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

How to - Legal

What you should know about split sheets

11 Jun 2018 - 15:55

cc-img flag-img

If not properly managed, the process of collaborating in the creation of a song can stir up unnecessary legal drama. A split sheet is a written agreement between the people involved in the creation of music. It identifies each contributor and establishes ownership percentages among them. It has emerged, however, that a majority of artists and producers in Africa do not really use split sheets.

Vivian says artists are allergic to paperwork.

The percentages agreed upon in a split sheet are important because they dictate how much each contributor would receive in royalties. A split sheet is usually drawn up between the writer, publisher and producer, although the most basic of split sheets would involve just the composers of a musical work. The shares in percentages are broken down further in cases where additional contributors are involved.

Nairobi-based intellectual property (IP) lawyer Gerry Gitonga says split-sheet templates may not be enough if artists want to forge watertight agreements among themselves.

“You don’t have to do a split sheet in the traditional sense. A legally binding contract will suffice," he told Music In Africa. "Whatever document you sign, it needs to meet the basic threshold of an enforceable contractual agreement. Many artists download copies of split sheets online and adopt them as they are. That can be dangerous. Copyright is your most prized possession as a creative, and the only way to protect it is through solid legal counsel."

Gitonga says there were no split sheets in most of the copyright disputes he has handled.

“All over the world split sheets are accepted as the best practice in the music business. A well-constituted split sheet should protect the rights of all parties and must have all the elements of a copyright contract.”

A majority of creatives are averse to admin and many of them approach legal matters with apathy. A number of creatives also find it difficult to discuss how potential income should be shared; bringing up a split sheet after an exciting studio session can be unnerving. This tendency, however, often comes back to haunt musicians after the hype of the creative process has passed. When money comes into the picture, legal disputes often take centre stage. This is a deterrent for investors who do not want to get involved in messy, and expensive, litigation.

“Artists are allergic to paperwork," Kenyan artist Vivian says. "We understand the importance of doing things right but it’s really hard. Art thrives in free expression and so we don’t want to be boxed by paperwork. Signed artists have an easier time because their label ensures that the paperwork is done. But it’s still a struggle for independent artists.

“Most artists in Kenya only sign split sheets when a deal is on the horizon. If you parted ways well and you're still friends with all the contributors, then there will be no problem. Trouble comes if there was a disagreement among the parties.”

Before signing a split sheet, it is wise for all parties to seek legal counsel to ensure that the document thoroughly protects their rights. Music professionals need to educate themselves about the various rights (songwriting copyright, recording copyright etc.) and appreciate the roles that all the right holders play.

The basic elements of a split sheet should include but are not be limited to:

  • Name of the song in question.
  • Legal names of the contributors involved.
  • The role of each contributor in the creation and production of the song.
  • Shares, in percentages, of the contributor in the song (songwriter[s], singer, producer, additional vocals etc.)
  • Contact information of the contributors.
  • Signature of each contributor.

“We show up for all the wrong forums," Vivian says. "I think that is why we remain behind. If you called artists for a happy hour with free drinks you will get 500 but only about five will show up for a seminar on copyright.

“We need to positively influence and mentor each other as artists. I recently attended a Kenya Copyright Board event on Copyright Day and I brought along one of the artists I'm mentoring. She was so amazed at the amount of information that is out there – she learnt so much. If you are a serious artists then look for information, it’s out there.”

In the digital era, there are platforms such as songsplits.com that allow producers and writers to use digital split sheets.

Here are some videos that will help you understand split sheets and why they are so important:

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