It starts with a heart beat

crafting a model for live music support in southern Africa

ConCerts SA Discussion Paper 2016 This report was compiled and written by Gwen Ansell on the basis of original research into Live Music Audiences conducted by Elizabeth O’Connor at the University of the Witwatersrand during 2014/15, supported by Concerts SA. Gwen Ansell is a freelance music writer and music industry researcher, author of the seminal cultural history work, Soweto Blues: Jazz, Popular Music and Politics in South Africa.

Thank you to our funders and partners for their generous support:

• Norwegian Ministry of Foreign Affairs (represented by the Royal Norwegian Embassy in Pretoria) • SAMRO • SAMRO Foundation • Concerts Norway (Rikskonsertene) Special thanks to:

• Elizabeth O’Connor • School of Arts, University of the Witwatersrand generously shared ideas and opinions • All interviewees, venue owners, artists and promoters who gave time and

• The SAMRO Foundation Team • The Concerts SA Advisory Panel: Gloria Bosman, Neil Comfort, Steve Gordon, Roshnie Moonsammy, and Richard Nwamba Print information

Johannesburg: The SAMRO Foundation, 2016 Report compiled by: Gwen Ansell Layout, design and all original graphics: Judy Seidman Proofreading: Liz Sparg information.Neither The SAMRO Foundation nor any person acting on behalf of the Foundation is responsible for the use which might be made of the following www.samrofoundation.org.za More information on The SAMRO Foundation is available at

© The SAMRO Foundation, 2016 Reproduction is authorised provided the source is acknowledged. “It starts with the heartbeat. You know, tapping your foot.” - Modisaotsile, Live Music Audiences interviewee

CONTENTS Preface Concerts SA 2 Foreword: WITS SCHOOL OF ARTS 3 Foreword: NORWEGIAN AMBASSADOR 3 What is Concerts SA? 4 “IT STARTS WITH A HEARTBEAT” 5 Introduction: New ways of studying live music 7 From boundaried to open industry definitions 7 From cultural type to cultural place 8 From revenue to experience 8 From the music economy to the night economy 8 From hierarchy to ecosystem 9 Part I: Why support live music? 10 How investing in live music can benefit the economy 10 How investing in live music can benefit society 12 How investing in live music can benefit the broader cultural landscape 13 Part II: Right time; right role-players 14 The time for live music support is now 14 Government and business are key role-players 15 Part III: Strategies and options for live music support 17 International comparison: The common ground 18 International comparison: The differences 19 Policy aims 20 Regulatory options for supporting live music 20 Managing the night-time economy 22 The value of a ‘Night Mayor’ 24 Internal and external partnerships: An end to planning silos 23 Debates and dilemmas: The issue of scale 27 Directions for future research 30 References and additional reading 31

Tu Nokwe performing at Iketleng in Vereeniging, Gauteng, #VenueCircuit. Photo by Christine Msibi, Jozi Unsigned

3 1 PREFACE: CONCERTS SA

It starts with a heartbeat… Can you hear my heart beat? Can you feel my heart beat? Do you see my heart beat?

The rhythm of our hearts is as important to our lives and our bodies as music Wherecompetitors are the who audiences? had honed 2016 their was bodies, the year skills is to the heartbeat of our andof the minds Olympic to the Games singular in Brazil. act of Olympicrunning or communities, villages, swimming the fastest, jumping the highest or townships and cities. Why throwing the furthest, strove to achieve the then do we not give the ultimate recognition for their years of training – same level of attention an Olympic medal. This honour is well deserved, to music as we do to the and when ‘Team South Africa’ returned from rhythm of our own hearts? their own expense to welcome their sports stars This study, It starts with a home.Rio, thousands What had of their fans heroescrowded achieved? the airport Years at heartbeat, commissioned seconds of fame on a television broadcast from a direct call to policymakers, farawayof discipline country. and training, culminating in fifteen politicians and decision-makersin 2016 by toConcerts acknowledge SA, is a the importance of music in our country, This research is not about sport, and does not to recognise music’s inherent value - both dismiss the effort, training and achievement economically and socially – and to do something of excellent athletes. However, after as many about the musical heartache the country is hours of disciplined practice and training that experiencing. culminate in live performances of more than an hour of memorable, inspiring art, musicians get We all know that music is tied to our emotions far less attention than our Olympians. So, why is and our wellbeing. Music can make us happy, sad, it so hard to encourage audiences to support live anxious, relaxed, or excited. Music can soothe music in South Africa and elsewhere? us and it can even induce pain. Music has been This research contextualises the live music sector Music results in unconscious physiological and provides the rationale to mobilise support responses,found to influence which contribute the learning to abilitynegative of orchildren. for small live music venues around the country positive emotions. With all our understanding and the mobility of musicians between them. of the impact of music on the individual, it With enough time, a live music circuit throughout follows that we should produce research linking the region could create on-going employment music to the heartbeat of a city. Internationally, and heightened cultural awareness around the a number of live music research studies have been produced, including the Music Cities Report support. country. But this requires buy-in and sustained project. Our call to the policymakers, politicians, decision- (2015), a global study featuring our Concerts SA makers, researchers, artists, venue owners, audiences and all who have a vested interest in growing the music industry, is to take some Three years ago, the Royal Norwegian Embassy time to read this research, to ponder over our in Pretoria and Rikskonsertene (Concerts toNorway), understand in partnership and encourage with the SAMROgrowth of live or a menu and choose which options you can musicFoundation, in southern created Africa. Concerts The SAConcerts with the SA mission project usesuggestions to build theand consumption findings, use ofit asmusic a toolkit for the started with many more questions than answers, wellbeing of our society, economically, socially and amongst other high impact initiatives, the and culturally. project produced Song Lines in 2014, which built on Moshito’s 2010 Mapping of the South African We look forward to hearing your feedback. Live Music Circuit. This research found that the most crucial element of live music consumption was the audience, the consumers of music. Andre le Roux Managing Director, SAMRO Foundation 42 FOREWORD: Wits School of Arts

Music creates multiple values in our society, from The results of this research the aesthetic value imparted by the musician are important to musicians, and the well-being of the listener, to the social venue owners, promoters value for communities and the multiple cultural and producers, as well as the and economic values derived from the diverse technical crews delivering organisational and institutional arrangements a quality sound. It is also needed to host live music. These values play important to students and themselves out in villages, towns, cities and academics interested in the townships, wherever live music is played. business of music, and to the trends in the music sector, This seminal research, produced by the Cultural arts management and cultural policy.

ConcertsPolicy and SA, Management highlights the Division shifting at terrainthe Wits of It is important for decision- School of Arts in association with SAMRO and makers, politicians and and our society as a whole. We especially policymakers to ensure that acknowledgethis sector, and our its student, significance Elizabeth both toO’Connor musicians for her Master’s research into small live music venues, and to feed the soul of the nation. venues and contribution to this study. live music flourishes, to support musicians and

This research is about the audiences for live music; who participates in live music, why do collaborativeWe are proud research to be associated partnerships. with SAMRO and they participate, where the venues are, what Concerts SA and see this as a first in many more styles of music can be heard and how we can Avril Joffe support our live music circuit by engaging our audiences more meaningfully. Management, Wits School of Arts. Head of Division, Cultural Policy and FOREWORD: Norwegian ambassador

Music is one of the most varied, creative and live music accessible to ever powerful expressions of human culture. It is more South Africans, while at a universal language, transcending linguistic the same time contributing and cultural barriers, speaking directly to our to the livelihood of South hearts, bypassing the brain. Music is a place of African musicians and the refuge from hardship and misery; it inspires economic sustainability of the country’s live music chained, controlled or suppressed. South African venues is nothing short of historydefiance, is actiona testament and activism; to the importance it cannot be of music inspiring. I can only hope as a standard and rallying point for liberation that those who read this struggles and social movements, but also to research paper will see the how music has the power to bring communities value of what has so far been together – in church, in the village, as a nation. achieved, and be inspired to contribute in their own way to growing and developing the music industry in South As Norwegian Ambassador to South Africa, I am Africa. proud of what the South African Music Rights EmbassyOrganisation, together SAMRO, have the achieved Norwegian in the live three music Trine Skymoen shortorganisation, years since Rikskonsertene, the inception and of the the Concerts Norwegian SA project. Concerts SA’s model for making quality Ambassador of Norway to South Africa

53 What is Concerts SA? Our starting points year. During 2015, support and facilitation grew to 593 shows, delivering live music to over 70 Concerts SA (CSA) is a joint South African/ 000 individuals, with close to 1 000 musicians Norwegian live music development project participating. housed within the SAMRO Foundation. CSA receives financial, administrative and technical support from the Norwegian Ministry of Foreign capacity builder, stimulating and energising live promoters,Affairs, SAMRO, venue the owners SAMRO and Foundation audiences, and and musicFrom the circuits start, through CSA has partnerships positioned itself with as sector a providingConcerts Norway. support Working to the sector with through musicians, research stakeholders. Our primary vehicles have been and skills development for music professionals, the project aims to build a vibrant and viable live music circuit in southern Africa. We also the CSA’s School Circuit Programme, the Venue aim to develop a love for and appreciation of live initiativesCircuit Programme focused on and, live more music recently, performance the Music in music by showcasing music performances and Mobility Fund. Concurrently, CSA drives research conducting workshops at schools, with a growing presence in the basic education environment. areas including: resource; Since we started in 2013, we have maintained • sharing research findings as a public that live music could play a far greater role own programme; not only in South African culture but also in • framing and using team development in our the economy. This needs urgent intervention, • engagingadvocacy intool. arts-related policy issues; and • employing research findings as a public withpremised venues, on groundedpromoters South and artists African to (and foster CSA has achieved brand recognition among a acutting-edge viable live music international) circuit through research. developing We work regular, sustainable performance platforms. music sector role-players; local and regional culturalrange of developmentstakeholders, agencies partners and and arts friends: One early starting point has been our research organisations; and, increasingly, school educators mapping the national live music circuit and learners. Song Lines, at Our programme decision-making is evidence- (documented in our 2014 publication, The based and informed by monitoring, measurement http://www.concertssa.co.za/wp-content/ and research. We employ reference groups, thatuploads/2015/03/song_lines_report.pdf). circuit as an optimal axis for intervention. ongoing reviews, surveys and other tools, as well partners identified programmes to strengthen as collaborating with university researchers. In Our approach and achievements response to feedback from all these we regularly modify and update our offerings. This ensures We have evolved a unique model of delivering that CSA is and remains the leading driver in the “cultural micro-grants” to support our strategic objectives. Quantitatively and qualitatively, our did not exist three years ago. field, shaping and growing live music circuits that For more information, visit http://concertssa.co.za, beneficiary reach surpasses that of major non- follow @ConcertsSA on Twitter (http://twitter. theprofit project and governmental had its hand in arts a remarkable funders in South335 com/ConcertsSA) or like Concerts SA on Facebook concertsAfrica. In –2014, close our to one first gig full daily operational throughout year, the (www.facebook.com/ConcertsSA).

46 What is Concerts SA?

Pops Mohamed at Straight No Chaser, Cape Town, #VenueCircuit. Photo by Gregory Franz “IT STARTS WITH A HEARTBEAT” Crafting a model for live music support in southern Africa

Summary Part I live music for individuals, communities and Research perspectives on live music (nationally the economy.summarises A live the music-rich benefits environment of supporting Songand internationally) Lines in 2014. The have volume broadened of data, over including the can enhance competitiveness and locational datapast decade.from the That developing was reflected world, in supporting our report advantage and grow employment and revenue, as

and individual wellbeing. currentnew findings document. and practices Importantly has increasedfor South Africa, well as offer benefits in terms of social cohesion wesignificantly are now responding since then, andproactively has informed to the insightthis Part II discusses why the next 5-10 years is that in the new landscape of the music sector, a period when enhanced investment in live an understanding of demand-driven planning music could have a particularly strong impact in is vital. In this light, this paper reports on the South Africa, and who the most effective role- CSA-supported 2014/15 research into Live Music players in that investment could be. The digital Audiences conducted by Elizabeth O’Connor at transformation of the industry has progressed to the point where interventions in live music can support needed transformative change. andthe University others, and of their the Witwatersrand. implications for Part audience III of development,this report is led and by particularly the findings for of the O’Connor ways role in live music activities than in other aspects younger audiences can be grown. ofNational the music and sector local government value-chain; play corporates a far larger can

Contextualising these recommendations, the environment; and the new growth potential for Introduction to this report surveys the changing thereap revenue significant of appropriately benefits from supported a rich cultural cultural focus of the worldwide live music research brokers, such as venue owners, offers pathways to viability. based analyses towards those also focusing onlandscape: place, access the shift and from experience, exclusively as well revenue- as the Part III details the options through growing emphasis on non-conventional live which regulation, promotion, skills development music venues and previously “invisible” music andFinally, the creation of innovative institutions can activities – all of which have particular relevance foster authentically local, sustainable live music for a South African live music economy, where hubs that both attract young people as music small, medium and micro-economic enterprises consumers and support them as music creators.

(SMMEs) dominate.

57 Sibusile Xaba’s Unlearning Ensemble at Waterford Kamhlaba, Mbabane, Swaziland, #MobilityFund. Photo by Reatile Molausi

68 Introduction: new ways of studying live music

adding audience behaviour and preferences to music as part of the music sector have changed the picture. The 2015 study, Live Music Audiences Business and scholarly perspectives on live A Case Study of Small Live Music Venue Audiences in Gauteng, was conducted by University of the : Thissignificantly has partly in thebeen past a response decade. to the dramatic Witwatersrand postgraduate arts management shift in the music sector value-chain, which was scholar Elizabeth O’Connor, in collaboration with detailed in our 2014 publication, Song Lines, Live Music Audiences

summarise, live music is now one of the highest optionsCSA. Relevant outlined findings for the from effective support of live earnersand will onnot the be value-chain,repeated in detailalong here.with digitalBut, to musiclead Part in South III of this Africa report, and theinforming southern the African strategic music and the various associated revenue region more broadly. streams that can be leveraged from both of these. The shift in focus from supply-led towards As a consequence, research on both the digital and live dimensions of the music scene has begun to increase. However, as late as 2011, researchersdemand-led worldwideresearch (and are subsequentemploying to policy- scope making) is only one of the new perspectives that Miriam van de Kamp declared regretfully that becoming current. Since these relate closely Netherlands researchers Erik Hitters and live music. New frameworks and new terms are

in the Benelux region, “What happens in the live to the options we will discuss in Part III of this thescene organisational is hardly researched practices, … logicsNow they and wayshave report, they will be briefly introduced below. become more significant, it is time to investigate From boundaried to open decisions are made in [publishing, licensing and industry definitions Conventionally, the music industry has been performance]”(Hitters & van de Kamp, 2011: 222-223). region until very recently. However, this is now enterprisedefined by typesits value-chain, along the withchain, industry and at their changing,Africa was with in a similarcase studies position of African to the Beneluxpractice narrowestdefinitions limitedat their to broadest enterprises comprising concerned all the with copyright. Industry analysis has often been “limited to the relation between the live and ofincorporated live music forming into the partUNCTAD of creative Creative industry Economy countryReports surveys(UNCTAD, of 2013),Zambia and and UNCTAD Mozambique studies However, particularly in relation to live music, recorded music industries” (Frith et al, 2010:2). in particular, the research landscape has been Chapter 4 of Song Lines we had already pointed to slightly(UNCTAD, less 2011 impoverished, and 2011a). with For intermittent South Africa thefar moremultiplicity flexible of definitions live performance are possible. models In that national and provincial studies during the past existed, and these have increasingly interested 20 years, and a regular series of industry surveys “invisible” musicians, and the diverse pathways andresearchers. contexts Ruthbringing Finnegan’s together pioneering those formally work on published by PricewaterhouseCoopers (PwC, 2015) – albeit from a predominantly revenue- thatled perspective were consolidated – as well into as theSong Moshito/MMINO Lines thedefined way asthe “amateurs” sector operates and “professionals” in South Africa. in the (2010) and CSA (2013) venue research projects MartinUK (Finnegan, Williamson 2013) asserts resonates that therestrongly is not with (Ansell & Barnard, 2013). practice by shifting its research focus from the one music sector, but many industries (Frith venuesNow CSA and has events paralleled whose best data current dominated international Song popet al, and 2016), rock, while the underground/illegal Simon Frith (ibid) identifies scenes, Lines andthree the parallel world industry of specialised “worlds”: music mainstream niches and

, towards a more 360-degree exploration,

97 genres. These worlds are separated by somewhat permeable barriers – it is possible for an act to follow distinctive models and require nuanced move between them – but there are differences legislativeand the businesses approaches, that the benefit term from “night-time it often in their goals and business models, and thus in economy” has become current, and targeted potential support strategies. Acknowledgement research has been devoted to discovering what scenes is offered by the most recent UK live music of the significance of the smallerWish specialised You Were makes it tick (see, for example, Brabazon & Here andMallinder, implementation 2011; Australian of innovative National…Committee, institutions, surveyabout grassroots (UK Music, music 2016:14), venues. These shifting, 2014). This has led, in turn, to the proposal broadening, which researchfor the first parameters time incorporates are likely datato provide more global data relevant to the South ofsuch the as night-time “night mayors” economy. (CityLab, South 2015; African Henley, cities African context, where SMME venues dominate. are2016) already designed experiencing to build the tensions economic between viability the They will also enhance the opportunities for South African music sector researchers to contribute to the global debate. anddemands of entertainment-linked of regulation (over areafor example development. the licensing of alcohol sales in township venues) a night-time economy perspective may suggest From cultural type to cultural place optionsFrameworks for resolving and institutions such tensions. developed from As we noted in Song Lines From revenue to experience , the Moshito/MMINO dataresearch categories initiatives that in focused 2010 (and on permanent, to a lesser dedicatedextent, CSA’s venue in 2013) types were and excluded constrained performance by rigid whose focus is on revenue, have pointed to the limitationsEven PricewaterhouseCoopers of formal revenue-based (PwC, analysis 2015), of the live music sector. Data derived from ticket elsewheretypes that werehave encounteredoutside this focus similar (such constraints, as sales and sponsorships cannot report the more student and corporate gigs). Researchers doors’, or estimate accurately what proportion placeand are or nowplaces suggesting where live (as, music for example, happens – informal income flows around multiple ‘club ratherUNCTAD, than 2013:51) a micro-focus that an on area individual focus – onevents the or venues, might yield valuable insights. Scholars relyof those on revenue flows accrues estimates where. from The role-players, Moshito/ are now adapting and combining spatial concepts suchMMINO as musicians2010 and CSAand 2013venue surveys owners, had with to the developed for business in general, such as accompanying weaknesses that always taint

remain relevant, but they cannot – alone – paint forMichael the needs Porter’s of the clustering music and (Porter, entertainment 1998), to self-defined and self-reported data. Such data industries.shape ideas This about is verylocation important specifically for South tailored is particularly so because many of the ‘selling Africa, where support for live music often needs an accurate picture of industry benefits. This to be seen in the context of other, place-related relate to the non-replicable nature of any live goals such as development and community musicpoints’ event of live and music to the are ways more it intangible: can also contribute they cohesion. to social and knowledge capital. Thus scholars are increasingly discussing live music as part of the From the music economy to the night economy “experience economy” (Pine & Gilmore, 1998), arein which sources aesthetics, of value sociality,for both consumerseducation (the and There are temporal as well as spatial broadening of experience) and entertainment considerations here. Most live music happens at night, and sometimes entire districts are thatbusinesses is memorable, (Pine & uniquelyGilmore, 1998;personal UNCTAD, and unfolds transformed after dark as entertainment over2013). time A purchaser – exactly whatof experience happens buysat a live something gig. takes over from administrative and retail business activities. Live music is part of this transformation, but not the whole of it; there From digital competition to digital is also a great deal of satellite spending on complementarity everything from food to security to transport Experience – particularly social experience – is something live music can offer that a digital associated with live entertainment (University download or stream cannot. The stereotype of of Tasmania, 2014:35). Because this spending

10 8 digital distribution has cast it as the dangerous enemy of performers, but an experience economy perspective makes it clear this is access,the profits experience, of distinct place, industries, interactions or hierarchical between not automatically the case. While the digital complementarylinks in a value-chain. enterprises, Rather, and they human, are about spatial distribution model certainly threatens the survival of some role-players such as the life and culture. The term most often used to historically dominant record labels – whose sumand temporalall this up patterns is the “live of sociality: music ecosystem”; about musical an business model rests on their ‘ownership’ of interrelated set of living, changing systems that music copyrights – it does not necessarily do the are themselves part of the broader ecosystem same to artists. The two highest-value products of a community, city or region. It involves “the in the new music industry value-chain are live materiality of venues, the interdependence of music and digital product. Live performers who otherwise disparate actors and the sustainability can escape the gatekeeping of labels, and master and control their live and digital output have the opportunity for viable income streams. This of the resulting live music culture”(Behr et al is because there is complementarity between complexity2016:20). The and term, interrelationships, however, has utility and second at two for live and digital. The live gig offers fans a unique levels: first as a broad indicator of music sector experience; the digital product is a reinforcer material ingredients that make a live performance for that, offering easy, almost instant, regular directing focus towards specific locations, and the access to the music and its associated memories, an essentially broad developmental framework, as well as being a marketable good in its own ‘work’ (or not) there. The first of these implies right. However, the next live gig will be different where creativity and culture find a place as both consideringdrivers and enablerslive music of and development its place in (UNCTAD, a country modelsagain. Now for streamingresearch in that Norway will be (Danielsen, more effective 2016; such2013:38). as South Thus Africa. it is particularly The second, useful by contrast, for has inMaaso, realising 2014) viable is developing musicians’ user-centric incomes than revenue the current pro-rata systems, while the blockchain innovation applied to payments for streamed the capacity to suggest more concrete, specific policy options (for authorities, cultural brokers, viable model. materialityand artists) ofin livestaging music and events, supporting this research viable live music (Rogers, 2015) may offer another perspectivemusic. Precisely validates because creating of its policyemphasis space on to the

From hierarchy to ecosystem and southern African contexts. accommodate the specifics of the South African production and consumption are not simply aboutFrom theevents, foregoing individual it can consumers be seen that and live venues, music

The Muffinz (SA) and Monica Ifejilika (Norway/Nigeria) at a school concert in Oppland, Norway 2014, #Exchange. Photo by Concerts Norway

11 9 Part I: why support live music?

Live music is often portrayed as a ‘light’ area. The media too often offer a shallow focus even in business publications. The topic occupies a tiny number of South African on personalities, and it is rare in South Africa to find in-depth analysis of the industry,

Ihhashi Elimhlophe at Sauti za Busara 2015, Zanzibar, Tanzania, #MobilityFund. Photo by Sameer Kermalli

“Music informs identity, leaves longstanding memories, and helps create meaning across communities and cultures.” Live music is often portrayed as a ‘light’ area. The media too often offer a shallow focus on and revenue, but can also be a catalyst for personalities, and it is rare in South Africa to broaderreferences), economic live music development. not only generates The Australian jobs

business publications. The topic occupies a tiny that the venue-based live music sector in that numberfind in-depth of South analysis African of thebusiness industry, research even in countryPerforming generated Rights AssociationAus$1.21bn estimatedin 2010/11

Investing in live music offers multiple, diverse dissertations. But this is not an accurate picture. (APRA, 2011:2); the University of Tasmania them below under distinct headings, the cultural, has demonstrated a 3:1 cost-benefit ratio from socialand significant and economic benefits. aspects Although of music-making we present live music investment (University of Tasmania, 2014:2), including both revenue and non-revenueMeasuring Musicbenefits at commercial, civic and individual levels liveand musicits benefits is good are for interrelated development. (see Sedita, sector(ibid:39). growth The UKoutperformed Music 2015 the survey, rest of the UK 2008); they all fit within the broader rubric that (UK Music, 2015) indicated that music with live music the sector demonstrating the How investing in live music can economy by almost 100% (5% as against 2.6%), benefit the economy exports and employment within that calculation. most significant growth in gross value added,

As multiple studies have demonstrated (see The US National Endowment for the Arts (NEA, 12 10 Part I: why support live music? and “Johannesburg”. projected2015) reported growth that of 7.9%the arts for contributed live music revenue 4.32% or of BET award-winner Black Coffee of GDP in that country. For South Africa, PwC has The contribution of live music to area branding offers opportunities not simply to attract visitors belowover the need next to five be viewedyears (PwC, in the 2015). context The of variousthese but also to leverage a distinctive locality to attract multipliers and contingent benefits described investment, offering businesses that locate there suggests are intensifying. access to “unique, extra-economic advantages” trends, which recent research (Nielsen, 2016) the quality of life available and the linked capacity At the national level: Destination branding, to(Tretter, attract 2015:52) or retain suchemployees. as the imageSouth ofAfrica the place,has tourism and exports often sold its scenery and wildlife in this way, but has rarely done so for its cultural assets. Texas is perhaps the most famous example; see As many ‘music cities’ around the world (Austin, The economic multiplier effects described above of a vibrant live music scene and distinctive live operate at national, regional and local levels, musicTretter, events 2015) allow have effectivedemonstrated, destination the presence branding and can even occur on a micro-scale, from the and can draw overseas visitors to a country. As circulating spend of a local visitor who moves

West University and the Tshwane University enjoy live music. A recent study of the UK city of one local example, a study conducted by North from Suburb A to Suburb B of the same city to indicated that the Cape Town International Jazz into that city’s economy, as well as creating 927 of Technology (Saayman & Rossouw, 2010) Bristol suggested that live music injected £123m economy of the Western Cape and Cape Town, withFestival domestic contributed and foreign more thantourism R475m contributing to the Job-creationfull-time equivalent can be bothjobs indirect 2015 and (Gumble, indirect. 2016). Live music offers low barriers to entry for festival have risen steadily since then. Spending aspiring musicians at the informal end of on,significantly for example, to that national figure; airline foreign carriers, visitors in- to the the industry, and the same is true of entry to country transport and non-refundably taxed employment in certain entertainment-related goods and services mean that such visitors bring industries, such as catering and bar service. All indirect revenue to the whole country as well these, however, can offer career paths to higher

Ihhashi Elimhlophe at Sauti za Busara 2015, Zanzibar, Tanzania, #MobilityFund. Photo by Sameer Kermalli makeas direct comparisons revenue to possible a specific between city or region.different Authoritylevels, a fact framework. acknowledged by qualifications nationalHowever, festivals. there are no unified indicators to listed on the South African Qualifications The taxation income from live music goes to In addition, distinctive live music provides an all spheres of government, and thus can be export commodity for a country, through both employed for job-creation anywhere. Spending on the touring performances of live artists and the live music itself is also both direct and indirect. As well as paying for a ticket or entry fee, live streaming, and memorabilia. music patrons are likely to spend on a number related income from DVDs, CDs, downloads or if they travel away from home; transport; At regional and local levels: Revenue, jobs, fashionof related if thegoods live and event services: they attend accommodation has a dress attracting investment culture; food and drink; gig memorabilia; venue memberships and music-related subscriptions; Just as a live music style can brand a nation – and communications, including items as small as phoning for an Uber cab or making an online for example, Jamaica and reggae or Brazil and strongestsamba – so music it can scenes brand ora region deep music or city. heritages, As IFPI themselvesbooking (University can also stimulateof Tasmania, a multiplier 2014:18; effect musicnotes (IFPI,is a big 2016:25) part of who “for they select are. cities Think with the byBehr their et al,own 2015). spending Finally, on, performing for example, musicians stage Although South African music is already ‘Liverpool’ and most people think ‘the Beatles’…” making an impact on international stages, this attire, catering or transport (Ansell & Barnard, 2013a). immediatelyis not yet being also leveraged. think of “Ladysmith” Few people thinkthe town, of Grammy-winners Ladysmith Black Mambazo and

11 13 At the firm level: Productivity, market the experience economy are important for all share and innovation societies, but are particularly important given the fractured relational legacies that apartheid bequeathed to South Africa, and colonialism to the whole southern African region. indirect.Cultural creativityA conducive has economic clear links climate (UNCTAD, is built 2013:60) to economic creativity, both direct and such as those described above. In addition, the At the community level: Social cohesion and sustained by revenue and employment flows and knowledge capital creative industries contributes to the knowledge capitalflexible, of creative a nation, thinking region thator community. characterises Thus the Attending or participating in a live music event a vibrant, well-supported live music sector can brings people together, forging friendships and also have a positive impact on the productivity, relationships, often across community barriers, innovativeness and market share of diverse and providing a focal point for communities business enterprises, which are not themselves part of that industry. (whether defined by taste, residence or other enhancesfactors) to not gather. only Forcultural UNCTAD but broader (UNCTAD social How investing in live music can awareness,2013:56) this so buildsthat it relationalcan contribute capital, to activismand benefit society or volunteerism towards a better environment or better area governance. That attendance at “Music,” declares the University of Tasmania cultural events creates and strengthens social

memories, and helps create meaning across communities(2014:6), “informs and cultures.” identity, Theseleaves impactslongstanding of capital has been a very prominent finding of international surveys (see, for example, University of Tasmania: 27/8), and is often one

FIRM level benefits of live music

PRODUCTIVITY:Ø MARKETØ Location SHARE GROWTHin association with a music ‘place’ offers

Ø Good for the health & wellbeing of employees. opportunities. cultural creativity and broader economic brand recognition & product differentiation UNCTAD draws links between climate of Ø potentially grow the market for products branded in Ø creativityConcentrated (innovation; creativity problem-solving). enhances economic associationMusic tourists with & otherthat place. event visitors to a place development more generally through the operation of an ‘intellectual multiplier’ effect.

CAPACITYØ MARKETØ SHARE RETENTION the area. adds ongoing value for customers over time. ‘Vibe’ attracts a diverse pool of work skills to [For public interface businesses] attractive location Ø Ø Ongoing opportunity to engage with clients and entrepreneurs, opens greater opportunities for customers via the experience economy. By attracting other businesses and Ø Location in an innovative, cutting-edge cultural partnerships & accessibility (even integration) Ø Theof inputs relational & outlets. capital built through cultural with market change. activity can stimulate improved area community can assist trend mapping & keeping up governance, regeneration and infrastructure.

1214 of the highest values interviewees allocate for Legacy, creativity and innovation Live Music Audiences South Africa has an immensely rich and varied the appeal of live music. By contrast, cultural heritage, and music is an important motivation (O’Connor for live music & Concerts attendance SA, 2015), in Gauteng, while finding that sociality was indeed an important and then apartheid fragmented communities, element in this. But for centuries colonialism among audiences relating to certain events and distorted traditions and erased much of the locations.also uncovered This underlines significant thefeelings importance of exclusion of better support for what could be a powerful product of the distant past. The 20th century record. Further, ‘tradition’ is not exclusively the engine of social cohesion in the South African saw the development of distinctive South context, and the issue will be revisited in more African forms of jazz and township soul music among others, which were similarly negated by apartheid cultural policies. Support for live detail in Part III. music makes resources available for players and At the human, personal level: Participation audiences interested in recovering and innovating and wellbeing around these traditions, working in existing genres and creating new ones. It also facilitates Live music activities, whether as audience or the sustainability of the spaces where musics old player, have a strong active component. Musicians and new can be exposed. All of these activities perform; audience members may socialise or dance, discuss the music with friends or empowering understanding of history, identity, chance acquaintances, applaud aspects of the contextsupport and the lesspotential. easily quantified benefits of an performance and, by their very presence, ‘make’ the atmosphere for both performers and fellow audience members. Socialising, experiencing and Industry and infrastructure growth making music, and physical activities, such as dancing have all been demonstrated by numerous international studies to contribute positively in many other cultural activities and genres, Because of the integrated role of live music towards health and wellbeing along dimensions and its leading role in the post-digital music sector overall, support for live music makes mental health through improved self-perception an important contribution to music and to the as varied as fitness, immunological response, and cultural industries more broadly. Infrastructural support for the locations where live music and reduced isolation (University of Tasmania: happens improves infrastructure for all the 2014:27-8; Weinberg & Joseph, 2016). How investing in live music can benefit music area attract visitors and may also attract the broader cultural landscape complementaryactivities in that businesses,area. Better newfacilities investors in a and employers, and even new residents. All of Support for cultural industries has often been these can help to mitigate seasonality, one of promoted in heavily inward-looking terms, the negative features of the current live music bolstered by arguments that investing in them business cycle. will raise their standards, create jobs in them, or preserve their heritage. As the foregoing shows, this is an unnecessarily narrow frame Professionalism and talent Support for live music validates the industry as a career path, endowing it with status and spreadthrough much which wider to view than live the music music (or, or indeed, hospitality any recognition. Improved resources and more industriesother cultural alone. activity); the beneficial impacts frequent performance opportunities draw in talent and facilitate expanded experience and the development of greater skill and professionalism live music are also real and important. Music does However, the benefits to culture of supporting This, in turn, makes performances more attractive toamong audiences, working live musicians music-related (UK Music, products 2015). more not exist in isolation: it is an element in theatre, is only one aspect of those geographical areas saleable and exportable, and revenue streams wheredance, culturefilm, traditional and entertainments orature and are more, showcased. and multiplier effects across the cultural landscape. started…more robust. Which takes us back to the benefits The benefits we discuss below offer their own to the economy: the place where this section

13 15 Part II: Right time; right role-players

McCoy Mrubata & Wendy Oldfield at the Bassline, Newtown, Johannesburg, #MobilityFund. Photo courtesy of the artists

The time for live music support is now established in 1995; software for downloading In the years before and between the two World 20 years old. The file extension suffix .mp3 was Wars of the 20th Century, live music dominated the music sector, with sheet music the main first became widely available in 1996/7. copyright product, but cylinder recordings and a revolution has occurred in the music industry value-chain.But since then, CDs as are industry now a analystslow-value have item noted, later 78rpm phonograph record sales on the rise. After 1945, gramophone records (LPs and joined and gradually displaced by reel tapes and (although there has been a resurgence in vinyl singles) became the dominant product, later records as a niche product). Many analysts and these were changes in recording media, which prominent industry players (for example, Kanye then 8-tracks, cassette tapes, and CDs. But all of physical formats for ownership by individual did not challenge a business model based on the West) have already declared music stored in ‘ownership’ of music, although tapes and CDs facilitated on-the-move access. toconsumers overtake officiallydownloading, ‘dead’ just (see as Blakemore, downloads 2015). In the past year or so, streaming has begun The most important disruptive technology in Live music has returned to the top of the value the music sector – music accessible for digital chainovertook in terms physical of both product revenue sales and (Perez, cultural 2016). value download or streaming via the internet – is only

(Behr et al, 2015). 1416 South Africa is exhibiting exactly the same “When you actually listen to trends, though with various time-lags. Spending on music in digital formats is projected to people live…it’s quite special overtake spending on physical formats in 2019; downloads for ownership peaked in 2015, as SA to have that connection with music consumers gradually began the switch to them. It’s very different…” recorded music as a source of revenue in 2014 - Ntombenhle (O’Connor and access models (streaming). Live music overtook Concerts SA 2015:26)

(PwC, 2015: 213-20). Additionally, the growth of live music also extends Government the role of, and thus revenue available to, various kinds of cultural brokers, including venue owners this reason, there is improved potential at this otherBoth national aspects ofand the local music government sector, especially play a pointand event for appropriately organisers (UNCTAD, supported 2013:90). venues andFor infar comparison more significant to their role role in livein the music creation than in

he Mastering of a Music Thusorganisers the time to move is ripe towards now to financialmake interventions viability. Cityof recorded product (Brennan, in Frith et al, to support and sustain South African live music. government2010). The IFPI support report for T music” as a key element. Music sector transformation in South Africa is at The (IFPI,role of 2016: government 17) identifies has regulatory, “multi-level facilitative the point where such interventions can make a and promotional aspects, as shown below. dramatic and positive difference.

musical ‘world’ is always the world of Government and business are key As Frith et al (2016) have noted, one important role-players underground, unregulated (and sometimes Everybody should support live music. Given the important unregulated sector exists are context- dependent.illegal) music In activity.almost allThe contexts, reasons the why small-scale, such an music can bring, areas and enterprises should cash-economy nature of independent music createbenefits homes – economic, for it, media social should and cultural publicise – that it, live activities is a factor. In some places, the perceived audiences should attend it, and agencies at every association of late nights and music with socially level should make resources available for it. All of disapproved or illegal satellite activities such that is valid and important, but it is an extremely broad and imprecise agenda. In this section, we policies. as sex work and the use of drugs affects official focus more precisely on the sources of some These areas are the domains of both national and local government, but many researchers have III,specific we outline support options and facilitation for practical activities action thatfrom suggested that local implementation is the most bothhave thesehad demonstrable and a broader impact range elsewhere;of other potential in Part important determinant of success. role-players.

How GOVERNMENT impacts on LIVE MUSIC

Aspect Activities Regulatory

Laws, regulations and licensing (alcohol; zoning; parking; postering; noise; Promotional facilities; health & safety) Investment, grants and subsidies; arts & cultural policies; tourism policies & promotion; youth & education policies, including arts in schools (IFPI, 2016); Facilitative broadcasting & local content policies area and building planning; housing policies; research SMME support; transport /access policies (Behr et al, 2015); area security/policing;

15 17 Ildo Nandja at Amati- kulu Primary School, KwaZulu-Natal, #School- Circuit. Photo by Vulane Mthembu

In South Africa, the long, disgraceful history of strongly and consistently supported artform. In addition2016). For to businessthe competitive sponsors, advantages music is theoutlined most contributedpolicing or banning to a complex, black socialitysometimes (prohibition; burdensomeillegal gatherings legacy laws) regulation has undoubtedly regime as well that music offers an opportunity for their as to the aversion of some community music brandsin Part Ito of attract this report, new, orbusinesses engage with are existing,recognising practitioners to registration. Whatever the reasons, the situation creates a substantial but are employing branded sponsorships of events currently un-tappable pool of potential revenue orcustomers artists to via leverage experiential this. However, platforms sponsored (ibid) and that could, given a different management range of supports that business can offer to live music.live events are only one (limited) example of the approach, contribute to the fiscus. Businesses inside and outside the arts Sponsorship of the arts in South Africa from non- within the music sector can be some of the arts businesses has more than doubled in the past bestBecause managers they have of their insider own knowledge, practice. As businesses one

comparedten years (albeit to South from African an extremely sports sponsorship small base) to andexample, discuss the issues Australian relevant state to of live Victoria performance, supports spending.just over half However, a billion 54% rands: of respondents a drop in the surveyed ocean includinga “Thriving regulation, Music Venues and toForum” develop to monitorand implement codes and standards of best practice believed that sponsorships offering an alternative by Business and Arts South Africa in 2015 (State Government of Victoria et al, 2010). to sport are becoming more important (BASA,

Aspects of business involvement with live music Spatial Company spaces, from auditoria to parking lots to undeveloped sites can become spaces support where live music happens, either regularly or as a temporary expansion of scale during, for example, a city festival.

Companies can also take the interests of live music and existing or potential entertainment areas into account when making spatial development decisions. Corporate Social Responsibility (CSR) donation of instruments to subsidising visits to live music events for disadvantaged groups programmes orA range communities. of live music-related activities can qualify as CSR, from music education or the Investment Staying up to date about the transformed nature of the music sector and its value-chain, and decisions awareness of the ‘creative map’ of a location can help to target investment appropriately. Skills Mentorships of artists, venues or event organisers can diffuse the business skills of transfer successful enterprises into music-related SMMEs. Opinion- Lobbying for live music-friendly legislation and policies; participation in coalitions and shaping forums with music role-players; endorsing fundraising and forming funding consortia with

peers can all leverage the influence of business to the benefit of live music.

1816 Part III: strategies and options for live music support

Thobeka Langa at Sansikane Primary, Cato Ridge, KwaZulu-Natal, #SchoolCircuit. Photo by Vulane Mthembu

17 19 Why do SA audiences attend live music – and why do they stay away? Findings from the CSA “Live Music Audiences” 2015 research Audience attractions Audience deterrents Opportunities for social interaction income Financial factors: price of tickets and lack of disposable Emotional self-actualisation Shortage of events Seeing talented musicians perform Sense of connection with artists Spatial/locational issues that are legacies of apartheid Lack of public (affordable) transport Knowledge of artist or genre

Fears about personal safety Venue that is hospitable, spatially free (not Sense of exclusion: event is “not for me” Uniqueness of music offering Lack of consistent programming enclosed), and familiar Legacy factors relating to place or music Lack of consistent, effective promotion

NOTES: Research findings here are based on data from interviews and observation, conducted by Elizabeth O’Connor, and on broader research including an online survey conducted by CSA. For brevity, the two sets of responses are referenced throughout as ‘the CSA research’ or ‘Live Music Audiences’. Other deterrents mentioned briefly in the research include: poor sound quality and competition from free government-sponsored music events.

International comparison: The common ground Behr et al’s (ibid) case studies provide extensive In many important respects, South African reinforcement for the importance of the specific audiences – and especially younger audiences characteristics of venues and the music on offer: – have a great deal in common with their hospitable vibe; good sound (also mentioned, international peers. beingalbeit anot “stable, as a high long-lasting” priority, in venue the CSA was survey); a plus and effective organisation. Behr also found that Social interaction has a high value as part of the that the opportunity “to experience high-quality live music experience everywhere. In the US, the art”for building motivated audience. two-thirds The of NEA ticket-buyers; (ibid) reported this

musicians and unique musical offerings. recent National Endowment for the Arts survey chimes with CSA’s findings concerning talented found(NEA, 2015)that three-quarters – which included of attendees live music selected as part In terms of deterrents, issues of access, transport “toof a socialise” broader definition as their motivation of arts consumption for attendance. – availability and cost provided more common ground – despite the very different socio- individual and very different UK live music economic and urban contexts of different surveys. venuesBehr et reportedal’s (2016) multiple case studies positive of severalcomments relating to crowd and “who you sit with.” The Lack of disposable income deterred 38% of NEA ofrespondents; transport access lack of to transport the viability 37%. of Behrevents et al thatEast theMidlands social experienceJazz study (Maitland, of attending 2010), live musicwhich and(2015; venues. 2016) The note University the recurring of Tasmania importance also focused specifically on young audiences, found Maitland, like the CSA survey, noted that younger transport options”, a major deterrent for the listenerswas rated are most emotional, highly. This rather is not than surprising: analytical music(2014:31), consumers found accessit surveyed. , including “poor public responders to music experiences who value opportunities for interaction with musicians. Ineffective promotion was also as much of a concern for East Midlands Jazz’s young

“I hate going to live events over-wordyrespondents promotional (Maitland, 2010) material as for that CSA’s. was not [when] the sound just sucks.” accessibleMaitland’s inrespondents the places theyspecifically visited criticisedor via the platforms they used; CSA’s respondents cited a - Nomsa, Live Music Audiences tendency to publicise events at the last minute, as (O’Connor and Concerts SA, 2015:30) well as infrequent online information postings.

1820 International comparison – the differences “You can’t really break the social barriers…that fear and the would be surprising if South Africa’s distinctive historyDespite hadall this not significantalso scarred common its live musicground, scene. it discomfort would be a barrier.” - Nzolo, Live Music Audiences Although both the young people consulted (O’Connor and Concerts SA, 2015:42) for the East Midlands Jazz research and those interviewed by O’Connor for CSA cited a sense of exclusion as an important deterrent to attending Apartheid restrictions destroyed live music in live music events, the context is very different. manyBut other townships. – invisible In the – barriers past, certain also exist. metropolitan The UK youngsters had little knowledge of places and spaces would have excluded black people explicitly, under apartheid legislation. Today, very similarly located venues are jazz music, felt intimidated by (often much alienated by audience codes of behaviour. perceived as excluding younger respondents older) genre afficionados at jazz events, and felt The young South African audience members implicitly, through both cost and elitist attitudes. surveyed often indicated good genre knowledge, The CSA research cites such observations as including about jazz, which has historically been “Even if you’re coming in to appreciate the music, part of popular music culture in this country. they want to sell that expensive bottle”; “I don’t Their sense of alienation derives more from the racial, spatial and locational legacies of apartheid, like places in the North [the formerly segregated, as well as from South African society’s persisting they’re fake.” “I like going …without feeling affluent Northern suburbs of Johannesburg], economic inequalities. Those faultlines often like I’m underdressed.” Overwhelmingly what coincide – for example, in the dominance of cost O’Connor’s responses suggest is that for her factors as a deterrent for black respondents, sample, while certain material legacies of and its invisibility among white respondents in apartheid persist, class is beginning to over- the CSA research. Transport access, too, has a determine race. These attractions and deterrents are all it can take close to an hour to travel between racial/spatial dimension for black respondents: the historic black township of Soweto and the measure to address one is likely to impact on Johannesburg city centre where many music interconnected within the music ecosystem: a venues are situated, and public transport is that South Africa already has many of the others too. But what the CSA research confirms between those points (in fact, mainly privately- ingredients that comprise the ecosystem. IFPI starting.owned minibus These factors taxis) stops also contribute running shortly to concerns (2016), in its 22-city study of what makes a aboutafter 8pm, personal the time safety, when especially most live for music women. is just “music city”, defined those ingredients as follows: • A community of artists and musicians • A thriving music scene Most of these concerns are not significant • barriers for more affluent black audience • An audience that is interested and eager safetymembers and (what security, one and CSA the research persisting respondent Venues and spaces for music • The presence of other music-related residential/spatialcalled “the Black premium separations people”), concern although everyone. businesses. is less of a factor in Johannesburg, although someFor younger respondents and less indicated monied they respondents, perceived “race” it as

SouthAll these Africa. ingredients Some tourism-focused already exist (though cities already with centrea problem venues in other described places, seeking specifically and seeing singling havediffering thriving levels night of success economies and development) and so does in diverseout Cape audiences; Town and those Pretoria. in township Owners orof city-low- Johannesburg, despite tourism not being its main income suburban areas spoke of wanting to attract diverse audiences, but seeing primarily be improved and connections enhanced to enable community attendance – spatial and transport themfocus to(Ho, realise 2016). their So howfull potential? can support structures legacies work in both directions.

19 21 Policy aims Some of these objectives – particularly the last – are not achievable through isolated To strengthen the attractions of live music venues improvements in live music policy alone. They and events, and mitigate the deterrents, policy are, rather, a function of broader socio-economic policy and the context for the arts it creates. Yet we know the shared experience of participating measuresObjective are A: Supportrequired the that: capacity of an increased in live music does contribute to social cohesion, number of venues with better geographical and insofar as live music is an economic driver, a more effective and viable industry can create

indistribution hospitable to environments. present consistent, This will quality involve (in resources for social change. creatingboth production policies skillsfriendly and to hardware) music, musicians, music more jobs, improved revenue and better fiscal venues and audiences. Regulatory options for supporting Objective B: Support the capacity of venues live music to manage, promote and publicise their activities. This will involve links to audiences on multiple platforms, including potential tourist audiences. regulatoryBecause both change national is an and obvious local regulationpoint of has interventionsuch a significant to create impact music, on live musician music andactivities, venue- Objective C: appreciation for music, artists and genres. friendly environments. University of Tasmania Today’s schoolchild Reinforce broadplaying understanding a recorder is and tomorrow’s fan – or player. restrictive regulation and the “costs associated research (2014:32) found that across Australia Objective D: Enhance the affordability of events. venue operation. Though these areas are the Objective E: Improve transport access and area domainswith compliance” of both national were a significantand local government, barrier to security. policymaking on the creative industries is often Deal more effectively with inequality Objective F: moreUNCTAD effective suggests in creating (2013:87) results that than“municipal national and social fragmentation.

How regulation can support policy objectives

Regulatory area Intervention and improvement options Area zoning Create improved consultation mechanisms on zoning decisions, including all role-players.

(ObjectiveMonitor the A) impact of changing property prices and rates on live music. In particular ensure

that rising rents, commercial re-development and gentrification do not erode the character and viability of entertainment districts. (Objective A) Aim for better spread of live music venues to redress destruction under apartheid. (Objectives A & E) Alcohol licensing Protect legacy venues if areas are re-zoned. (Objective A) Recognise explicitly the principle of balancing community standards and income-generation/live music access. (Objectives A & E) Improve consultation mechanisms to ensure representation for all arguments. (Objective F) Create transparent, accessible processes that allow no room for corruption. (Objective F) Create more flexible definitions and requirements to accommodate SMME operators (vital to spread venues into live music-starved areas). (Objectives A, E and F) Parking Make parking provision for night-time as well as daytime needs a planning consideration. Ensure speedy response time for licensing requests concerning once-off events (Objective A)

(ObjectivesImprove night-time A & E) public transport to reduce parking needs, assist night workers and link

unequally-provisioned areas. (Objectives A, E & F) 2220 Postering

Help SMME operators understand and access other publicity platforms (e.g. online; broadcast) to mitigate area untidiness while improving event publicity. (Objectives A & B) Noise & littering Employ ‘Agent of Change’ principle. A venue moving into a residential area is responsible for Make poster permission processes simpler and faster. (Objectives A & B) managing the change – but the responsibility for change also falls on a property developer

building new residential or office units in an established entertainment area. (Objective A) Improved consultation mechanisms. (Objective A) Venue facilities/ Clearly and equitably demarcate responsibility for area clean-up. (Objective A) standards and ongoing opportunities for owner training and support for facility upgrades. health & safety Ensure flexibility and support to accommodate SMME venue operators via realistic standards,

Recognise employee organisations and enforce worker H&S provisions. Incentivise employee access to relevant NQF-accredited training to raise standards Freedom of (All: Objectives A, E & F) movement Recognise that cultural brokers (music organisers) and artists operate in a commercial environment with special needs (volatile, trans-national). (Objective A) Finance Stop taxing imported musical instruments and some music equipment as luxury goods; they are Facilitate speedy, flexible, transparent provision of industry-related visas. (Objective A)

‘tools of the trade’ for economic development. (Objectives A & F) Recognise the ‘special characteristics’ (project-based; short-term) of the creative industries and create regulatory & reporting mechanisms and requirements that can accommodate and support these, including ‘Plain Language’ information. (Objectives A & F) Familiarise fiscal and regulatory authorities with bitcoin/blockchain transactions and develop regimes that can accommodate these. (Objective A) Questions about monitoring and evaluation: in terms of whether a music scene thrives is the What indicators and benchmarks will be waystrategies.” in which Behr [nation] et al underlines wide concerns this: are“a key treated issue appropriate for evaluating cultural industry development, and what process will work best for implementing these? and legislation implemented at local level (Behr Theseet al, 2015:4). measures – creating the framework within Cultural Mapping initiative as providing some which a thriving live music scene can function indicationsUNCTAD (2013) of where cites the the needs 2008 forGauteng support were concentrated. However, that initiative is now eight years old and has not been repeated in the fromlegally local – are or at national least as authorities. important as (and may be even more important than) financial support cities have never conducted such investigations. intervening years. Further, many South African is with some form of cultural mapping. The Effective consultation, accessible information, organisationThe starting point,suggests suggests four sets UNCTAD of important (2013), good communication and transparent processes questions that local authorities need to ask are the cornerstones of appropriate policy –

decisions on licensing is one obvious example. themselves:Questions about the current situation: What seeking clarification rather than making arbitrary resources and capacity exist to support cultural initiatives? But it is clear from multiple international case studies (Frith et al, 2016; Behr et al, 2015 & What strengths often arise not from negative attitudes, but from Questions about potential: 2016; UNCTAD, 2013) that regulatory problems and assets exist within the current cultural inappropriate responses because regulators environment and what opportunities do these simply lack information about how live music offer? works. Enhanced individual skills and knowledge Questions about gaps: What gaps exist in as we discuss below, new, more appropriate capacity, and what gaps exist in the local among regulators could fix some of this. But, economy and society, where cultural industry development could assist? institutions may also be needed. (See Directions for future research, on page 30.) 21 23 Institutional options for supporting live music Institutional area Intervention and improvement options Management of night- time economy Acknowledge the existence and needs of a distinctive night-time economy. (Objective A)

Establish aand night support cultural effective officer music or Night or entertainment Mayor. (Objectives advisory A, B &boards, E) venue owners’

Silo operation of role- Establish integrated planning mechanisms within public authorities. forums or similar. (Objectives A, B & E) players Establish integrated planning mechanisms that break silos to include public and private role-players and industry entities at all levels.

(Both: Objectives A, B, C, D, E & F) The existence of the night-time problems sometimes associated with nocturnal economic activity – drink-fuelled aggression, economy is not, of itself, a ‘problem’ littering, inappropriate parking and more – can that must be regulated out of existence. automatic. As the University of Tasmania points out,and should“a growing be managed: body of research their occurrence suggests isthere not Managing the night-time economy is no empirical evidence that identifies live music The night-time economy, in which most live as a cause of such behaviour” (University of music takes place, has a distinctive identity Tasmania, 2014:12). and different characteristics from the daytime economy that regulators must spend most of developing specialised institutions shaped for For this reason, many cities around the world are their time on. It is characterised by a proliferation advisory boards, venue owners’ forums, night the task: music officers, entertainment or music of small enterprises: many short-lived; some core cultural officers and – in Amsterdam, Toulouse, someto live combining music (such activities as jazz clubs);to which some they meeting allocate satellite needs (such as restaurants and bars); Zurich, Paris and a growing number of other cities worldwide – ‘Night Mayors’. live music, or a music club selling meals to The value of a ‘Night Mayor’ different priorities (such as a restaurant offering and misbehaviour; and some simply open in the patrons); some offering opportunities for excess pioneer,The first wasWorld established Summit of after Night more Mayors than was a decade held same areas and with the same late hours (such as ofin researchApril 2016. and Amsterdam’s experiment, Night via the Mayor establishment post, the Ingyms the ornight-time internet cafes).economy, work and leisure overlap. While entertainment and live of recommendation, jointly funded by the city performance ‘lead’ the sector, it also involves of a small NGO with strong, mandated powers business community. The current post-holder, – bar staff, cleaners, taxi-drivers and more – often Mirikadministration Milan, argues and thethat (not the ‘normal’only night-time) response of large numbers of workers not defined as creative city authorities to night-time problems is “bring contribution to the economy, and with problems in a curfew, tighten regulations, shut places down, in low-wage, casualised jobs, making a significant good laws if you’re in city hall, with no real clue (suchand solved. as travelling home at unsocial, unsafe ofban what’s stuff. happeningIt’s understandable: out there howin the can night-time? you make hours) that need to be acknowledged, understood The only way is for the night economy, city hall All of this poses a complex, interrelated set of policy questions requiring not only specialist knowledge, but also an attitudinal shift. The and residents to figure out, together, how to make night-time economy creates jobs and contributes Milan’sit work” Amsterdam (Henley, 2016). recommendations – many to both culture and national revenue. The value of which have been effectively implemented – of the London night-time economy, for example,

range from more flexible opening and closing has been estimated at £66bn (Henley, 2016). The hours (which prevent big crowds being ejected 2422 Grants. Such initiatives, however, require that policy support for out-of-town venues to take the relevant authorities – which may reside, in pressurefrom all the off clubsthe city in ancentre, area tosimultaneously) improved lighting and South Africa, in separate Directorates of Tourism, the police,” says Milan, though in liaison with communicate, integrate information, and and paid area ‘hosts’ (“less heavy-handed than planArts andtogether. Culture, and Town Planning – also problematic situations. them) to encourage good behaviour and defuse Effective integration within regulatory authorities in developing generic policies for other places. supported by a partnership between City Hall and However, the value of a Night Mayor does not lie theis only business the start. community, The Amsterdam and partnerships Night Mayor that is cut across formal roles can inform the debates UNCTAD (2013) has called for the development around regulation by communicating needs of “specific mechanisms scaled to local enterprise and perspectives. development and the value-chain”. Policymaking inclusiveneeds to bedebate tailored and to decision-making the specific needs on ofpolicy a wouldplace: inrequire South multilingualAfrica, for example, platforms genuinely and documentation. asBehr a case et al study (2015:10) of the discuss complex a large,relationship successful ecologyLondon underpinningvenue, The Roundhouse a venue’s success.in Camden, This includes working with public authorities on the it is called – lies in making possible a space where management of events and providing expertise Rather,economic, the regulatory, value of such creative an institution and residential – whatever for public education programmes in schools and technical colleges; working with major make it work.” international commercial promoters on big role-players can “figure out, together, how to events, and with other smaller venues in the area, including locating some of its activities in their Internal and external partnerships: an spaces. The venue’s ongoing relationships blur end to planning silos the lines between different public regulatory authorities, between public and private bodies and between large and small live music activities Part of ‘making it work’ will be far better to ‘make it work’. andintegrated zoning, planning cultural mechanismspolicy and funding, (APA, 2011; tourism Evans, 2005; UNCTAD, 2013). Area planning In South Africa, the Mzansi Golden Economy and coincide and interact in the live music world, yet Creative Cape Town initiatives, among others, localand even government youth policy departments (music education) very often may operate have already taken steps in this direction by in silos in terms of their plans and budgets. providing forums where role-players can discuss across the lines. However, these initiatives are developmental cultural projects demonstrate young and still exploring their full potential. UNCTAD’s multiple case studies of successful, Mzansi Golden Economy support has so far been most visible in relation to events and outcomes, that co-operation between diverse official role- “deliberateplayers. The team-building” American Planning to create Association clusters of Creative Cities network exists, but does not yet rather than processes. Worldwide, a UNESCO creative(APA, ibid) activity suggests involving that planners both commercial can engage and in have any South African member cities.

It is important to remember, however, that non-profit enterprises, and cites as one example South Africa and the southern African region are the Connecticut Cultural and Tourism Partnership typical of the contexts in which live music must begeographically nurtured. The varied. scaleability Big cities of aresuch often initiatives, not and how similarly integrative umbrella bodies could support live music outside the urban context will be discussed below, in the section on ‘Debates and dilemmas’ page 27.

Sibusile Xaba’s Unlearning Ensemble at Cheshire Homes, Swaziland, #MobilityFund. Photo by Reatile Molausi

23 25 Promotional options for supporting live music

Promotional area Intervention and improvement options Direct audience development (all role- players: authorities; Develop innovative marketing and advertising strategies for specific live events. corporate sponsors; (Objectives A & B) media; venues & organisers) Run generic ‘support live music’ campaigns. (Objectives A, B & C) Subsidise attendance for low-income groups: e.g. ‘cultural coupons’. (Objectives C, D, E Indirect audience Increase support for music education and information in all schools and colleges & F) development

– e.g. via the CSA Schools Programme. (Objectives B, C & E)

Work with media to showcase live performers better (not just playlist quotas: informativeEstablish effective, coverage). accessible, (Objectives affordable B & C) live music promotional platforms online.

Tourism promotion (Objectives B & C) Preserve and develop music heritage sites and market them proactively as tourist Skills development Support education for artists, venues and cultural brokers on promotional skills and destinations. (Objectives A, B & C)

techniques. (Objectives A & B)

Develop publicity-related skills-sharing mechanisms and platforms. (Objectives B & C) “A public campaign supporting live music could be very useful, as well as a way of accelerating the distribution of information about live music events on various platforms.” - Aymeric Peguillan, The Orbit, Live Music Audiences (O’Connor, 2015:61)

The CSA Live Music Audiences research found that potential music audience members were events. Many city entertainment guide sites seem toproviding base their a full, listings updated on paying listing advertisers of specific music or access about music events and that this was a provide only short generic accounts of venues. deterrentdissatisfied to with attendance. the information The survey they samples could were predominantly urban and, from their nor costly; it merely requires one role-player to qualitative responses, well able to access and use takeRemedying the initiative. these deficiencies is neither complex social media. This suggests that even in locations where online information is widely and easily However, information was a far less important used, it is not adequate – and also suggests that audience deterrent in the CSA survey than cost. the information gap may be even more severe in Internationally, one successful promotional other places. A swift online check for the websites initiative directed towards affordability was

of some of the venues CSA surveyed (conducted the Brazilian ‘cultural coupons’ programme, on 2016/09/21, 12:51:30 SAST) supports the initiated in 2014 (Downie, 2014). This targeted someresearch provide findings: the name some ofdo a not planned have websites;gig but workers earning below $300 a month (the nosome artist report information; only on past some events do not via contain Facebook; an Brazilian minimum wage in 2014 was around ‘upcoming gigs’ section. A spot-check of city $60), providing an electronic card loaded with music information for Johannesburg and Cape $20 each month to be spent on a broadly defined Town on the same date showed no single site local cultural activity. (At that time the sum was about sufficient for one average paperback, “…[Venues] only post one [Facebook]cinema, post theatre per orgig music so visit or download.) you often miss things and there is no follow up.” - Polly, Live Music Audiences (O’Connor & Concerts SA, 2015:53)

2624 “…it’s the middle class and people with money that can afford to travel to attend events. I believe people would come if transport was available.” - Modisaotsile, Live Music Audiences (O’Connor & Concerts SA, 2015:51)

Starting the scheme required buy-in from employers to register their workers, from unions, and from cinemas, bookshops, music promoters and others to accept the card as cash In 2016, Italy introduced a similar “culture – another example of the kinds of ‘ecosystems’ bonus” scheme for 18-year-olds. that can support cultural activities. The system Resource support is not only – and often, not consumption. Spending stayed in the country. In thebest volatile, – provided project-based in the form nature of expensive of live musicfixed addition,had benefits there beyond was a simply marginal promoting democratisation cultural infrastructure that cannot respond flexibly to there are some areas where infrastructure instructed the recipients on what their tastes activities (Ansell & Barnard, 2013). However, shouldof the power be and over hip-hop cultural gigs choices: or downloads no-one were as to live music attendance found by the CSA acceptable as chamber music. Initiatives like this researchcreation iswas vital. accessibility, By far the severestdirectly linked deterrent to night help break down access barriers, increase event transport availability. South Africans are not support and equalise consumption opportunities.

alone in facing this problem: Context options for supporting live music (resources & conducive conditions) Context areas Intervention and improvement options Money Increase range of subsidies, loans and direct grants available to artists and venues for touring,

promotion, equipment, etc. (e.g. CSA mobility fund). (Objectives A, B, C &D)

Develop more and better models for assistance in kind (equipment, mentoring, event catering Transport & beverages, promotion). These can be as useful as direct grants. (Objectives A, B, C & D) Develop safe, affordable night transport that serves all areas. (e.g. build on Joburg ‘Corridors Security Develop area policing/security policies and practices tailored to the character of the night of Freedom’ development: currently daytime transport only). (Objectives A, D, E & F) economy.

Enhance training for venue security staff.

Space Implement measures to mitigate effects of rising property prices and rents, which can drive (Both: Objectives A & E) legacy venues and potential audience groups such as students away from music areas and

destroyMap unused area spacescharacter. and (Objectives implement A strategies & F) for making them available for music events.

(Objectives A&E)

Implement measures to initiate & support SMME venues in areas where apartheid made Information/ Conduct cultural mapping – as Gauteng has already done – to identify resources, strengths them unviable. (Objectives A, E & F) technology/data and development pathways. Update regularly!

resources to build a fuller, more nuanced picture of the live music scene. Build on existing research and employ newly established South African Cultural Observatory

in higher education. Train and build local experts: encourage live music research and publication at doctoral level

Encourage SMMEs and promoters to employ technology such as ‘smart wristbands’ (as currently used by e.g. Oppikoppi Festival) to amass more audience data.

(All: Objectives A & B)

25 27 As indicated above, it was a major deterrent in several other highly developed countries where experience too, and are faced with a maze of regulatoryand more) lackand legislativeresources andbureaucracy. often skills and whilesimilar digital research communication has been undertaken. can mitigate, UNCTAD to There are twin routes to solving the access some(2013) extent, notes thethat prevailing in all developing problems countries, of distance and remoteness, some activities still require music events, bringing music to localities. We personal contact. Live music is one of those. haveproblem. discussed The first the is types to better-distribute of regulatory facilitation live

However, South African transport infrastructure has some unique features inherited from andthat nightwould transport be useful services. in this context above (page apartheid. Under that regime, transport provision 20). The second is to improve transport routes was designed to isolate black townships, In Johannesburg, a start has been made on the providing only those meagre routes and services enhancement of routes and links through the needed to bring black workers to the city during ongoing construction of what the city authority working hours, and remove them immediately thereafter. Links were not built between the and lanes linking previously unlinked areas townships, or between townships, peri-urban and andhas dubbedincluding “corridors bus rapid of transport freedom”: provision. new roads rural communities. To plug some of those gaps, a The aim is also to create new mixed-income large informal transport infrastructure grew up, residential areas along these routes, bringing residents closer “to work, shopping and leisure opportunities”. At present, discussion of leisure lightingprivately and operated lack of via security minibus-taxis – and because (‘kombis’). these in the city’s documents on corridors of freedom smallBecause operators of smaller are demand, often driver-owners poor roads, poorwho do is very limited – although a night bus service is mentioned as a future option – but if future and remain largely daytime services. planning could be linked to a night-time economy not relish 18-hour shifts – the kombis, too, were perspective, this is precisely the type of public Thus it is hard for any non car-owning participant transport innovation that is required. in the night-time economy, whether as musician, service worker or audience member, to access The solutions of better distributing live music live music outside a small, local, walkable opportunities, and improving public transport, are complementary. Today’s player on the smaller solution contributes to other urban problems, local circuit will graduate to play higher-priced, includingcircumference. congestion, (Individual parking car issues ownership and as a higher-paying city-centre venues –internationally, this informal apprenticeship in smaller venues is known by musicians as “paying your dues”. washes,air pollution.) grill restaurants Within the locality,– amachisanyama the SMME – operators of potential live venues (taverns, car

Left to Right: Siphephelo Ndlovu, Daniel Knight, Anzelle de Wet and Nhlanhla Ngqaqu. Wizowa, a Wits student jazz ensemble, performing at Buzz, Oslo Jazz Festival, Norway 2015, #Exchange. Photo by Egil Austrheim

2826 Where we’re headed: an African Music City Imagine this: it’s not too distant from how some parts of Johannesburg and Cape Town already feel, but you may notice a few vital ingredients that are currently missing (and still, far too few places feel like this)…

Thandi hops on a public bus to Umculo Square. There’s a band playing in town she heard at a Sunday live them again. The journey is long, but the bus costs only asession few small in a coins.pub in It’s her nearly township. nine Nowin the she evening wants when to hear she arrives, but the area is alive and bustling. She used to be nervous about walking down the dark side-street to the club, but now it’s clean and brightly lit. And, ever been able to rely on them to spot problems and help if needed.since the car guards got training and certificates, she’s

There’s music coming out of at least a dozen of the doorways she passes: if she hadn’t been fixed on this band, there are plenty of others to hear. Flashing signs in the windows above catch her eye: “Afrosoul studio”, “The Office of the City Night Mayor”, “Blakk Records”, wonder“Ethiopian if they’ve Restaurant”, got anything “Internet nice? Café”, Maybe “Afrodizzy next visit... design: Graphics, T-shirts and Fashion” – hmmm, When she gets to the club, there’s a big tour bus parked brought almost a hundred people to hear this band. Will outside: Music & Heritage Tours Company seem to have she get in? But the guy who swipes her student card for cut-price entry reassures her: “If you don’t want to sit sideat a table,of the there’s stage. Thandistill plenty spots of thespace college – oh, friends and before who’d you texted go in they’dcan you be please there andgive joinsus a contact: them. we’re doing our audience survey next week.” That’s fine: standing room gets you close to the youThey’re following talking us to to one town of thenow.” musicians. Thandi smiles. “Finally,” She the knows drummer it’s going says, to “we’ve be a good made night, it to andthis sheclub! canWe wouldn’trelax – there have will done be ita withoutnight bus those to get sponsored her home township in time, and tours friends and it’s to walkgood theto find last somebit with. of

Thandi’s experience is a far cry from the reality members and creative communities, attract of many current cities, and the vision of some talent, and offer pre-existing infrastructure of several types that can support economic, social State of South African Cities and cultural activities. givespolicy hardly makers. any For presence example, to artsthe most and culture recent at all. Live music is mentioned report only twice; (SACN, concerts, 2016) However a third of South Africans still do not live performances, music and arts festivals not at all. in urban areas, and 40% of all Africans will not live in cities even by 2050, despite the rapid pace of urbanisation. “Living in cities” is, however, a Debates and dilemmas: broad label; many peri-urban settlements are as the issue of scale ill-served with facilities, including recreational We have so far discussed live music issues largely in terms of their place in cities. There are good facilities, as some rural areas, and UNCTAD (2011 Africanand 2011a; states 2013) it is theand small other towns observers or dedicated (e.g. the creative economy “has always been located “growthChirowodza, points” 2015) that have provide described the entertainment how, in many andreasons nurtured for this. in urbanUNCTAD settings.” (2013:92) Urban notes settings that bring people together as potential audience parts of Zimbabwe where development funds districts for much larger rural surroundings. (In

27 29 have dried up, the only aspects of designated appeal. Costs are high, and the location of such ‘growth points’ that have not withered are the either resident or within easy reach, is necessary venues (they cannot be built in the middle of toplaces provide of entertainment.) adequate footfall Some for music mass ofevents. people, andcrowded the high urban cost music of tickets areas) for often a once-off exacerbates event cantransport draw peopledifficulties. and moneyIn addition, away isolation from the regular, smaller-scale operation of live music in agendas”This should should not mean, be imposed though, in that inappropriate what UNCTAD one stadium concert ticket may consume a ways(2013) or calls on inappropriate “increasingly locationsformulaic “ignoring ‘creative city’ person’sentertainment entire areasavailable or tight-knit music spending communities: for a local opportunities and missing opportunities to month. These problems exist everywhere, but galvanise already-existing or vernacular cultural expressions.” The modalities of creating and South Africa. supporting live music need to be as varied as the are magnified in the highly unequal context of places and communities they serve. Mega-stadia and events certainly have their role in the music ecosystem. Maximising access and So an important question about any support returns from the visit of a ‘star’ name would be for live music is that of scale. Among the issues employment and skills development to large of support can be implemented on a larger numbersexceedingly of musicdifficult service without workers, them. Theya platform offer to scale;that need whether consideration there is an are optimal how specific scale for types aspire to for some artists, and business learnings venue viability; and whether SMME live music that may be useful even in less ambitious organisers can survive at their existing small scale. What are the approaches to scaling up that stadia would not eliminate the deterrents will best serve live music? ordinarycontexts. musicBut multiplying audiences the report, numbers and risk of mega- creating over-supply at that price point. Defining scale because all live music venues coexist and interact rather than a uniform product such as a recording inIn theaddition, same asecosystem, Behr et al big (2016:20) venue policies suggest, that –Even poses defining questions. scale Multiple in the context identical of anlive activity events – “in competitive terms, make it impossible for would subvert the notion of ‘unique experience’ small promoters or venues to survive will, in the long term, have a decisive impact on their own sustainability. “ Audiences and artists for the audience(and would, members in any case,are certainly be difficult a goal to achieve – but large shows are grown in the smaller ones. morewithout together programmable in the same robot place, performers). or more overall, More attending multiple disparate events over a period Temporary scale: Festivals of time? Large-scale live music activity can be created temporarily via a festival. In a sense, a music Scaling-up via mega-venues festival is an instant, moveable music city. It One answer has been the creation of mega provides performances and all the ancillary facilities of a ‘music district’, from T-shirt vendors venues that can offer the unique experience of to food stalls and plumbing. aperformance single live concert venues: to giant many stadia more or attendees casino

that leaves a long-term legacy of skills; they can ofat onescale time. to a concertThis model operator is certainly and can efficient amass inthe bringFestivals the canexperience create short-term of live music employment to areas that resourcesbusiness terms: to draw it offerson high-quality significant production economies are starved of it, can brand a place as culturally equipment and skills.

However, for the values cited by CSA research significant, and can build links between existing respondents as attractions, this model scores industries (cultural and service, including lower. Tight crowd control may limit freedom transport and tourism) and individuals in an area of movement within the venue, and there are as(or “catalytic in a genre) intermediary that may have events” spin-offs for all long these after no opportunities for interaction with artists. reasonsthe event. and UNCTAD(2013:90) more. describes festivals To attract the maximum number of audience members, stages are most often offered to artists with very broad, rather than unique or niched became ‘the live music capital of the world’ not Tretter (2015) describes how Austin, Texas

3028 “I would not have known what other because of any unique qualities beyond a large venues are doing if we had not come number of resident musicians, but rather because together in one room through Concerts a strategic branding decision was taken by the city’s growth coalition to adopt and build that SA. Competition is good for the sector, but if we all work together we can help each other grow.” identity. A significant part of the building was done via two commercial festivals: South by - Nikiwe Rwaxa, Niki’s Oasis, Live Music Southwest (SXSW) and Austin City Limits. It was a Audiences (O’Connor and Concerts SA, 2015:61) theysymbiotic reinforced relationship: that identity. as Austin’s As isolated identity events grew, inthe their festivals early flourished; years, the festivalsas the festivals were instances flourished, of short-term scaling. What they contributed to long-term, however, was one of the world’s most successful music cities. commercial, governmental, donor or grassroots organisations,Such bodies can or be via created consortia in many involving ways: some by or

A festival can as easily bring its audience and supportNone of thesestaff with benefits it, price of festivals local community is automatic. networksall of these. of They cultural can producersaccommodate and whatconsumers UNCTAD members out of attendance, and eschew that(2013:26) drive innovationcalls “the loosely …, the configuredcollectives, emergentmicro- cultural innovation and vibrancy in favour enterprises, vendors’ associations and guilds of safe hospitality revenue. While a festival [that, in the developing world] occupy the place can temporarily assist a place to scale up its of major cultural institutions and bureaucracies music activities, and leave a useful skills and one might cite the efforts of the apartheid-era “What kind of festival?” as creative agents.” From South African history, reputational legacy, the crucial consideration is: designed for isolated, low-income Afrikaner “[Audience development is partly] Performing Arts Councils, which supported tours a regular calendar in churches and school halls about increasing the size of the farming communities: staging performances on audience across the city, so that the audience development model was very artists and promoters can build successful– while that indeed. specific repertoire was exclusionary, sustainable careers in live music.” Today, CSA offers regional and national mobility - Lindy Mtongana, Jozi Unsigned, support to touring performers of diverse types, CSA research (O’Connor and Concerts SA, 2015) from jazz to hip-hop to rock music, as well as training opportunities. They also run school and venue circuits. Another example might be ‘Umbrellas’ serving multiple small live music venues or events cultural enterprises by brokering relationships If the goal is not necessarily to multiply audience withBusiness mentoring & Arts andSouth resource Africa, whichproviders. serves And small one less obvious example of a support ‘umbrella’ is a approaches are possible? There are several, local authority. When infrastructure is scaled up numbers to fill a single mega-venue, what other to support business and commerce in an area, a

including: aggregated from multiple diverse smaller potentialmultiplicity audiences. of small (including music) businesses • Achieving higher audience numbers benefit, and the area becomes more attractive to Even an umbrella may become too big. In their music performances (scaling performance numbers). observed that “the bigger a company gets, the uniform production and promotion standards lesscase its studies centralised of UK venues,components Behr understandet al (2016:20) how • A higher number of venues meeting more new musical communities, new musical places, appear and develop. Interactions at ground level (scaling quality). opportunity for musicians and access for increasingly become the province of staff…whose • Increased regularity of events (scaling immediate concerns are different from those of corporate strategists.” This is a risk run by any audiences). cultural authority operating on a large scale, not music support organisations have already only by the big commercial venue “chains” that demonstratedFor achieving these their typesutility. of scaling, ‘umbrella’

Behr et al studied.

29 31 Directions for future research

More research on audience Evaluation of cultural planning processes The CSA report Live Music Audiences

one important research gap noted by (O’Connor, Songlines on implementing city-wide cultural planning 2015), has begun the process of addressing models;Both Cape the Town Mzansi and Golden Durban Economy have embarked is a national audience behaviour and preferences. Albeit via project to reinforce the creative industries a(Ansell relatively & Barnard small sample, 2013a): the the CSA questions research around has sector as a driver of growth and employment. As illuminated what audiences – especially young these progress, it is necessary to examine their audiences – prefer and dislike in venue provision. benchmarks, whether they are reaching them, That this research has strong consonance with similarly-focused international research, but initiativesand what (planned will assist and in positioningunplanned) live outcomes music African difference, is evidence for its robustness. withinare emerging. them. In Better addition understanding both macro ofand such micro- nevertheless identifies important points of South level studies could illuminate entrepreneurial One future research direction, therefore, is attitudes to regulation and the potential for simply to extend this research across a greater leveraging tax income from the sector. number of different audience samples to accommodate the complexities of the South The project-based business model African cultural landscape.

Another direction, arising directly from the It has been repeatedly noted (UNCTAD, 2008, Live Music Audiences activities2010, 2013; are Frith short-lived et al 2016; and project-based,Ansell & Barnard and 2007, 2013 and 2014a) that many live music focused research lens findings, on, as only is to one explore example, more that rather than being a weakness, this is a useful providingintensively safe, the nuancesaffordable they night raise: transport, to direct and a mode of operation among creative industries. However, there is relatively limited literature to context, to remedy the problem. A number on how this project-based model functions ofdevelop other specific,issues from concrete Live Music proposals, Audiences tailored beg this approach, including perceptions of a developing country context. Like long-lived in business terms, in music specifically or in social exclusion and technologies for audience venues, this is another area where grounded database development. micro-studies could provide both insight and models.

Definitions of music genres ‘Going to scale’ Some research questions raised by Song As indicated in the preceding section, scaling up Lines remain inadequately answered. These live music activities is far less well understood than scaling up a uniform recorded music There are still no research tools to pin down product. Just as the considerations around scaling whatinclude respondents how music mean consumers by the define genre genres.labels differ between live music events and commodity they employ. Some features of music-related manufacture, they may also differ in relation behaviour, on both the production and reception to different genres of music or different types of location. To enhance the viability of venues many traditional genres already run successful and events, alternative models for scaling need butsides, distinctive may be niche-specific touring circuits. – for More example, precise to be developed. This is especially important in information here would assist in better targeting planning support for live music activities in more of appropriate support. limited contexts such as rural or township areas.

Secrets of success The establishment of the South African Cultural Song Lines and Live Music Audiences both research resources and expertise to undertake theseObservatory explorations. in 2016 Hopefully, offers the more prospect graduate of more lived in a very volatile industry. Micro-studies ofidentified these venues venues have that the were potential comparatively to provide long- that the areas of live music and music business indigenous models for business survival. researchstudents offerfrom opportunitiesa range of disciplines to make will unique find contributions to knowledge.

3032 References and additional reading

Ansell, G., Barnard, H., & Barnard P., (2007) Final report Chirowodza, K.(2015) The live music scene in Zimbabwe, on the micro-economic development strategy for the Music in Africa. At http://musicinafrica.net/live-music- music sector in the Western Cape, Cape Town; Western scene-zimbabwe. Cape Department of Economic Development and Citylab (2016) A ‘Night Mayor’ is transforming Tourism. Amsterdam after dark. At http://www.citylab.com/ Ansell, G., & Barnard, H., (2013) Working small; acting cityfixer/2016/01/night-mayor-amsterdam-mirik- big: sources of and strategies for business innovation milan/433893/ . among South African jazz musicians. SAMUS 33: 11-30. Danielsen, A.,(2016) Live music in the online age: 2013) Song Lines: Mapping the South African live Findings from research project Clouds & Concerts http:// performance landscape. Johannesburg; Concerts SA. livemusicexchange.org/blog/live-music-in-the-online- American Planning Association (APA) (2011) How the arts age-findings-from-the-research-project-clouds-and- and culture catalyze economic development (APA Briefing concerts-anne-danielsen/ . Papers #5). At https://www.planning.org/research/arts/ De Beukelaer, C., & O’Connor, J., (forthcoming) The briefingpapers/vitality.htm accessed 2 June 2016. creative economy and the development agenda: The APPRA (Australian Performing Rights Association), use and abuse of ‘fast policy’ in Stupples, P.,& Teaiwa, (2011) Economic contribution of the venue-based live K., (eds) Art and International Development, Abingdon: music sector in Australia. At http://apraamcos.com.au/ Routledge. media/1493/nationallivemusicresearch_sept2011.pdf. Downie, A., (2014) Brazil Puts the Arts in the Pockets of Art Moves Africa et al (2016) An online cultural mobility the Poor. At https://www.theguardian.com/world/2014/ funding guide for Africa. At http://on-the-move.org/ feb/21/brazil-culture-coupon-poverty-access-art files/AMA.Mobility%20Funding_2016_2.61.pdf. accessed 28 May 2016. Australian National Local Government Drug and European Commission (2011), European Arts Festivals: Alcohol Committee (2016), The Australian night-time Strengthening Diversity. At https://ec.europa.eu/ economy 2009-2014 Final 2016. At http://lordmayors. research/social-sciences/pdf/policy_reviews/euro- org/site/wp-content/uploads/2016/05/PN042130_ festival-report_en.pdf. TheAustralianNTE2015-FINAL-MAY-2016.pdf. Evans, M.D. (2005), Arts & Culture economic development BASA (Business & Arts South Africa) (2016) Artstrack toolkit, Michigan, Michigan Council for Arts & Cultural No 7: trends in Arts Sponsorship in South Africa over the Affairs. At http://ruralarts.museum.msu.edu/resources/ last 10 years by Madeleine Lambert. Paper presented evansed_toolkit.pdf accessed 15 May 2016. at the South African Cultural Observatory Conference Finnegan, R.(2013)The hidden musicians: Music-making Conference, 16-17 May 2016. in an English town. Middletown: Wesleyan University Behr, A., Brennan, M. & Cloonan, M.,(2015), The cultural Press. At Project MUSE

31 33 Hitters, E., & van de Kamp (2011) Addendum to the http://musiccanada.com/wp-content/uploads/2015/12/ proceedings of the IASPM Benelux conference – Popular Live-Music-Measures-Up.pdf. music: theory and practice in the Lowlands,Haarlem, the Netherlands, 14[endash]15 2011. At https:// Music Venue Trust (2016), What is ‘Agent of Change’ iaspmbenelux.files.wordpress.com/2013/02/addendum- and why is it important. At http://musicvenuetrust. proceedings_hitters-and-vandekamp.pdf. com/ .

Ho, U., (2016) If you snooze in Jozi you’ll lose, Saturday National Arts Council of South Africa (2010) Public Star, 2 July 2016:10. Participation in the Arts Survey. At http://nac.org.za/ research/reports/NAC%20PPS%20forWeb.pdf. Holt, F., (2010) The economy of live music in the digital age, European Journal of Cultural Studies 13(2):243-261 NEA (National Endowment for the Arts) (2015) April 2010. Surprising findings in three new reports on the arts. At https://www.arts.gov/news/2015/surprising-findings- Hytonen, E., T., (2015) ‘A musician who puts on a gig’: three-new-nea-reports-arts. promoters’ multiple roles and hierarchies at a small British jazz club. IASPM Journal Vol 5 No 2: 58-72. NGA Center for Best Practices (2008) Arts and the Economy . At https://www.nga.org/cms/home/nga- IFPI (2016), The mastering of a music city. At http://ifpi. center-for-best-practices/center-divisions/center-issues/ org/downloads/The-Mastering-of-a-Music-City.pdf. page-ehsw-issues/col2-content/main-content-list/arts-- the-economy.html. Ingham, T., (2015) Labels generated 50% less than live for UK economy last year, MusicFeeds. At http://www. Nielsen 2016 Music 360 Canada Highlights. At https:// musicbusinessworldwide.com/labels-generated-50- www.musicnb.org/sites/default/files/pdf/2016-music- less-money-than-live-for-uk-economy-last-year/ . report-canada.pdf.

International Showcase Fund (2016), Impact Report O’Connor, E., and Concerts SA (2015), Live music 2013-16. At http://www.prsformusicfoundation. audiences: a case study of small live music venue com/wp-content/uploads/2016/05/FINAL-REPORT- audiences in Gauteng, South Africa. BROCHURE-01838-PRS-report-A5-148x210-03-05-16. pdf. Perez, S., (2016). Nielsen: Music streams doubled in 2015; digital sales continue to fall.At https:// Kahindi, M., (2016) The live music scene in Tanzania, techcrunch.com/2016/01/07/nielsen-music-streams- Music in Africa. At http://musicinafrica.net/live-music- doubled-in-2015-digital-sales-continue-to-fall/ . scene-tanzania accessed 17 June 2016­. Pine, B.J.,& Gilmore J.H.,(1998) Welcome to the Lake, B., (2015) Berklee Music Business Seminar: Brazil. Experience Economy. Harvard Business Review, July- At http://www.berklee-blogs.com/2015/03/music- August 1998. 76 (4):97-105. business-seminar-leo-nascimento-brazil-music-market- ambassador/ . Porter, M.E. (1998), Clusters and the New Economics of Competition.Harvard Business Review 1998. 76(6):77- Maaso, A.(2014), User-centric settlement for music 90. streaming. At www.clouds&concerts.com. PricewaterhouseCooper (2015) Entertainment and Maitland, H., (2010), Understanding audiences for jazz: media outlook 2015-2019 South Africa–Nigeria–Kenya. Developing younger audiences EMJAZZ Briefing no 8. At http://www.jazzsteps.co.uk/emjazz_report/8%20 Rajula, T., The live music scene in Kenya, Music in Africa. Developing%20younger%20audiences.pdf. At http://musicinafrica.net/live-music-scene-kenya.

Murphy, S., (2016), Yet another study confirms live Rogers, B., (2015) How the blockchain can change the music…MusicFeeds. At http://musiccanada.com/wp- music sector. At https://medium.com/cuepoint/how- content/uploads/2015/12/Live-Music-Measures-Up. the-blockchain-can-change-the-music-industry-part-2- pdf. c1fa3bdfa848#.937bj5qxf.

Music Canada (2014), Live music measures up An Saayman, M., & Rossouw, R., (2012) The Cape Town economic impact analysis of live music in Ontario. At International Jazz Festival: More than just jazz, Development Southern Africa, June 2010, 27:2, 255- 272.

34 32 Sedita, S.,(2008) Interpersonal and inter-organisational (2016) Wish You Were Here – the contribution of live networks in the performing arts: the case of project- music to the UK economy. At http://www.ukmusic. based organisations in live music. Industry and org/assets/general/Wish_You_Were_Here_2016_ Innovation vol 15 No 5: 493-511. Final.pdf

South African Cities Network, The state of South African Umney, C., (2016) The labour market for jazz cities report 2016. At www.SOCF.co.za, . musicians in London and Paris: Formal regulation and informal norms, Human Relations vol 69(3): State Government of Victoria, Live music & director 711-729. of liquor licensing (2010), Live Music Agreement. At http://www.musicvictoria.com.au/assets/media_ UNCTAD (United Nations Commission for Trade and releases/Live_Music_Agreement_5-10-1.pdf. Development)

Terrill, A., (2015), How cities benefit from helping the (2011a) Strengthening the creative industries for music sector grow, WIPO Magazine. At http://www. development in Zambia. At http://www.wipo.int/ wipo.int/wipo_magazine/en/2015/05/article_0009. edocs/lexdocs/laws/en/zm/zm054en.pdf. html . (2011b) Strengthening the creative industries for Toronto Music Advisory Council 2016 Toronto music development in Mozambique. At http://unctad.org/ strategy (adopted version) . At http://www.toronto.ca/ en/Docs/ditctab20092_en.pdf legdocs/mmis/2016/ed/bgrd/backgroundfile-90615.pdf. (2013) Creative economy report special edition: Tretter, C., (2015), Live music, intercity competition and Widening local revelopment pathways (also 2nd reputational rents: Austin, Texas – the ‘live music capital edition 2010; 1st edition 2008). of the world’, Human Geography 8(23): 49-65. University of Tasmania et al, (2014), The economic and UK Music cultural value of live music in Australia 2014. At http:// apraamcos.com.au/broadcast/LiveMusic-report-FINAL. (2012) Live Music Baseline Study. At http://www. pdf. ukmusic.org/ pdf. Warwick Commission on the future of cultural value, (2013) The economic contribution of the core UK (2015), Enriching Britain: culture, creativity and music industry. At http://www.ukmusic.org/assets/ growth. At http://www2.warwick.ac.uk/ downloaded general/Summary_Document_-_The_Economic_ 21 September 2016. At http://www2.warwick. Contribution_of_the_Core_UK_Music_Industry.pdf ac.uk/research/warwickcommission/futureculture/ finalreport/warwick_commission_report_2015.pdf (2015) Measuring music: 2015 Report. At http:// www.ukmusic. org/assets/general/Measuring_ Weinberg.,M.K. & Joseph, D. (2016), If you’re happy and Music_2015.pdf you know it Psychology of Music 29 July 2016: 1-11.

33 35 GLOSSARY

APA American Planning Association APRA Australian Performing Rights Association CSABASA Concerts Business Southand Arts Africa South Africa BET Black Entertainment Television (network)

GDP Gross Domestic Product MoshitoIFPI Annual International South FederationAfrican music of the conference Phonographic and exhibition Industry MMINO The South African – Norwegian Co-operation in Music programme

NEA National Endowment for the Arts NGO Non-Governmental Organisation PwC PricewaterhouseCoopers SMMEsSACN Small, South AfricanMedium Cities and Micro Network Enterprises SAMRO Southern African Music Rights Organisation

SXSW Southindustry by Southwest (Texas music festival) UK Music Cross-sectoral British campaigning and lobbying group for the music

UNCTAD United Nations Conference on Trade and Development UNESCO United Nations Scientific and Cultural Organisation

3634 Home concert set-up for Julian Redpath performance, Johannesburg, #MobilityFund. Photo courtesy of the artist

35 37 At a Qadasi performance, Nsimbini Primary School, Umkumbaan, KwaZulu-Natal, #SchoolCircuit. Photo by Vulane Mthembu

38