The Future of Live Music in South Australia - Don Dunstan Future of Live Music in South Australia...
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The Future of Live Music in South AustraliaLive Music Thinker: Martin Elbourne
THE DON DUNSTAN FOUNDATION
The Don Dunstan Foundation
Level 3, 230 North TerraceTHE UNIVERSITY OF ADELAIDE SA 5005
The Don Dunstan Foundation, 2013www.dunstan.org.au
| Creating and sustaining the musiC eCology of south australia4
about the residency 7
about martin elbourne 9
governance and leadership 29
Recommendation 1: Create the South Australian Contemporary Music Advisory Council (SACMAC) to develop strategies for the economic development of the local music industry and to champion it.
education and Creative development for artists 33
Recommendation 2: Implement the proposed new national curriculum for the Arts to its fullest in South Australia and maximise opportunities for creative musical expression in children.
Recommendation 3: Better equip generalist primary school teachers to deliver a quality music curriculum.
Recommendation 4: Make music education in high schools more accessible and engaging.
Recommendation 5: Integrate TAFE music courses into Adelaide College of the Arts.
Recommendation 6: Increase the visibility of existing educational opportunities through a prospectus of all available post-secondary music courses across South Australia.
Recommendation 7: Work in conjunction with the Centre for Aboriginal Studies in Music (CASM) to increase opportunities and pathways for Indigenous musicians via a one stop shop website.
Recommendation 8: Establish a new international, tertiary level institution in Adelaide for contemporary music education and development.
Recommendation 9: Increase the funding to Arts SAs Contemporary Music Fund to better support artists, entrepreneurs and industry organisations.
Recommendation 10: Establish the Music Industry Development Initiative (MIDI), a music and industry development office for local mid-career artists and entrepreneurs to raise their performance to national and international standards.
Recommendation 11: Make high-level training opportunities available to all career artists.
Recommendation 12: Provide artists with training in new online platforms to distribute their music.
Recommendation 13: Continue the implementation of The National Indigenous Contemporary Music Action Plan within SA and appraisal of its progress and outcomes.
Recommendation 14: Invest in creative hubs that provide artistic stimulation and rehearsal spaces for musicians, and support cross fertilisation of the arts.
Recommendation 15: Develop a Government Policy to reduce barriers to creative hubs.
Recommendation 16: Form a new creative hub from an existing cluster of creative organisations.
development of industry Professions 55
Recommendation 17: Ensure a high quality website exists to profile contemporary musicians, and include quality film clips, statistics on their performance history, and other information that acts as criteria to indicate the current status of the artists.
Recommendation 18: Establish a network of accomplished professionals Friends of SA.
Recommendation 19: Develop music industry specific traineeships or internships.
Recommendation 20: Establish Creative Entrepreneur Award Contemporary Music.
audience development 63
Recommendation 21: Designate an existing area within the City of Adelaide as the Central Cultural and Entertainment District (CCED) to enhance the citys profile and facilitate promotion of the area to increase visitor numbers, and to attract business and activity.
Recommendation 22: Develop a comprehensive gig guide.
Recommendation 23: Develop strategies for large scale contemporary music events.
Recommendation 24: Support and subsidise under-age shows in the city and regional areas.
Recommendation 25: Create a one-off annual celebration of local music.
Recommendation 26: Support local and national media to promote and represent South Australian artists.
Recommendation 27: Undertake targeted research to better understand the market through identifying: Barriers to the consumption of live music (such as
gig times, transport issues, entry prices) Live music interests of cultural and demographic
groups currently not catered for (e.g. international students)
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trade and economic development 75
Recommendation 28: Develop a long term strategy and lay the foundations for a comprehensive music industry.
Recommendation 29: Establish a universally accepted set of performance metrics to assess the health of the music industry in South Australia across time .
Recommendation 30: Development of music related industries and creation of music industry clusters.
Recommendation 31: Venue owners to form an association.
Recommendation 32: Develop Adelaides export potential and trade pathways based on market research.
sector growth in metropolitan and regional areas
Recommendation 33: Develop Port Adelaide as a live music destination.
Recommendation 34: Develop a strategy to strengthen regional touring and create a touring circuit.
Recommendation 35: Build on large events as part of a strategy to engage bands in regional centres.
Recommendation 36: Regional Development Australia Barossa to develop and pilot a regional music development strategy as part of their Events Strategy: Establish a touring circuit of wineries Establish a permanent stage and other
infrastructure Local Council to employ a booker and publish a
regional gig guide Develop a contemporary music festival/
showcasing event Incorporate live music in community and visitor
venues through - The revival of the Barossa International Music
Festival - The celebration of the Barossa tradition of
choirs and bands - Including live music into other arts event such
as the SALA Festival Leverage Adelaide events such as the Fringe
along with the positive attributes of the Barossa Support the development of emerging local artists
by the provision of i) a rehearsal studio space and ii) mobile audio systems for performances
Apply the small venue licence provisions to the Barossa and remove the needs test in the South Australian Liquor Licensing Act
Develop creative hubs, and music industry clusters, encouraging for example music instrument artisans
Establish a venue for arena size shows at a winery.
Recommendation 37: Create an outreach of the Northern Sound System and provide a rehearsal space in Gawler.
Recommendation 38: Invest in research on problem behaviour, and the environments that reduce its incidence, to inform future pathways.
Recommendation 39: Create a framework for collaboration and planning, having a common language as its foundation, for communication across the music industry, SAPOL, the Liquor and Gambling Commissioner, local councils and residents.
Recommendation 40: State Government to take the lead on clarification of roles and responsibilities held by regulatory and enforcement bodies.
Recommendation 41: A more flexible approach to the Late Night Trading Code of Practice.
Recommendation 42: Encourage a culture of early and late night activity, reducing the early morning issues of anti-social behaviour.
Recommendation 43: Reduce barriers to live music created by legislation meant for other purposes and encourage dedicated live music venues.
Recommendation 44: Establish a one stop shop for development and licensing applications.
Recommendation 45: Encourage shared responsibility in planning.
Recommendation 46: Create a set of regulations and guidelines specific to noise management by live music venues and related building development.
Recommendation 47: Encourage local councils to create their own live music plans in conjunction with local development plans.
Recommendation 48: Amend the Liquor Licensing Act.
Recommendation 49: Work with the Federal Government to achieve changes to the Building Code; small to medium venues that come under class 9b.
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The project has encompassed the work of the Thinker in Residence, Martin Elbourne, and was at the outset titled Reverb, a name denoting its topic and one of its major objectives which is to create movement and reverberation across the contemporary music community in Adelaide. Its intended outcome is to create collaboration and unified action for a healthy, more sustainable music scene.
Over two periods of residency, Martin has worked and consulted with venue owners, training organisations, musicians, regulators, councils, government departments and Ministers, and organisations to devise strategies to strengthen the live music scene.
The residency has been supported by its partners the Adelaide City Council, the Department of Planning, Transport and Infrastructure, Arts SA, Dep