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

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Record Label vs Artist: 4 Nigerian examples

Home/Non classé/Record Label vs Artist: 4 Nigerian examples

Over the past few years, a different type of controversy has grown in popularity. As the scene attracts international attention and brings in money, more record labels have been established. These labels seek fresh talent. The talents, lured by near-instant riches, sign papers. Some later claim the terms of agreement were unfair. The pattern is now quite common: sign a contract, release music, become famous, regret, involve the media.

The artist versus record label battle is generally not new in the music industry due to non-compliance to contract terms. This arises when either party cannot quite come to an understanding of contract terms.

Naturally, money is always the cause of these issues. The artist feels shortchanged and starts engaging in financial transactions without the knowledge of the record label. 

A couple of weeks back, the Nigerian media was agog with the news of the artist Runtown fighting his label, EricMany over breach of contract and failure to fulfill contractual obligations. The incident sparked a conversation about the nature of an artist and label relationship in Nigeria. The outcome is almost the same: the record label wins. If only because too much time is spent by the artist focusing on everything but his music.

Below are some of the more popular battles involving a record label and its artist.

1. Vector vs YSG 

Vector was at some point at the peak of his career, featuring Movado on a song and then shooting its video in New York. And then he got into a rift with YSG, his record label at the time. Apparently, he was assured that he was stuck with the label till 2017! The dispute lead to Vector throwing jabs at them in records till they got an injunction refraining him from performing, recording and appearing at public events. In one of those jabs, Vector said “them forget say man na barrack boy”. He was caged alongside his talent and forced to render a public apology. He got off, but the music industry moved on, leaving Vector finding his footsteps where he left them.


2. Brymo vs Chocolate City

What happened between Brymo and Chocolate City had to do with ego. Audu Maikori, founder of the label, is a lawyer first then an entrepreneur who understands the music industry perfectly. Brymo called him out on Twitter – a bad move clearly spurred by negative advice. Chocolate City got an injunction to claim every of Brymo’s recordings. The case dragged and dragged and Brymo couldn’t put out any material until he lost the fan base he had built overtime. Recently after being left the hook, Brymo came out to say the judge didn’t make any judgment but while other Chocolate City artists were making money for the label, Brymo was fighting an injunction.

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3. Jaywon vs Kennis Music

Many might not be aware of this case because Jaywon wasn’t quite good with social media and it was an in-house battle. Without the expiration of his contract, Jaywon wanted a renegotiation, forgetting the directors of Kennis Music are industry veterans. They served all broadcasting stations a letter stopping them from playing any of Jaywon’s materials which is akin to putting a stop to his career. Jaywon was asked to go beg the head of the label. He survived. However, Jaywon till date has been unable to promote any of his new material in the manner he got promoted while at Kennis Music.


4. Runtown vs EricMany

EricMany has gotten a court injunction in Nigeria against Runtown and interestingly from another court of law in the US – a place he has been banned from going to. Despite the injunctions, Runtown did perform in the US and it can be argued that he never got served but that could infuriate EricMany further. Which may not be in his best interest. Already the disagreement has allegedly turned violent, with Runtown saying in an interview that Dilly [Owner of EricMany] pulled a gun on him.

In the end, Runtown will have to come to th realisation that he can’t fight this battle without losing. Dilly has already obtained two court injunctions. Runtown would have to put a pause to his career to sort out these issues. He will need to remember that the music industry waits for no one. 

These scenarios go a long way to show that Record Labels are always going to win while the artiste’s career suffers a major setback.


A version of this piece was first published on 13 June by Tush Magazine

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