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

UMG to pull music catalogue from TikTok amid failed talks

31 Jan 2024 - 10:35

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Starting today, Chinese-owned video hosting service TikTok will cease featuring Universal Music Group's (UMG) catalogue on its platform, marking the end of a global licensing deal that began three years ago. The removal includes about 3 million recorded music tracks and approximately 4 million songs represented by UMG in publishing rights.

The development marks the end of a global licensing deal between UMG and TikTok that began in 2021.

UMG says that negotiations for a new licence with TikTok fell through when discussions on fair compensation for artists and songwriters, protection from the potential adverse effects of AI on human artists, and online safety.

TikTok, owned by China’s ByteDance, enjoys 1 billion global monthly active users worldwide. The company boasts strategic partnerships from Warner Music Group to Africa-facing DSP Boomplay. According to the platform’s 2023 Music Impact Report, its users are the ‘most fervent music consumers’, and demonstrate a heightened likelihood of using paid music streaming services compared to the average consumer.

In an open letter to the artist and songwriter community on Wednesday, UMG stresses its commitment to supporting artists and songwriters in achieving their creative and commercial potential. It adds that its efforts, aimed at updating streaming’s remuneration model, have been positively received by various partners.

UMG also asserts its dedication to safeguarding artists’ rights and addressing online safety concerns. “Intimidation and threats will never cause us to shirk those responsibilities,” the letter states.

Regarding artist and songwriter compensation, UMG criticised TikTok for proposing payment rates significantly lower than those of similar major social platforms. Despite TikTok’s substantial user base, rising advertising revenue and reliance on music-based content, it contributes only about 1% to UMG’s total revenue.

The letter accuses TikTok of attempting to build a music-based business without fairly compensating artists.

On the issue of AI, UMG expressed concern about TikTok’s acceptance and promotion of AI-generated recordings, potentially diluting the royalty pool for human artists. The platform’s inadequate handling of infringing content and lack of solutions for content adjacency and issues like hate speech and harassment are also raised.

UMG asserts that TikTok responded to their proposals with indifference and intimidation. Allegedly, TikTok attempted to pressure UMG into accepting a deal undervaluing music by selectively removing the music of certain developing artists while retaining that of global stars.

“TikTok’s tactics are obvious: use its platform power to hurt vulnerable artists and try to intimidate us into conceding to a bad deal that undervalues music and shortchanges artists and songwriters as well as their fans.”

Meanwhile, TikTok has, in an official response, accused UMG of prioritising their own greed over the welfare of their artists and songwriters.

“Despite Universal’s false narrative and rhetoric, the fact is they have chosen to walk away from the powerful support of a platform with well over a billion users that serves as a free promotional and discovery vehicle for their talent.

“TikTok has been able to reach ‘artist-first’ agreements with every other label and publisher. Universal’s self-serving actions are not in the best interests of artists, songwriters and fans.”

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