āIt’s really important for us to be at the forefront on the sustainability and inclusion questions, to inspire others and help with all these things. If we donāt have a sustainable future, we may not have a future at all.ā
Communication Officer
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Lack of visibility of women and gender minorities working in the live music sector, positions who are still very gendered… The live music sector has room for improvement regarding gender diversity. Navigate the slides below to find information on the obstacles the live music sector encounters to implement a true gender equality within its workforce…
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The European Music Council, of which Live DMA is a member, have hosted an online webinar on the Cultural Policy of the EU. This one hour and a half long video gives information on: The different European institutions and their role in deciding on the EU budget, priorities and programmes. The ongoing negotiations for the…
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Live DMA welcomes Live Music Estonia (Live ME) as a full member. The European network counts now 20 members in 16 countries. Live Music Estonia (Live ME) is a live music branch of Music Estonia (ME), music industry development centre and export office Music Estonia. Live ME was founded in August 2019 by and for…
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Freemuse is an independent international organisation advocating for and defending freedom of artistic expression. In 2020, they released the report on “Security, Creativity, Tolerance and their Co-Existence: the New European Agenda on Freedom of Artistic Expression”. This report, after clearly defining what is “freedom of expression” and the crucial social and political roles of artists,…
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In the context of the Music Moves Europe call for tenders 2018, a study to define a European export strategy was published by the European Commission. This research is the product of a work carried out by a consortium of partners led by Le Bureau Export and EMEE with MICA, KEA and Factory 92. This…
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After a few words on the activities we led at Eurosonic Noorderslag Festival in January 2020, the podcast of February 2020 presents the new Facts & Figures of the European live music sector, as presented in our latest Survey publication. After a focus on the Diversity Roadmap, a tool to accomodate more diversity and inclusion…
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Volunteers are a huge part of the culture and functionning of live music scenes in Europe. Whether it is an activity that you start to meet new people, as an commitment to your local community and/or to get a foothold on the live music sector, the reasons to volunteer are various and all valid! Navigate…
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The first Live Style Europe radioshow of 2020 focuses on advocacy within the European live music sector. Advocacy means āpublic support for an idea, plan, or way of doing somethingā. Learn more about how Live DMA advocates for better conditions for the live music sector and the several campaigns we took part in the last…
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This tenth episode of Live Style Europe focuses on the theme of sustainable development and ecology in the live music sector. As the European Union has put the fight against the climate crisis as one of its top priorities, and recognized culture as one of the pillars of sustainable development, the live music sector all…
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āItās all about sharing and cooperation!ā
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āWe need organisations like Live DMA to support our activities. During COVID, it was important to have Live DMA meetings so that we could learn what was going on in the other countries, and that was very helpful when it came to the lobby work on the local levelā
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“We have been celebrating the 10th anniversary of Live DMA, a network which was created in 2012 by venue networks from all over Europe. The purpose was to share knowledge and skills with each other, and to set up common projects, and I think weāve succeeded in doing that!ā
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“I learned to collect and process data with good quality, and also I learned the importance of data to start a dialogue with institutions. Good data gave ACCES a lot of recognitionā
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Ź»Ź¼Thanks to Live DMAŹ¼s Survey, we showed our government that the more a venue is subsidized, the more money they generate. The Ministry of Culture had little knowledge of our sector. So to present these figures from different European countries was crucial in re-valorising our subsidies.”