Shape the future of Arab music with insights and tips from renowned Middle Eastern and UK professionals. Apply now to join this programme!
A series of 7 webinars to develop key music management skills and bring international experience to Middle Eastern entrepreneurs. The programme has been designed to follow the basic content of an MA degree in Music Management, so it will give participants an overview of the main skills required in the international music management scene.
Each webinar will last for 2-4 days and has been designed to address the region's needs. Each session will be conducted by both a UK and a regional music expert.
Webinars can be followed as an ensemble or separately. Participants that attend 4 or more seminars will receive a certificate.
The seminars are open to music managers and entrepreneurs with at least 2 years of work experience in the Middle Eastern music sector, who are based in Rabat, Abu Dhabi, Cairo, Beirut, Ramallah, Gaza, Dubai, Manama, Tunis or Kuwait City.
Participants can come from record companies, music festivals/venues, or working in broadcasting, journalism, publishing, retail, marketing/PR or artist management.
The sessions will be conducted in English, therefore participants need to have an intermediate/working level of English.
The seminars will run from September 2012 to February 2013 from 9-11am and 12-2pm London time (BST or GMT depending on the time; check the time difference here) as follows:
10, 17, 18 September 2012
Music Management and key business skills
10 September: Plan your project and set up a roster
What does a manager do exactly? A good project always needs to rely on a feasibility study, but the specificities of music management mean that you will also have to make good A&R choices, continue your talent-scouting while being reasonable, and always remain critical about your own strengths and weaknesses.
Trainer: Tom Haxell, co-Founder of Spirit Music and Media and of Independent Records Ltd
17 September: Developing an Audience
How do you situate your art in your contemporary society? Who are you addressing? From these questions, we will approach the different forms of audience development and how to properly identify your niche market. We will also present what makes audiences so hard but also easier to reach, in this age of digital medias, social networks, and increased competition.
Trainer: Clementine Bunel, Founder 2 for the Road Productions
18 September: Live Music and Tours
Who are your potential partners (marketing, promoters' venues, festivals) and how do you approach them? Why is it so important to tour regularly? What should be your priorities in the live industry? Where does Arab music exports itself well? We will also consider airplay and TV, since they are now key to address your audience.
Trainer: David Flower, Founder of SASA Music
1, 2, 3 October 2012
Running a Music Label (advanced course on music management)
1 October: Build a Marketing Plan
Can anyone plan a yearly corporate performance while they still don’t know where they’re heading? That is a tricky question, but we will try to focus on how to plan the initial marketing and generate sources of immediate revenues, while branding the musical project. The music business is a true business like any other, with its own rules and know-how about contracting (management, publishing, touring, and recording) and administration.
Trainer: Tom Haxell, co-Founder of Spirit Music and Media and of Independent Records Ltd
2 October: Royalties and Distribution
What is a music label in the digital age in the Arab World? A large part of the Arab music industry is being led by a couple of music moguls (Rotana, Melody Music), so how can independent labels survive in such a competitive context? How did music Labels in Europe evolve to avoid the competition of Music Majors? What is the difference between a Label and a publisher? How does a Label do merchandising? How does one manages retail sales? Shall we focus on hard sales or digital ones? We will also have a closer look at the “360 degree” contract model, to debate its pros and cons and see the wide range of activities that a music Label encompasses.
Trainer: Andrew Geddes, Sales Manager, Kartel Creative
3 October: Synch and Placement
Active publishing is becoming a more and more important source of revenues for composers. But what is it exactly? How do you start writing for advertisement, brands, TV, cinema? How can one compose music for others and not lose their identity? What is product placement? Who sells ringtones, produce soundtracks? Which one fits you?
Trainer: Connie Farr, Founder, ThinkSync Music
15, 16 October 2012
Publishing, Contract and Regulation. Intellectual Property and Copyright.
15 October: Contracts and Regulations
With the increasing professionalisation of the music industry around the world, it has become crucial to set up standard forms and contracts that would qualify anywhere. What would happen for example if your artist is pirated, or if one of your clients doesn’t follow some of the terms of the contract? How do you secure your own interests? And what are the main differences between a record, management, publishing and merchandising deal?
Trainers: Tahir Basheer and Lance Phillips from Sheridans.
16 October: Publishing and Copyright in the MENA region
Copyright is a fluid concept in the Arab World, but it is quickly evolving to fit international standards, with more and more copyright societies setting foot in these countries. After a brief on regulations and copyright laws in each country, we will try to understand how one might bypass the difficulties inherent to the region to develop copyright-based revenues, and what might be the best practices to limit piracy’s damages in the region.
Trainers: Nick Toolan, Head of International at EMEA; and Maisa al Saidi, Founder of iRights Middle East.
3, 4 December 2012
Exploiting Digital Content
3 December: Building an Online Marketing Plan
Is there any such thing as Digital Labels? How does one take advantage of the way the internet has revolutionised the way the music sector operates? Where can you distribute your music? Is self-distribution efficient? What about Amazon, iTunes and other aggregators? Is it good to become more mainstream at every cost? We will also approach the concepts of Open Source Labels and Creative Commons licenses.
Trainer: Alex Lavery, Founder/Creative Director, Pitch and Sync
4 December: Being Visible Online
Anyone can use Facebook or Twitter, but how do you use them efficiently? What does an online marketing and PR campaign mean? What is the real impact of blogs, tumblRs, web-radios and the powerful press and online media? What is their reach and how do you connect your networks into one direction?
Trainer: Louise Minter, CoFounder AMP Publicity
10, 11, 12 December 2012
The Live Industry
10 December: Managing a Venue
Identity is crucial for a venue, but it's not all about programming good music. We will try to explore other hidden but key aspects in venue management, from financial and technical management to partnership development.
Trainer: Simon Cooke, Managing Director of Ronnie Scott's
11 December: Attracting people to your event
How does one approach and attract audiences? What is the use of patrons in a Festival? How can you approach audiences that are not usually keen to attend cultural events? How do approach minorities and marginalised populations? Does your ticketing policy have an impact on the audience? In which language shall you communicate? The reach and success of your event will directly derive from the answers to all of these questions.
Trainer: Rachel Clarke, Head of Arts, Four Communications
12 December: Programming a Festival
An crash course on festival management: from administration, authorizations and technical elements, to safety and legal assessments, ticketing policies, merchandising, taxation, budgeting management and international programming.
Trainer: Simon Glinn, Executive Director, Liverpool Philharmonic Hall & Event
21, 22 January 2013
Building a Communications Strategy
21 January: Making your event into a future sell-out
How do you advertise a cultural event? How do you address your audiences? How do you visually shape your identity? How do your partnerships impact on your image? How do you promote an event with limited financial means? Is packaging an event for Europe and for the MENA the same thing?
Trainer: Wendy Smithers, The Hub
22 January: Developing efficient PR for your artists
When is it appropriate to approach the media? Should one remain local or spread the info internationally? How can you ensure that the media pays attention to your artist? How do you build a fan base in contemporary MENA? Are video clips or albums important?
Trainers: Ian Roberts, A Star PR
4, 5, 6 March 2013
Music Criticism and Journalism: an Introduction
4 March: Become a Music Expert on the Radio
A radio show is like a performance: it needs a concept, an audience, a rhythm, a frame...These qualities don’t come naturally, but there are steps one can follow to make sure they get it right. We will also discuss the importance of live sessions/interviews/engaging with the performers, knowing them, and knowing how to share your passion.
Trainer: Lopa Kothari, BBC Radio 3
5 March: Writing about music for newspapers and magazines
Bloggers, journalists...music critics are everywhere. We all have an opinion about music, but few can really analyse music, turn sounds into words, and sound literate but also understandable. Moreover, with the internet media blossoming, how is it that one talks about music? Is gonzo journalism allowed? What is the difference between writing for a newspaper, an online daily and a magazine? What are the limits between reporting, public-posting and giving one’s opinion? Who are you talking to? Does censorship have any room when we talk about music?
Trainer: Tim Cumming, music and arts journalist
6 March: TV and Music Production (Documentaries and TV Shows)
Producing a TV documentary about music, or airing a live programme, requires knowledge about music, about filming, and about what is behind the music you are filming. What messages do you want to convey? Should you convey a message or rather let the images speak? What is the right amount of info before one starts boring the spectator? And once it is filmed, how do you sell your documentary or programme? How do you renew a programme every week or month?
Trainer: Nick Hillel, freelance video-artist and filmmaker
The programme is free of charge but those who are interested need to apply – send an expression of interest with a brief professional biography to firstname.lastname@example.org before Monday 20 August 2012.
- Please indicate which (if not all) of the webinars you'd like to take part in.
- We will announce our selection before the end of August 2012, and contact all participants with more information about the trainers/speakers in each session.
- Participants will join these sessions at their local British Council offices - i.e. not remotely/individually from home or their offices.
For more information email us or join our Facebook page http://www.facebook.com/pages/British-Council-Webinars-for-Music-Managers/398338873524584?ref=ts