Global Journal of Human Social Science, C: Sociology and Culture, Volume 23 Issue 2

Figure 1: The Cultural Value Chain for Music IKS Consulting (2021) has helpfully outlined the various functions in each stage to identify cultural occupations, skills and competencies to identify the respective skill sets pertaining to live music (see Figure 3). © 2023 Global Journals Volume XXIII Issue II Version I 20 ( ) Global Journal of Human Social Science - Year 2023 C “If you haven’t been Exploited, you are not in the Live Music Industry”: Decent Work and Informality in the Live Music Ecosystem in South Africa III. M ethodology This paper draws from commissioned research from the ILO on promoting a decent work agenda in the African cultural and creative economy. It included the voices of workers and employers, their respective organisations and government officials and was guided by the ILO’s 10 indicators of Decent Work. The Live Music ecosystem in South Africa was chosen as a case study because it is a vital part of the CCE in South Africa; its diverse nature from informal settings to established venues and festivals; the range of intermediary organisations which support and underpin this ecosystem (trade unions, music markets, rights organisation foundation, funders, training and education bodies); as well as the substantial documentation on the growth and characteristics of this ecosystem (Concerts SA 2016. 2020; Ansell 2005; IKS Consulting 2021; Music in Africa Foundation (MIAF 2022; SACO 2019, 2022). In addition, it remains the dominant form of income generation for musicians. Limitations include the voices of migrant or child labour; intermediaries (training and education, music markets and conferences, business and legal support services) and the need to differentiate the application of decent work indicators by genre of music (from hip hop to gospel, from electronic music to jazz to R&B). IV. T he S outh A frican L ive M usic E cosystem The live music ecosystem includes a myriad of occupations and role players (see Figure 2). Drawing from SACO (2021:51) but adapted for live music, the key players are music creators (composers, songwriters, lyricists, adaptors, arrangers), facilitators (promoters, agents), retailers (broadcasters, social media, streaming platforms, festivals/events) and users (venues, restaurants and pubs, festivals/events).