wider debate in the music industry over platform moderation, artist protection and the use of artificial intelligence in music distribution.

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