Compared to the $22 million promised by the ALP, the Napthine Government’s fiscal promise was negligible. But given the conservative government’s natural reticence toward arts funding – especially the contemporary music scene – the promise confirmed Music Victoria’s success in making support for the local music industry a significant policy issue, and deserving of serious political attention.
Patrick Donovan, Music Victoria’s Chief Executive Officer, is proud of their achievements in both raising the policy profile of contemporary music in Victoria, and in working with government to effect change in regulatory arrangements that provide practical benefits for local musicians. Chief among the latter successes was Music Victoria’s role in convincing the former government to introduce the ‘agent of change’ principle in Victorian planning law.
The introduction of the agent of change principle has garnered interest not just in Australia, but also overseas, demonstrating how Victoria is leading the world in recognising the contribution of contemporary music to both the social and economic fabric. In May, Donovan will travel to Brighton in the UK to speak about Melbourne in the Music Cities Convention; a few days prior, Donovan will present at the Canadian Music Week in Toronto.
On the broader political front, Donovan is proud of Music Victoria’s Positions and Priorities white paper, published in early 2014, a document which provided the groundwork for the major parties’ policies in the 2014 Victorian election.
“We survey our members quite regularly,” Donovan says of its development. “We survey them on what areas they want advice on, and what areas we should focus on. A lot of consultation went into our first strategic plan.”
Music Victoria’s strategic plan – which is due for revision over the coming months – highlights a paradox in Music Victoria’s modus operandi: while the contemporary music scene continues to embrace the discourse of rebellion, and construct itself as an agitator against the forces of dominant political institutions, Music Victoria’s very existence – not to mention its successes with the agent of change principle and exemptions to the Building Code – highlights the value of working collaboratively with those institutions to effect real change. “We’re independent, and we’re not-for-profit. But we’ve formed partnerships with Melbourne Airport, Tourism Victoria, with councils. We have really strong governance, we’re conservative with our budget and expenditure,” he says.
Keen to keep building on its successes so far, this week Music Victoria commences its annual membership drive. Having devoted considerable attention to problems with the local live music infrastructure, Donovan says the focus of this year’s membership drive is on local musicians and fans. “There have been some urgent pressure points in the regulatory system for venues that needed attention. Bands needed places to play because that’s the main source of income for musicians these days,” Donovan says. “Now we’re getting onto musicians – we want musicians and fans out there to sign up because they’re helping to create a stronger music community that they’ll benefit from.”
To illustrate what he refers to as Music Victoria’s “value proposition” for musician members, Donovan points to the deal the organisation has struck recently with a preferred travel provider, Travel Beyond Group. Under this deal, Music Victoria members will access to a range of benefits, including discounted flights, discounted rates and reduced excess on car hire. Music Victoria has also done a deal with transport service company Uber, under which members signed up and paid by Thursday April 2 will receive $30 off their first ride. “So for any musician or fan unsure of the value of being a member, you pay $33 membership, and you pretty well get that back straight away,” Donovan says.
“We’ve achieved things in four years that no-one’s ever achieved in Victoria – and haven’t been achieved around the country. I think we’ve got a pretty good reputation for getting shit down, and meaningful shit.”
BY PATRICK EMERY
