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Communication Officer

Gender Diversity and Equality – Workers of the Live Music Sector

Feb20

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...

Webinar on EU Cultural Policy and Advocacy

Feb12

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...

Live Music Estonia joins Live DMA

Feb10

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...

Security, Creativity, Tolerance and their Co-Existence: the New European Agenda on Freedom of Artistic Expression

Feb7

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...

A European Music Export Strategy: Final Report

Feb5

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...

“It’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 don’t have a sustainable future, we may not have a future at all.”

Hilma Kekkonen, Svensk Live - (Sweden )

“It’s all about sharing and cooperation!”

Boris Colin, FEDELIMA - (France )

“We 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 level”

Ingrid Stroom, Live Music Estonia - (Estonia )

“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 we’ve succeeded in doing that!”

Marc Steens, Clubcircuit - (Belgium: Flanders )

“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 recognition”

Elda Gomez, ACCES - (Spain )

ʻʼThanks to Live DMAʼs 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.”

David Dehard, Court-Circuit - (Belgium: Wallonia & Brussels )

ʻʼAs a venue, we believe that the live music sector is insufficiently recognised as part of culture. Networks like Live DMA can amplify local voices. Being part of Live DMA help us gain knowledge from across Europe and find partners with similar challenges.ʼʼ

Ieva Irbina, LPNVA - (Latvia )

ʻʼ[European Cooperation] gives indeed vision: weʼre every day provided with mental-openness and support. It might seem imperceptible but itʼs fundamental to feel part of a wider ecosystem. It boosts our awareness as representative of a whole sector and this bring direct advantages to our members.ʼʼ

Federico Rasetti, KeepOn Live - (Italy )