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
publications
On this page, you can find publications of studies and reports.
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LET’S TALK ABOUT BOOKING PRACTICES DURING A PANEL OR A WORKSHOP! This Live DMA research first explores the individual journeys behind the profession, tackling the musical, educational and professional paths of the bookers now on the job, before investigating their daily tasks: how do they operate their booking choices? Where do they get inspiration from?…
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In 2020, Live DMA organized a Working Group on the theme of Cooperation and Representation Within the Music Sector. Read the reports of the Working Group here: Session 1 and Session 2. In March 2021, the European Network for Cultural Centers has released the guide Local Networks: Reimaninging the Work of Cultural Organisations, written by…
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The IFPI, the trade body representing the recording industry worldwide, commissioned a report on the economic impact of music in Europe. This report quantifies the gross value added, employment and tax contributions the music sector made to the economies of the 27 Member States of the European Union (EU27) and the UK in 2018. Live…
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The dialogue between the European Commission and music stakeholders which served as base for the Music Moves Europe programme has identified several challenges and opportunities for the European sector. In addition to a study on the Feasibility of a European Music Observatory, the European Commission asked for an analysis of market trends and gaps in…
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Together with 11 other European music organisations, Live DMA is part of the advisory board of the feasibility study investigating a possible future full-scale establishment of a data collection organisation called The Observatory as a core strategic resource to drive relevance and value for future policy actions in the music portfolio and across the sector. This feasibility study in conducted by KEA and Panteia.…
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In response to the severe and increasing vulnerability of global nighttime economies and cultures caused by COVID-19, the nightlife advocacy agencyĀ VibeLabĀ reunited a set of experts on nighlife governance and urban planningĀ from around the globe toĀ work together onĀ the Global Nighttime Recovery Plan (GNRP). The Global Nighttime Recovery Plan is a collaborative, practical guide for cities. It…
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Sound Diplomacy published the Music Cities Resilience Handbook – a practical guide to support cities in setting up resilient music policy. More information on sounddiplomacy.com/better-music-cities A short peek into the report Introduction – Setting the stage The global outbreak of the Covid-19 pandemic revealed that: The global arts, music and cultural industries were poorly prepared…
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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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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.”