Tag Archives: Trade fair

Musikexport – quo vadis?

Covid-19, digitisation, climate crisis: Musikexport in extraordinary times. Experiences and thoughts on the subject by Marcel Kaufmann, responsible at FONDATION SUISA for its presence abroad and the export promotion.

Fondation Suisa: Musikexport – quo vadis?

Will there ever be a back to “normal” times? The Swiss joint exhibition stand at the jazzahead! Bremen 2019. (Photo: Marcel Kaufmann)

Since the internet revolution of the 90ies, the value creation on the music market shifted to a large part towards the live sector. Concerts became the most important income stream for many musicians. One of the consequences was that numerous showcase events were launched. Artists could perform in front of international experts during short live concerts. This was done in the hope that they would get bookings in bigger clubs or festivals or taken under contract by international agencies. Together with various partners, the FONDATION SUISA supports the export endeavours of the domestic creators. For many years, the foundation organises Swiss networking platforms at international conferences and events.

This well-functioning system of travel, performances and shaking hands was brought to an abrupt halt by the pandemic. It was more or less overnight that music creators lost a large portion of their income, and at the same time also their export paths.

What now? How can they bridge this period? And what would happen if the “normality” we all love so much is never to return?

FONDATION SUISA took part in many pilot projects last year, tested chat tools, supported showcase videos via streams and negotiated potential new subsidising avenues with event organisers and promoters. “An interesting experience”, “a welcome transitional solution”, but surely “no surrogate for a real live performance”: This is our verdict at the end of 2020, in conformity with a large group of music creators and event organisers.

“Networking via the internet is, to many, still a very strange concept.”

The pandemic entailed cancellations of practically all physical face-to-face music conferences and exhibitions in 2020. Some, like Midem or WOMEX tried to hold virtual events. Back then, the planning insecurity was still too high. It was impossible to even consider being able to organise concerts again in the near future. In line with this, promoters booked much less artists during such online events than for physical events with a face-to-face audience. The ambiance of a live concerts can also not be recreated on a 1:1 level. And networking via the internet is, to many, still a very strange concept.

The most recent virtually held jazzahead! in Bremen confirmed these findings to a large degree. Ok, so it was easier to establish contact among those accredited for participation via the internet than on heaving exhibition grounds. In the absence of a collective feeling, however, you soon turn into a lone fighter. The real success of the Swiss presence at the biggest jazz conference in the world this year will only emerge in a few weeks and after surveys and conversations. In the past, it was possible to draw conclusions on the last day of the conference.

The two Swiss live acts in the official showcase programme of the jazzahead! chose different approaches: The formation The True Harry Nulz performed live in Bremen in front of a handful of journalists which at least applauded after each song which could be heard in the live stream. The showcase of the Luzia von Wyl Ensemble, however, had been pre-produced without an audience in the Moods in Zurich and then streamed. The silence between the pieces and the lack of feedback leave the performers in a vacuum.

“We must constantly create new scenarios, remain open and critically assess our own impressions.”

Now that in the face of the vaccination campaigns there is finally a light at the end of the tunnel again, it would be easy to fall into a state of hopeful anticipation and do away with the online world as a pure temporary solution. In a time, however, where our entire work life is significantly changed by the digitisation, many questions arise: Is there possibly more export potential in the online world as previously assumed? Can we even afford the old “normal” in times of a global climate crisis which will survive each pandemic? A crisis which is going to have a lasting effect on generations of future music creators and take many opportunities away from them?

There are still no conclusive answers to all of these questions. The most important developments do not take place online but in our heads. And these developments take more time than the technological ones. Until then, we must constantly create new scenarios, remain open and critically assess our own impressions. The most important factor is: listen to the music creators. Because their art must find its way across the country borders, also in the future. For them, FONDATION SUISA will continue to actively monitor and influence the developments in the music export world.

New Get Going! Invitation to tender
For the fourth time, the FONDATION SUISA is going to launch an invitation to tender regarding Get Going! contributions at the end of June / beginning of July. More information regarding the kick-off financing for extraordinary projects can be found in good time on the website of the foundation: www.fondation-suisa.ch
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Hurry, haggle and hope at WomexHurry, haggle and hope at Womex In cooperation with Pro Helvetia, FONDATION SUISA has been providing a Swiss stand at the music exhibition Womex since 2006. But what is the advantage of participating in such an exhibition at all? Ane Hebeisen of the Berne band Da Cruz attended by way of a self-experiment. An unadorned experience report from Budapest. Read more
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Covid-19, digitisation, climate crisis: Musikexport in extraordinary times. Experiences and thoughts on the subject by Marcel Kaufmann, responsible at FONDATION SUISA for its presence abroad and the export promotion.

Fondation Suisa: Musikexport – quo vadis?

Will there ever be a back to “normal” times? The Swiss joint exhibition stand at the jazzahead! Bremen 2019. (Photo: Marcel Kaufmann)

Since the internet revolution of the 90ies, the value creation on the music market shifted to a large part towards the live sector. Concerts became the most important income stream for many musicians. One of the consequences was that numerous showcase events were launched. Artists could perform in front of international experts during short live concerts. This was done in the hope that they would get bookings in bigger clubs or festivals or taken under contract by international agencies. Together with various partners, the...read more

Swiss Congress on Film and Media Music

From 29 September to 2 October 2020, the film and media music congress “SoundTrack_Zurich” will take place during the Zurich Film Festival. Swiss film and media music professionals can use this event to expand their network, broaden their expertise and exchange ideas with experienced, internationally active business insiders. Text by Erika Weibel

Sountrack Zurich: Swiss Congress on Film and Media Music

SUISA is supporting the first edition of the “SoundTrack_Zurich” film and media music congress, the programme of which is available at www.soundtrackzurich.com. (Photo: SoundTrack_Zurich)

Composers from Switzerland and abroad will share their experience and knowledge with the audience at two nearby locations. During the event, congress participants will have the opportunity to exchange ideas with international guests of the Zurich Film Festival (ZFF) in workshops, panels, case studies and lectures on current topics of the Swiss and European film music scene.

“SoundTrack_Zurich” is closely networked with the ZFF and its guests as well as with the ZHdK (Zurich University of the Arts), where a lively international exchange on university education for film and media music professionals takes place within the framework of the “International Media Music Competition” and Immsane (“International Media Music & Sound Arts – Network in Education”).

Star guest Ray Parker Jr.

Star guest of “SoundTrack_Zurich” is Ray Parker Jr. who composed the title song for the film “Ghostbusters” and will present the world premiere of the documentary “Who You Gonna Call” about his career.

Ray Parker Jr. wrote and performed in hundreds of top 25 hits. He has composed songs, performed on stage and worked as a session musician with some of the biggest icons in the industry, including Barry White, Aretha Franklin, Diana Ross, Tina Turner, The Temptations, The Carpenters and The Supremes.

Copyright issues related to film and media music creation

On the morning of 29 September, lectures and information events will also be held on copyright issues. For example, SUISA experts can answer questions about documentation and cue sheets or provide information on SUISA’s distribution system.

In addition, a panel will be held on the “Digital Challenges” of today’s age, in which IT experts will discuss with business insiders what the future digital value creation in film music creation should look like.

SUISA sponsorship commitment

“Soundtrack_Zurich” is organised by SMECA, curated by Michael P. Aust (“SoundTrack_Cologne”) and organized in cooperation with “SoundTrack_Cologne”, Forum Filmmusik, ZHdK (Zurich University of the Arts) and IMMSANE. “Soundtrack_Zurich” is organisationally and financially independent of the Zurich Film Festival.

“SoundTrack_Zurich” is to become a new hub for actors in the international film music scene. Film and media music creation also plays a very important role in the Swiss music business. For this reason, SUISA is pleased to contribute to the organisation of this event as a sponsor.

Web links to the event and the cooperation partners:

SoundTrack_Zurich
Zurich Film Festival
International Film Music Competition
Immsane.com
Smeca
Forum Filmmusik
ZHdK
SoundTrack_Cologne

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  1. Hallo Erika,
    vielen Dank für die ganzen Infos zum Event. Auf Ray Parker Jr. freue ich mich besonders.
    Werdet ihr im Anschluss wieder darüber berichten?
    Freue mich wieder davon zu lesen.
    Liebe Grüße,
    Christoph

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From 29 September to 2 October 2020, the film and media music congress “SoundTrack_Zurich” will take place during the Zurich Film Festival. Swiss film and media music professionals can use this event to expand their network, broaden their expertise and exchange ideas with experienced, internationally active business insiders. Text by Erika Weibel

Sountrack Zurich: Swiss Congress on Film and Media Music

SUISA is supporting the first edition of the “SoundTrack_Zurich” film and media music congress, the programme of which is available at www.soundtrackzurich.com. (Photo: SoundTrack_Zurich)

Composers from Switzerland and abroad will share their experience and knowledge with the audience at two nearby locations. During the event, congress participants will have the opportunity to exchange ideas with international guests of the Zurich Film Festival (ZFF) in workshops, panels, case studies and lectures on current topics of the Swiss and European film music scene.

“SoundTrack_Zurich”...read more

Attendance at IKF opens up new prospects for Swiss musicians

The FONDATION SUISA and Pro Helvetia presented their joint stand under the banner “Swiss Music” for the first time at the 31st Internationale Kulturbörse in Freiburg, Germany. The results have been positive. Text by Urs Schnell, FONDATION SUISA

FONDATION SUISA: Attendance at IKF opens up new prospects for Swiss musicians

Mich Gerber appears at the 2019 Internationale Kulturbörse Freiburg. (Photo: Marcel Kaufmann)

Last year, the Internationale Kulturbörse Freiburg (IKF) celebrated its 30th anniversary with a Swiss focus. The FONDATION SUISA went along to see whether the most important trade fair in the German-speaking region for stage production, music and events would be the right place for Swiss musicians to be represented. There were repeated suggestions from the music scene that this could give rise to new performance opportunities on German stages and in small venues.

For years, the FONDATION SUISA has been involved in foreign music showcase festivals and music trade fairs, with the aim of promoting networking between the domestic music scene and international promoters and agencies. Following an in-depth assessment of the IKF’s potential, it thus seemed an obvious choice to implement the successful concept of a joint Swiss stand from 20 to 23 January this year in Freiburg for the first time.

Over the three days, the “Swiss Music” stand – in collaboration with Pro Helvetia – allowed artists and their agencies to connect with the vibrant promoter scene and, in particular, to meet promoters who operate outside the usual music network. Exchange with the Swiss music scene could especially open up new prospects for small theatres relying on a varied programme of fringe events.

Our joint stand allowed musicians and agencies to present themselves to a wide audience without having to hire their own expensive stand, allowing them to take maximum advantage of the IKF as a communication platform, marketplace and a place for development. Many saw the fact that IKF is not merely a music trade fair as a positive, offering potential new ground. Having the ‘Swiss Music’ stand right next to the entrance to the adjoining performing arts and street theatre hall was a major boost to visibility.

A wide array of extraordinary figures also appeared live on stage, with performances from Mich Gerber, Gina Été, the Postharmonic Orchestra, Moes Anthill, Bruno Bieri and Park Stickney.

Initial feedback on the first Swiss presence in Freiburg has been extremely positive. As a key meeting point for small and mid-sized stage productions in the German-speaking region, the IKF will also open up new opportunities for Swiss musicians in future.

For more information, please visit:
ikf.swissmusic.ch and www.fondation-suisa.ch/ikf

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The FONDATION SUISA and Pro Helvetia presented their joint stand under the banner “Swiss Music” for the first time at the 31st Internationale Kulturbörse in Freiburg, Germany. The results have been positive. Text by Urs Schnell, FONDATION SUISA

FONDATION SUISA: Attendance at IKF opens up new prospects for Swiss musicians

Mich Gerber appears at the 2019 Internationale Kulturbörse Freiburg. (Photo: Marcel Kaufmann)

Last year, the Internationale Kulturbörse Freiburg (IKF) celebrated its 30th anniversary with a Swiss focus. The FONDATION SUISA went along to see whether the most important trade fair in the German-speaking region for stage production, music and events would be the right place for Swiss musicians to be represented. There were repeated suggestions from the music scene that this could give rise to new performance opportunities on German stages and in small venues.

For years, the FONDATION SUISA has been involved in foreign music...read more

Schweizer Jazz an der Jazzahead! 2016 allseits präsent

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Jazzahead! 2016: Der Schweizer Jazz im Fokus

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Hurry, haggle and hope at Womex

In cooperation with Pro Helvetia, FONDATION SUISA has been providing a Swiss stand at the music exhibition Womex since 2006. But what is the advantage of participating in such an exhibition at all? Ane Hebeisen of the Berne band Da Cruz attended by way of a self-experiment. An unadorned experience report from Budapest. Text by guest author Ane Hebeisen

Hurry, haggle and hope at Womex

In the midst of the events at the Womex 2015 in Budapest (from left to right): Guest author Ane Hebeisen and Mariana Da Cruz (both members of the band Da Cruz), Arnaud di Clemente (Bee-Flat im Progr), Mauro Abbühl (Artlink) (Photo: Eric van Nieuwland)

The Swiss stand at the Womex music fair in Budapest is hopelessly overrun. An invitation has gone out for drinks at the stand – organised together with the Austrians – and thus attracted a huge crowd. You can enjoy cheese, dried meat, wine and hold small talk. Most favourite topics: The state of the Helvetic concert market and the prices completely made up by Budapest taxi drivers. At the edge of the crowd, a booker of the Zurich club Moods negotiates with a French concert agency, not far from that, Berne organisers Bee-Flat scurry through the masses and the manager of Sophie Hunger meets people who look somewhat important. Very briefly, an Austrian band tries to perform a serenade but is silenced quickly by the security staff of the congress hall. Business is on the agenda for the day, music is not planned before the evening.

The dilemma is well-known. As a musician, it helps not just to be a creator of sound art but, advisably, also booker, manager, public relations agent and label manager. And because that’s the way it is, it can’t hurt to visit such fairs every now and then. Right, off to battle. The aim: to jazz up summer season 2016 with a few festival bookings.

The good news here at Womex: Open Airs such as Glastonbury, Sziget or Roskilde have dispatched delegates to Budapest who are looking for new bands. The bad news: They prefer to sneak around the exhibition incognito. If they do, however, decide to stop for a while, they immediately have a bunch of “fleeting acquaintances” around themselves, who are trying to slip them CDs and catalogues. That surely looks tiresome. Better to leave them alone.

World music – a marketing term for exotic music

Among the various music exhibitions and showcase festivals, Womex is among the older ones, and because of the niche that it serves, maybe not the trendiest. But people underestimate it. It takes place each year in a different city and is the world’s greatest fair for so-called World Music. A term that has been created nearly 30 years ago by marketing managers of English record labels, it has attempted to pigeon-hole music which didn’t fit into the traditional Anglo-American Pop-Rock scheme.

Also a term which is still stuck with the image of an unpleasant mystique mix of jute romanticism, third world exotics and cultural neo-colonialism. But World Music has long become an umbrella, under which everything from global pop by someone like Manu Chao, via electro-ethno studies of someone like Björk, up to Brazilian Favela Funk or Mongolian zither players roams around. World Music is what sounds exotic to the ears of a Westerner.

If you have to offer anything exotic in terms of music you are in the right place here. You are sure to meet someone that can help you on. The Womex community has become a closely-knit family, radio editors are searching for new music, and event organisers who don’t feel like putting together their concert programme merely based on the newsletter by various agencies are present here. And, due to the fact that the British hype machinery is no longer firing on all cylinders lately, even the most important major festivals can’t avoid digging around in the world for some hidden gems.

Serious preparation for a music exhibition is a must

If there is one species that has very low popularity scores at music exhibitions, it is representatives of bands who push sound recordings into the hands of any passer-by while reciting excerpts of their band biography. The key is to be prepared. Weeks before the exhibition, you need to find out by intense research work which of the concert organisers, agencies or festival bookers that are going to attend are on the same wavelength as you, and then you need to arrange a brief meeting with them.

Womex has established an internet platform on which you can browse around once you have been accredited. Each participant is listed here, often with e-mail contact details and sometimes with a photo. Those that decline meeting with you can usually be found in a cigarette break or at concerts in the evening where the trendiest Afrobeat bands of the world play alongside Cambodian Mickey-Mouse MIAs, Brazilian hip hop wannabes or Chinese Metal bands and try to trump each other.

Business meetings at Womex: promising to hazy

Back to the exhibition. The voice is hoarse, the head hurts. The meetings so far have been rather good. The gentleman representing a big Open Air in Luxembourg has listened to the music links sent to him prior to the exhibition, and offers an option for a date in July. It’s his business partner, however, who could still ruin the deal. He tells us in agitated way that during the Globus riots in Zurich, he was imprisoned and has since been avoiding Switzerland like the devil fears holy water. I mime empathy and hope for some mercy later on.

A festival in Amsterdam and a big city festival in Hanover reserve a date in the summer. The latter is said to attract about 15,000 people. An organiser from Helsinki has been wooed by what he heard so much that he wants to win the band over for a festival in May. And the delegation of a major Turkish organiser who is in charge of the country’s biggest Open Airs, brings along two festival organisers from Israel to the meeting. They say they had talked about the band and decided to start something together.

Other meetings end on a vague note. For example the French. The Festival Jazz à Vienne shows some interest but they say they’d get back to us if there was a need to. Same applies to the Festival Les Suds à Arles. And Roskilde? Passed each other and said hello. No more than that. Glastonbury? The rep wasn’t seen. Sziget? A conversation with a booker resulted in finding out that the world stage of the festival had been subject to a rather conservative programme; difficult for a band with a laptop as part of its instrumentation.

Efforts for visiting the exhibition and persistence when following up could pay back

But it’s always the same, whenever you return from a music exhibition: You stash away countless business cards carefully, reflect on various meetings and you have that fuzzy feeling and assurance that the global career is within arm’s length. Three weeks later, however, you’ll realise that the newly made friendships and business relationships aren’t that stable after all as you thought and that following up is a much more tedious process than you anticipated. And it’s going to be just like that – this year is no exception.

Past years have, though, showed that the effort and a certain persistence do pay back. Concerts at the Montréal Jazz Festival, at the Fernwärme Open Air in Vienna, at the Festival Fiest’A Sète, at the World Village in Helsinki or at the Festival d’éte de Quebec have come about as a result of attending Womex. Our agencies in France and Italy have also become aware of us once we played a showcase in Copenhagen in 2009.

One week after the exhibition, the Turks got back in touch. Everything was right on track. They said they’d listened to the CD we slipped them often and liked it. And a Spanish festival has also knocked on our door. With the question whether the band was getting financial support from somewhere. If so, they’d be interested. Yes, the financial crisis. It hasn’t spared World Music. Let the negotiations begin.

www.womex.com

The author, Ane Hebeisen, plays with the Berne band Da Cruz (www.dacruzmusic.com) and is a reporter with the daily “Der Bund”.

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In cooperation with Pro Helvetia, FONDATION SUISA has been providing a Swiss stand at the music exhibition Womex since 2006. But what is the advantage of participating in such an exhibition at all? Ane Hebeisen of the Berne band Da Cruz attended by way of a self-experiment. An unadorned experience report from Budapest. Text by guest author Ane Hebeisen

Hurry, haggle and hope at Womex

In the midst of the events at the Womex 2015 in Budapest (from left to right): Guest author Ane Hebeisen and Mariana Da Cruz (both members of the band Da Cruz), Arnaud di Clemente (Bee-Flat im Progr), Mauro Abbühl (Artlink) (Photo: Eric van Nieuwland)

The Swiss stand at the Womex music fair in Budapest is hopelessly overrun. An invitation has gone out for drinks at the stand – organised together with the Austrians –...read more

Die Schweiz ist jazzahead!-Partnerland 2016

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Midem 2015: Sommer-Premiere top oder flop?

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  1. Nina says:

    Hallo!

    Die MIDEM 2016 findet vom 3.-6. Juni 2016 statt, und nicht wie hier steht, vom 28. Juni – 1. Juli 2016 …

    Nina

    • Manu Leuenberger says:

      Liebe Nina
      Vielen Dank für den Hinweis. Der Veranstaltungstermin der Midem 2016 wurde nach Publikation dieses Beitrags verschoben. Die neuen Daten haben wir nun im Beitrag ergänzt.
      Manu Leuenberger, Kommunikation SUISA

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Präsentation ist Innovation: die vierte Ausgabe der Classical:NEXT

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Schweizer Gemeinschaftsstand an der Womex 2015 in Budapest

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