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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Cameroun : Sam Fan Thomas élu président de la Sonacam

Home/Non classé/Cameroun : Sam Fan Thomas élu président de la Sonacam

La Sonacam (Société nationale camerounaise de l’art musical) est l’organe chargé de collecter et de reverser les droits d’auteur aux artistes au Cameroun. Elle a tenu le 09 septembre 2017, sa première assemblée générale au cours de laquelle le chanteur Sam Fan Thomas a été désigné président du conseil d’administration.

Le poste de vice-présidente a été confié à Adeline Mbenkum. Adeline est aussi membre du Rassemblement des artistes musiciens du Cameroun (Ramca).

Le saxophoniste Manu Dibango ainsi que le chanteur Eko Roosevelt, ont été élus présidents d’honneur de la nouvelle structure. L’élection s’est déroulée en présence de Narcisse Mouelle Kombi, ministre des arts et de la culture du Cameroun.

Le conseil d’administration qui compte 41 membres a un mandat de trois ans renouvelable une fois. Par ailleurs, Sam Fan Thomas doit faire face aux frondeurs, ces artistes qui avaient boycotté le 26 juillet dernier la tenue de l’assemblée générale de la nouvelle société de gestion collective.

Lors de son allocution, le nouveau patron de la Sonacam s’est voulu rassurant et a tendu la main aux musiciens qui ont rejeté sa nomination. « Mon devoir aujourd’hui, c’est d’aller vers eux. Qu’ils reviennent à la maison et qu’on construise cette nouvelle société », a-t-il déclaré.

La Sonacam est née de la fusion entre la CMC (Cameroon Music Corporation) et la Socam (Société civile camerounaise de l’art musical). L’acte de fusion a été signé le 10 juillet. Il s’agissait de mettre fin aux conflits qui opposent ces deux entités depuis 10 ans.

La loi relative aux droits d’auteur (Loi 2000) prévoit dans l’alinéa 2 de son article 75 qu’« il ne peut être créé qu’un seul organisme de gestion collective par catégorie de droit d’auteur et de droits voisins », or les deux structures appartiennent chacune à la catégorie B, celle de l’art musical.

Depuis quelques années les artistes camerounais ne sont pas rémunérés pour l’exploitation de leurs œuvres. Le rôle de la Sonacam sera de « rationaliser la gestion des revenus générés par l’exploitation publique des œuvres musicales », écrit Sango Longue sur Cameroon Report, un site web consacré à l’actualité camerounaise, afin de permettre aux artistes de rentrer dans leurs droits.

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Sam Fan Thomas a connu un succès international avec son tube « African Typic Collection », un extrait de son album Makassi paru en 1984. En 2016, après plusieurs années d’absence, le musicien camerounais est revenu sur scène avec un nouveau single baptisé « Che Gwon Laa ».

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