This research explores the social, cultural and economic dynamics of live music venues in South Africa and how they assist in promoting and developing artists in different stages of their careers.
The Cultural and Creative Industries have been found to contribute towards the national economy as well as the economic wellbeing of artists through providing viable alternative careers (Ambert 2003; Gibson and Homan 2007). In line with theme 4 and 5 of the SACO research agenda, this study was conceptualised against the background that live music venues contribute to the South African economy. Therefore, as a constituent of the Cultural and Creative Industries there is a need to determine the extent to which they contribute and enable the economic wellbeing of local artists. In addition, live music venues are an important aspect of the cultural and creative industry and thus it is paramount that the role they play in promoting and developing artists is appropriately mapped and put into context. This research explores the social, cultural and economic dynamics of live music venues in South Africa and how they assist in promoting and developing artists in different stages of their careers. In doing so, this research addresses the following primary questions:
1. How do live music venues help to promote and develop South African artists?
2. How have live music venues assisted artists and arts manager in promoting or developing their music?
3. What can or should be done by live music venues in order to promote and develop South African Artists?
This study is located within the UNESCO’s ‘Performance and Celebration’ cultural domain. The domain of ‘Performance and Celebration’ is inclusive of all expressions of live cultural events such as ‘Performing Arts’ of all skill levels and experience as well as festivals and any other related events. Regarding music, there is no separation between live and recorded music, all of it such as live and recorded musical performances, music composition, music recordings, digital music including music downloads and uploads, and musical instruments falls within this domain. Given that this study is in the broad music research inquiry, specifically focusing on the spaces of live music performance, it is well suited in this domain.
This research followed qualitative methodological approach. Primary data was collected through semi-structured interviews with, among others, live music venue proprietors, music managers, promoters, artists. Further, various experts who are directly and indirectly involved in the music industry were also interviewed. In addition, secondary data was collected from the different sources that include technical reports and academic and applied research
publications. The interviews show that the live music scene in the country is not in a very good state. Live music venues are not doing very well in promoting and developing artists because of various constraints. There are not enough live music venues that host regular live performances. The situation is worse in rural areas as there seems to be a disproportionate concentration of active venues in metropolitan provinces of Gauteng and the Western cape. In provinces such as KwaZulu Natal and Eastern Cape, artists are battling for spaces to perform.
Data from interviews show that most of the artists perform in restaurants, bars, taverns and jazz centers. Most of these venues are poorly equipped as they were not designed for live music performances. In addition, they do not have enough equipment such as the sound system and instruments hence artists are often forced to bring their own equipment. The study also found that live music venues are struggling to attract the paying audience because of challenges in promotion and publicity. This limits their ability to guarantee decent returns for artists, especially those who depend on gate takings. Considering interview data, this study recommends comprehensive support to be provided to music venues based on a clearly demonstrated model of public benefit. As suggested in the interviews, financial constraints are the greatest challenge faced by live music venues. In order to enable live music venues to play their role in promoting and developing local artists, relevant government departments and institutions in collaboration with the private sector must create a fund to subsidize live music venues. The revised White Paper on Arts, Culture and Heritage, fourth draft (27 October 2017) already lays out various funding models that can work as a springboard in finding solutions to the funding challenge faced by live music venues. The fund suggested in this report must aim to subsidize the basics such as the structural infrastructure in communally owned venues such as a proper stage, lighting, acoustics, the sound system, and the backline instruments.
