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

© 2023 Global Journals Volume XXIII Issue II Version I 25 ( ) 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 10. Social dialogue, employers and workers representation • Respondents did not believe that any of the decent work indicators were present in the live music ecosystem. • Respondents were familiar with concepts related to decent work with one emphasising the importance of knowledge: “Education and training is the foundation of decent employment because once an artist has knowledge he cannot be easily exploited, and he is able to work professionally and widen his/her career choices”. • Social dialogue is still embryonic in the live music ecosystem despite the existence of a trade union, TUMSA, which was established in 2016 and formally registered in 2018. • TUMSA is also working to improve the professionalism within the ecosystem to overcome the stigma of musicians ‘not taking life and their work seriously’ and of ‘rampant drug abuse’. Figure 6: Decent Work pillars The first pillar “Rights at work” cannot be assured in the South African live music ecosystem as “ norms and standards are absent in this sector” (Joffe and Wangusa, 2022). Joffe and Wangusa argue that “while there are pockets of good practice, even ‘excellence’, there are a few areas where consistency is needed” (2022). The SA live music ecosystem is differentiated by the size, status and financing of the gig. The top layer is characterised by regulation, professionalism, and international standards in remuneration, health and safety and contracts. Licenses to the South African Music Rights Organisation (SAMRO) and performance licences are also observed. As a result, working conditions, pay and security vary by nature and size of the venue or event. A respondent from TUMSA explained how this works: “The big players would be your international promoters those who would book international acts to come and perform in Africa … in stadiums or in massive venues like a Standard Bank arena, or the Cape Town jazz festival … maybe 2,3,4,5 times a year and then on the same stage, you would have some of your most prominent local artists at the time, people who are popular at that time. They would share the stage with those international artists [….] and get a lot of a play – on radio and TV and they would make a lot of money for those appearances, because of the exposure and the revenue that's available from various sources because of the high-profile nature of those events”. The next layer are other big venues and hotel chains, restaurant, clubs and spaces where there might be food, drink and even a dance floor. These events regularly host live music. “[It includes] your 5000 or your 3000-seater which have fairly regular events … where high profile local artists would be the main liners, and those would be the same artists, that you would find supporting the international artists. The next layer down would be either bands, or it would be one or a full band or two-man band or three-man band or women bands and then also it may either also be one or two DJ”. The layer below includes smaller venues such as hotels, restaurants, bars, churches and clubs where there is typically little collection of music royalties. Decent Work Agenda 1. Rights at Work 2. Employment creation 3. Social Protection 4. Social dialogue and tripartism