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

© 2023 Global Journals Volume XXIII Issue II Version I 29 ( ) 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 consulting, Music in Africa Foundation, especially against cultural occupations and music revenues. Third, is the important role p layed by intermediaries in any ecosystem acting as a buffer between government and individual music practitioners and playing the role of information repository and dissemination, funding and scholarship support, training and mentoring as well as facilitating access to more established financial institutions and other corporates. Here, there are substantial opportunities extending from MOSHITO, Concerts SA, National Arts Council, Pro Helvetia, Music in Africa Foundation, SAMRO Foundation, TUMSA as well as the Higher Education sector. The latter provides opportunities to provide structured support to live music from contract management, decent work to IP rights and the impact of digital technologies on the business models of live music. The latter also plays a crucial role, along with other public theatres, in providing access to their well-equipped spaces as well as music recording studios for live streaming and pre-recording opportunities. Fourth, is the important place of policy and regulation in supporting the live music ecosystem. Here, the system of governance for culture in South Africa is perfectly poised to support the growth and viability of the live music ecosystem especially since the endorsement of the Revised White Paper (DAC, 2020) and the engagement of the music ecosystem participants in the Creative Industry Masterplan process 13 , notwithstanding some critical concerns relating to the lack of trust between civil society and government and the poor historical trajectory of policy implementation. There are also areas of policy and regulation that need urgent attention such as marshalling of supply side instruments such as reducing tariffs on equipment (PA systems, speakers, microphones, lights or staging) or subsidising the purchase of backline for live music venues. A key area for live music is appropriate policy for the night-time economy (noise by laws, alcohol licencing, street security, transport and incentives to create a conducive environment). These policies and regulations would give live music the recognition of a highly integrated ecosystem, largely located in the urban economy in which music and entertainment licences should receive similar priority as does liquor and health licences. Central to this non-monetary support would be a sectoral determination 14 to afford live music practitioners 13 The Creative Industry Master Plan can be found here http://www. nationalarchives.gov.za/sites/default/files/u4521/Annexure%20A%20- %20Creative%20Industries%20MasterPlan.pdf 14 According to the Basic Conditions of Employment Act (BCEA), the Minister of Labour and Employment may make a sectoral determination establishing basic conditions of employment for employees in a sector and area. This sectoral determination is then published by notice in the Government Gazette and regulates sector- labour rights and extend social protection to all cultural and creative workers. Finally, there is the opportunity to involve all social partners from those who participated in the government’s Masterplan process (DTI, 2022) as well as those that will be called up to support the development of a music industry implementation strategy (DSAC, 2023) to support a ‘charter’ of decent work that live music venues, concert and festival promoters, recording studios and even smaller establishments sign allowing them to attract funding, support, investment as well as employ the musicians of their choice in conditions that are considered ‘decent’. A cknowledgement We acknowledge the International Labour Organisation for the opportunity to work on this assignment “Promoting decent work in the African cultural and creative economy” and for their invaluable feedback, as well as Avril Joffe’s co-author, Ayeta Wangusa. Avril Joffe and Florence Mukanga-Majachani conducted the live music case study. Funding Funding was received from the International Labour Organisation’s Regional Office for Africa for a forthcoming study on ‘Promoting decent work in the African cultural and creative economy’. R eferences R éférences R eferencias 1. Alacovska, A. (2018). ‘Informal creative labour practices: a relational work perspective’, Human Relations . 71(12): 1563-1589. https://doi.org/10.11 77/0018726718754991 2. Alacovska, A. and Gill, R. (2019). ‘Dewesternizing Creative Labour Studies: The Informality of Creative Work from an Ex-Centric Perspective’, International Journal of Cultural Studies. https://doi.org/10.1177/ 1367877918821231. 3. Allen, L. (1996). ‘Drumbeats, Pennywhistles and all that Jazz: The relationship between Urban South African Musical Styles and Musical Meaning’, African Music . 7(3): 52-59 4. Ansell, G. (2005). Soweto blues: Jazz, popular music, and politics in South Africa . New York: Continuum. 5. Ansell, G. and Barnard, D. (2013). ‘Working Small, Acting Big: Sources of, and strategies for, business innovation among South African Jazz Musicians’, SAMUS 33: 11-29. 6. Ballantine, C. (2015). ‘On being undone by music: thoughts towards a South African future worth having’, SAMUS . 34-35(1) specific needs such as the wages of commission earners, different hours of work and setting minimum wages in certain sectors.