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Communication Officer

European Copyright Reform in the Digital Single Market – Panel Report

Jul12

On the 26th of March 2019, the European Directive on Copyright on the Digital Single Market was adopted. This directive, which aims at ensuring ” a well-functioning marketplace for the exploitation of works and other subject-matter[s] […] taking into account in particular digital and cross-border uses of protected content”...

MUSIC IS NOT NOISE – REPORT & OUTPUTS

Jul1

As part of our capacity building project co-funded by the Creative Europe programme Live Style Europe, Live DMA organises each year a working group that aims to empower its members and the live music venues, clubs, and festivals to adapt and to react to the challenges related to the...

White Paper – Music is not Noise

Jul1

Any future environmental noise regulation must safeguard the cultural rights to live music and artistic freedom. This paper provides guidance for the drafting of a good urban policy in relation to live music. The recommendations come from a working group comprising live music experts from across Europe who worked...

EU funding programme: Creative Europe

Jun25

The Creative Europe programme aims to support the European audiovisual, cultural and creative sectors. It is the first EU programme with budget and funds for the cultural and audiovisual sector. Indeed, Creative Europe contains three sub-programmes: one dedicated to the Media sector, one dedicated to Culture and one cross-sectoral...

Guarantee Facility by the European Investment Fund

Jun25

The Guarantee Facility is a loan programme developed by the European Investment Fund. It is aimed at SMEs and entrepreneurs from the Cultural and Creative sectors in order for them to facilitate their access to banking loans. The EU vouches for this loan so the bank has more chance...

“It’s really important for us to be at the forefront on the sustainability and inclusion questions, to inspire others and help with all these things. If we don’t have a sustainable future, we may not have a future at all.”

Hilma Kekkonen, Svensk Live - (Sweden )

“It’s all about sharing and cooperation!”

Boris Colin, FEDELIMA - (France )

“We need organisations like Live DMA to support our activities. During COVID, it was important to have Live DMA meetings so that we could learn what was going on in the other countries, and that was very helpful when it came to the lobby work on the local level”

Ingrid Stroom, Live Music Estonia - (Estonia )

“We have been celebrating the 10th anniversary of Live DMA, a network which was created in 2012 by venue networks from all over Europe. The purpose was to share knowledge and skills with each other, and to set up common projects, and I think we’ve succeeded in doing that!”

Marc Steens, Clubcircuit - (Belgium: Flanders )

“I learned to collect and process data with good quality, and also I learned the importance of data to start a dialogue with institutions. Good data gave ACCES a lot of recognition”

Elda Gomez, ACCES - (Spain )

ʻʼThanks to Live DMAʼs Survey, we showed our government that the more a venue is subsidized, the more money they generate. The Ministry of Culture had little knowledge of our sector. So to present these figures from different European countries was crucial in re-valorising our subsidies.”

David Dehard, Court-Circuit - (Belgium: Wallonia & Brussels )

ʻʼAs a venue, we believe that the live music sector is insufficiently recognised as part of culture. Networks like Live DMA can amplify local voices. Being part of Live DMA help us gain knowledge from across Europe and find partners with similar challenges.ʼʼ

Ieva Irbina, LPNVA - (Latvia )

ʻʼ[European Cooperation] gives indeed vision: weʼre every day provided with mental-openness and support. It might seem imperceptible but itʼs fundamental to feel part of a wider ecosystem. It boosts our awareness as representative of a whole sector and this bring direct advantages to our members.ʼʼ

Federico Rasetti, KeepOn Live - (Italy )