NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud to announce 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 launching a new national programme designed to create jobs, address skills gaps, and strengthen 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 will recruit and train participants, match them with host organisations, and place a minimum of 1 000 workers across the country. 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 has stamped its authority as Africa’s leading music trade event. At the 2019 edition in Accra, the conference brought together more than 1 200 delegates from about 50 countries on the continent and beyond. The conference also hosted 76 showcasing artists from Africa and the diaspora, who got to perform for an influential audience at two top live venues in the Ghanaian capital. Apart from live showcases, the event features panel discussions, presentations, exhibitions, pitch sessions, Q&A sessions with prominent musicians and visits to key music industry hubs in the host city. Many of these activities will be planned for ACCES 2021, with the ACCES team already exploring a tailor-made programme that will cater for the specific needs of the local music industry amid the pandemic. ACCES is organised by the Music In Africa Foundation, a non-profit and pan-African organisation, in partnership with Siemens Stiftung and Goethe-Institut.

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 claire@musicinafrica.net. 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

Spotify shares 2023 streaming economics insights

20 Mar 2024 - 14:21

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Spotify has shared its Loud & Clear 2023 report, which includes findings from recent data shedding light on the economics of music streaming.

Taylor Swift was Spotify’s most streamed global artist in 2023. Photo: Instagram

Spotify says the report seeks to increase transparency by sharing new data on the company’s royalty payments and breaking down the global streaming economy, its players and the process.

In terms of earnings, the report shows that 66 000 artists generated more than $10 000 of Spotify payouts in 2023, up from 57 000 in the previous year. Compared to 2017, the first time Spotify started collecting this data, the number has tripled from 23 400 artists.

The data also indicate that there has been growth in the number of artists generating more than $100 000 of annual Spotify payouts: 4 300 (2017), 10 100 (2022) and 11 600 (2023). The trajectory of artists who made more than $1m appears as follows: 460 (2017), 1 060 (2022) and 1 250 (2023).

Similarly, the number of artists in the superstar tier generating more than $10m of annual Spotify payouts have grown from 10 in 2017 to 40 in 2022 and 60 in 2023.

“These figures represent revenue generated from Spotify alone,” the company said. “When taking into account earnings from other services and recorded revenue streams, these artists likely generated four times this revenue from recorded music sources overall, plus additional revenue from concert tickets and merch.”

Further analysis shows that of the artists in the $1m tier, only 20% had a track in the top 50 of its Daily Global Songs chart. A majority of $1m tier artists started their careers in 2010 or later, with Spotify saying that to earn this level of payout, an artist needs “around 4-5 million monthly listeners or 20-25 million monthly streams.”

Another key finding from the report is that more than half of the 66 000 artists who generated more than $10k in 2023 were from countries where English is not the first language. The report shows that Spanish, German, Portuguese, French and Korean are the biggest non-English languages in terms of payouts, pointing to the popularity of reggaeton and other regional genres like Latin, Afrobeats and K-pop. Hindi, Indonesian, Punjabi and Tamil also registered a big increase in 2023, reflecting the service’s growth in India and Southeast Asia.

Additionally, more than 10 million users have uploaded at least one track to Spotify. However, the company says it wants to focus on 225 000 “emerging and professional artists trying to build careers.” The company says about 8 million uploaders have fewer than 10 tracks available on Spotify and that some 5 million of them have fewer than 100 total streams across their catalogue.

Spotify added that the 50 000th most popular artist on the platform generated $16 500 in payouts last year – nearly six times more than the 50 000th artist in 2017. Over 329 000 songs were streamed more than 1 million times in 2023 – up from about 281 000 in 2022.

As for rightsholders, Spotify said it paid out $4bn to publishers over the last two years. “Songwriters – through their publishing rightsholders – are generating record-breaking revenues, driven by streaming services. Over the last two years, Spotify has paid out nearly $4bn to publishers, performance rights organisations, and collecting societies that represent songwriters.

“Publishers, songwriters and their CMOs are seeing more than two times the revenue ($5.5bn in 2022) in the streaming era than they ever had in the CD/sales era ($2.5bn in 2001), per the Global Value of Music Copyright,” it said.

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