Valuations of diversity: The role of marquee quotas in creative industries (Working Paper)

We examine how creative industry workers engage with diversity, absent a formal organizational mandate to do so. Through in-depth interviews with independent music industry personnel (N=50), we find that marquee quotas -- racially diverse representation on rosters and festival bills -- guide how diversity is sought and implemented. Such quotas are justified via four distinct valuations of diversity: aesthetic, economic, reputational, and moral. Both racialized and white participants justify the importance of diversity on moralistic grounds. By contrast, white participants more often justify the value of diversity by making claims about the aesthetic, economic and reputational benefits of marquee quotas. The deployment of these more self-serving valuations has consequences for the extent to which people of colour can be authentically included. Our analysis contributes to critiques of the socio-economic role and consequences of diversity initiatives, within the context of a creative industry.

Band Geek: a study of the Toronto independent music scene

Digital technologies have revolutionized the music industry over the last decade and have fundamentally altered production, distribution, consumption and promotion of music. As a result, there have been fewer sales of physical recordings, less support from record companies managing musical artists and more self-promotion by musicians through social media and streaming services. My research examined how independent musicians in Toronto are handling the changed music-making scene and the challenges they face as a consequence of these changes. This paper addresses topics such as: the benefits of connecting with music audiences on social media; musicians striking licensing deals with streaming services (Spotify and Apple Music); and current strategies used to promote music online. My research findings led to my developing a new online social media page, Band Geek, that creates original documentary journalism exclusively for burgeoning local Canadian artists in the music industry.

Band Geek: a study of the Toronto independent music scene

Digital technologies have revolutionized the music industry over the last decade and have fundamentally altered production, distribution, consumption and promotion of music. As a result, there have been fewer sales of physical recordings, less support from record companies managing musical artists and more self-promotion by musicians through social media and streaming services. My research examined how independent musicians in Toronto are handling the changed music-making scene and the challenges they face as a consequence of these changes. This paper addresses topics such as: the benefits of connecting with music audiences on social media; musicians striking licensing deals with streaming services (Spotify and Apple Music); and current strategies used to promote music online. My research findings led to my developing a new online social media page, Band Geek, that creates original documentary journalism exclusively for burgeoning local Canadian artists in the music industry.

Peningkatan Awareness Skena Musik Independen Indonesia (Studi Konvergensi Media dan Do It Yourself)

The purpose of this research is to raise awareness of the Indonesian indendent music scene with a music collective called Subnoise based in Bekasi, West Java. The type of research that will be used is qualitative research using data analysis techniques in the form of in-depth interviews in a number of analysis units, namely individuals who are actively involved in the collective independent scene called Subnoise. The data source used is the writings on the website about what Truth is and the history of its formation. In addition, the author will also listen to and watch interviews or interviews conducted by podcasters, radio, and also a Youtube channel that appoints Subnoise as their source and takes the essence of the event. This study concludes that with the emergence of music collectives in the independent scene, one way for organizations and independent music lovers to build a cultural network that binds each other, both in terms of musicians, their work, and their fans, and can also differentiate them from the scene. mainstream or mainstream. The common thoughts and tastes of the members became the starting point for its establishment. Subnoise uses awareness raising methods such as posts on social media Twitter, Instagram, and channels on Youtube to promote awareness of the independent scene they serve.

The Dynamic Dialectic and the Eclectic Plaintive Rhythm in Bembeya Jazz’s, Black Beats Music

The foremost line of the post-independent music evolves especially, from a simple to a more compound whole within the understanding of convention of representation and the association of experience become structural materials. Thereby, the basic component of conventional imagery, and the colonialist dynamic straightforward influences frame a new idiosyncratic type that evaluates the establishment of realty, memory and symbol. Correspondingly, through the foundation of intellectual and artistic image, the commensurate imagination of the musical nationalism schedule moves afar unconscious and insensate sensitivity. Indeed, the cultural and artistic body of the Bembeya Jazz and the Black Beats Band deconstruct the colonialist conventional perception of productivity; then, through extensive collective relation with their time and space, their nationalistic music exhibits boundaries of cross-examination regarding the realm of recombination, reconciliation and re-appropriation. Within the respect of material imagination and objective reality, verbal text, and contemporary Western musical instruments become the developing artistic cosmos within a new social and linguistic narrative is structured. Hence, the commitment of this article stands as a diagnostic process within we try to grasp the rapport of the indigenous value of imagination and the transcontinental stylistic effects inside the historio-context of redefining the self, sociolinguistic reflectivity, and perceptive sensibility in post-independent era.