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

TuneCore pays out $3b to self-releasing artists

09 Dec 2022 - 13:08

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Independent digital music distribution, publishing and licensing company TuneCore on Thursday reported that it has paid out $3b in royalties to artists so far.

TuneCore CEO Andreea Gleeson.

The Believe-owned service said the figure represents a $500m increase from the $2.5b payout made in April.

A leading player in the global DIY music distribution space, TuneCore, founded in 2005, charges artists a flat annual fee to upload their music to DSPs like Spotify and pays them 100% of the royalties earned.

The company says the payout figure represents a cumulative total of earnings from all TuneCore music creators, “ranging from hobbyists and nascent music creators to working professionals and even accomplished artists.”

“TuneCore is essential to Believe’s overarching mission, as well as key to the Group’s ecosystem, which is designed to support a wide range of artists at all stages of their careers, and across all demographics,” Believe CEO Denis Ladegaillerie said.

“The achievement of reaching $3b earned by self-releasing artists speaks volumes to the importance of supporting all creators equally. This is why the whole artistic community must be nurtured without differentiation to allow the emergence of a new class of self-releasing artists that will be able to sustain themselves by making a living from their art. Not all artists aim at becoming superstars, but all top artists need a launchpad to blossom.”

The report added that more than 8 000 TuneCore artists have earned over $10 000 to date, with thousands of artists earning between $50 000 and $100 000 “and many taking home over $1m.”

TuneCore says the big payout has been aided by its direct deals with all digital service providers, which it termed a true differentiator in the market. It added that it offers more revenue streams for its artists via its social platforms and YouTube content ID programmes.

The company further stated that its music publishing division has paid artists close to $90 million since the launch of TuneCore Music Publishing Administration in 2011.

The report also indicates that over 400 TuneCore artists have been upstreamed to Believe’s premium services levels, Label and Artist Solutions (LAS) as well as Artist Services (AS).

“By strengthening the connections between Believe and TuneCore, the group has built an offering that fits artists’ needs at all stages of their development, and has created an environment where music creators have the freedom to experiment with all music genres – from traditional to progressive styles,” TuneCore said.

TuneCore added that creators outside the US have grown to represent 60% of its new artists and labels.

“We’re proud to offer innovative technology-based services at affordable price points to all music creators, whether you’re a beginner or a top artist,” TuneCore CEO Andreea Gleeson said

“Ed Sheeran, Lizzo, and Chance the Rapper all started their careers on TuneCore – in fact, the next Ed Sheeran, the next Lizzo and the next Chance could all very well be on our roster right now. Our goal is to give all self-releasing artists the freedom to create, test, perfect – and earn money from – their music, without restrictions. When you foster a space where creativity flows, artists are able to push boundaries and that’s where innovation lives – artists collaborating to create new music, new sounds, and new genres.”

The milestone has been applauded by TuneCore’s DSP partners including Spotify, Apple, Meta, YouTube and TikTok.

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