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

Figure 3: Cultural occupations, skills and competencies (adapted from IKS Consulting, 2021) Figure 4: Cross Cutting Institutions Supporting the Live Music Ecosystem in SA © 2023 Global Journals Volume XXIII Issue II Version I 21 ( ) 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 Beginnings • Talent • Musical skills • Technical (including digital skills) • Supporting the musician while creating (advice, emotional support, identifying sources of food, rent and household expenses & upkeep of instrument expenses) • Ability to coordinate a creative team • Ability to source appropriate space and equipment • Understanding of IP law and processes • Ability to evaluate return on investment prospects and access funding • Book- keeping/accounts Production • Musical skills • Technical skills and ‘ear’ for sound values • Contract knowledge • Ability to access & coordinate relevant production resources • Ability to coordinate a creative team • Book- keeping/accounts • Design skills • Catering • Transport • Ability to manage and sustain a production venue long-term Circulation Distribution • Musical skills • Technical skills and ‘ear’ for sound values • Contract and IP knowledge • Ability to access & coordinate relevant performance resources • Ability to coordinate a creative team • Marketing skills and contacts • Book- keeping/accounts • Catering • Transport • Ability to manage and sustain a performance venue long-term Delivery Mechanisms • Musical skills • Technical skills and ‘ear’ for sound values • Hospitality industry skills • Contract, publishing & IP knowledge • Ability to access & coordinate relevant performance and/or sales resources • Ability to set up and dismount performance equipment • Ability to coordinate a creative team • Marketing skills and contacts • Book- keeping/accounts • Ability to sustain a sales and revenue infrastructure long- term Reception • Understanding of musical content and context and performance standards • Understanding of audience • Research skills • Communication skills •Formal and informal, basic education (School) through to Tertiary (university), children through to adult Education and Training •National, provincial and local; ministries and departments (arts and culture, labour, trade and industry, small business development, labour, finance, foreign affairs, social development, education, economic development, national cultural institutions) Government •Cultural intellectuals,writers, researchers, associations, unions, collection societies, support organisations, research and consulting bodies Non-Government organisations •Corporates, advertisers, lawyers, publishers, studios, broadcasters, copyright associations Private Sector •Cultural institutes, development agencies, UN bodies, World Bank International and domestic development agencies Live music practitioners move fluidly between formality and informality as they engage with formal businesses (established live venues, registered festivals and promoters) and informal venues and events. Figure 5 below highlights key distinctions to be made regarding decent work conditions. Informal work is often characterised by higher levels of precarity, insecurity and vulnerability than that which exists in the formal live music ecosystem (Joffe and Wangusa 2022). The formal part of the ecosystem is not monolithic and shows varying levels of compliance to decent work conditions (and associated contracting The live music ecosystem is supported by intermediary institutions from education and training, government, non-governmental organisations, the private sector, as well as international organisations (see Figure 4). There are also intersections with different professions such as engineering or law and other sectors such as media and further education and training (OECD, 2012).