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

ZIMU condemns ZIMURA’s cover song licensing fee

07 Mar 2025 - 13:44

cc-img flag-img

The Zimbabwe Musicians Union (ZIMU) has strongly opposed the Zimbabwe Music Rights Association (ZIMURA)’s recent decision to impose a $150 licensing fee on artists performing cover songs. ZIMU argues that the directive contradicts international industry standards and Zimbabwean copyright law, placing an unfair financial burden on musicians.

Zimbabwe Musicians Union president Edith WeUtonga.

ZIMURA requires musicians to pay $150 per band per performance, meaning a band with three shows in a week would owe $450 to the collective management organisation.

According to ZIMU, licensing fees for public performances are traditionally the responsibility of venues and event organisers, who secure broad performance rights that cover all artists performing at their establishments. This practice is standard in countries such as the United States, South Africa, and across the European Union, and has previously been upheld by Zimbabwe’s Copyright and Neighbouring Rights Act (Chapter 26:05), which ZIMURA itself has followed for years.

By shifting this financial responsibility to individual artists, ZIMURA has disrupted a long-standing system, creating uncertainty across the music industry. The directive has not been clearly communicated, leaving musicians and venues confused about how and when the fee will be enforced. As a result, some venues have already suspended live performances to avoid potential legal risks, depriving many musicians of their primary source of income.

ZIMU has also raised concerns about the policy’s disproportionate impact on women in music, many of whom rely on cover performances to sustain their careers. The union’s United Women in Music desk has announced plans to petition the Ministry of Women Affairs, Community, Small and Medium Enterprises to intervene, warning that the directive could reverse years of progress for female artists.

ZIMU further questions how such a high fee was introduced in an economy where even established venues are struggling. The directive, the union argues, could be especially damaging to rural artists, who already face limited opportunities.

“Performing cover songs is a legitimate and celebrated profession that keeps Zimbabwe’s cultural heritage alive,” ZIMU said. “Penalising musicians with excessive fees undermines artistic expression and contradicts the spirit of copyright law.”

The musicians’ union has called for “immediate withdrawal of the $150 licensing fee for artists, reinstatement of the responsibility for licensing compliance to venues and event organisers and urgent dialogue between ZIMU, ZIMURA, musicians, government representatives, and other stakeholders to find a fair solution.”

Speaking to Music In Africa, ZIMU president Edith WeUtonga said: “Cover bands have not denied acknowledgment of composers but believe ZIMURA should have engaged with all stakeholders before enforcing a punitive action against the very people it represents.

Cover bands have not denied acknowledgment of composers but ZIMURA should have engaged with all stakeholders before enforcing a punitive action against the very people it represents.”

ZIMU warned that ZIMURA’s actions have eroded trust within the industry and called on the National Arts Council of Zimbabwe to step in to resolve the issue before further damage is done.

ZIMURA’s justification for the licensing fee

In a recent statement, ZIMURA defended its decision, stating that live bands performing cover versions or copyrighted music must obtain a $150 licence per event. The organisation placed the responsibility on venues and event organisers to ensure that bands have valid copyright licences before booking them.

ZIMURA warned that venues failing to verify a band’s licensing status before a performance would face a $100 penalty in addition to the $150 licence fee per event if an unlicensed band is found performing.

Despite this clarification, ZIMU maintains that the directive is unfair and unworkable, arguing that it threatens the livelihoods of musicians and the vibrancy of Zimbabwe’s live music scene.

Meanwhile in a meeting held last night, ZIMURA declared that “no landlord negotiates rent with a tenant, you pay or you find somewhere else.”

Please log in to post a comment.

Most popular

Disclaimer: Music In Africa provides a platform for musicians and contributors to embed music and videos solely for promotional purposes. If any track or video embedded on this platform violates any copyrights please inform us immediately and we will take it down. Please read our Terms of Use for more.

newsletter banner

Subscribe to our monthly Newsletter

Follow us on social media