Background
Since 2004 the Moshito Music Conference and Exhibition has established itself as Africa’s premiere music industry event.
Now entering its eighth year, Moshito – as it is known – is focused even more keenly on its objective of broadening the business intelligence of music industry professionals in South African and the continent, strengthening business networks for participants and informing delegates, traders and the public about the multifaceted and dynamic nature of the global music industry.
Historically, Moshito has its roots in the South African Music Industry Co-operation Initiative (SAMICI) which was formed 2003 as a part of a response to several pressing issues affecting the South Africa industry as a whole. For the first time, a broad base of industry stakeholders joined forces to focus on several key areas of the industry – in particular, music piracy, the need to develop music markets for South African music (especially beyond the country's borders) and the urgent need to create a social benefit and welfare programme for musicians.
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News
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Mapping of the South African Live Music Circuit
Undertaken late last year by the Moshito Music Conference & Exhibition and supported by MMINO South African-Norwegian Music Cooperation, Mapping of the South African Live Music Circuit 2010 delivers key insights into this crucial – and increasingly important - part of the South African music sector.
The 30-page report is the first of its kind and is intended to be the kick-off to a far more intensive research project into South Africa's live music sector. And even in this early stage, the Mapping of the South African Live Music Circuit 2010 report is a significant contributor to the pressing need for rigorous research and statistics on the broader domestic music industry.
The Mapping of the South African Live Music Circuit 2010 report offers a snapshot of the 2010 live scene, giving valuable insights into the music genres and practitioners that succeed in this area as well as the importance of yearly music festivals in the year under examination. The lack of permanent music venues across most of the country and the weakness of the live music sector when compared to its recording sector counterpart are among the key elements to emerge from the report.
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