A world of live music and culture is networking to rebuild the city

“MY WORK IS A GAME, A VERY SERIOUS GAME”

On the occasion of Eurovision Singing competition, representatives of live clubs, clubs, festivals, operators of the live music sector and the cultural world of the territory met in the Media Center Casa Italia to start a discussion and ato co-designdivided on the territory

The world of live music and culture in Turin is a network, with the aim of becoming the engine for retraining And social and cultural renewal. In the context of Eurovision Singing competitionan open and common dialogue is born with the institutions with the participation ofCouncilor for Culture in the City of Turin Rosanna Purchia with Guido Cerrato from Turin Chamber of Commerce with live clubs, clubs, companiescooperatives, associations and local festivals which through their daily activities contribute 365 days a year to make the territory alive.

Eurovision Singing competition in fact, it puts the sector at the center of the debate of music since vivo and show business for internationality andtourist attraction and the liveliness of our territory. A unique opportunity to activate a new path for reflection and renewal of the sector, based on the studies that emerged: it iso in the city of Turin after the pandemic there has been a decrease in live concerts of 40% compared to the number pre pandemic.

Among the qualified subjects who carry out studies in the cultural field to deliver them to the institutions are Room trade in Turin who at the meeting of the Media Center Casa Italia presented an analysis of the music sector in Turin and Piedmont on the basis of the realities registered in the Chamber of Commerce: at the end of 2021 in Piedmont result regisamong 1,298 companies afferent to the music industry (6.6% of the population), of which 715 (55%) between Turin and its province. It is a particularly heterogeneous entrepreneurial substance, where musical activities in the true sense converge, as it doesmanufacture and trade in instruments or sound recordings, e.g. other more general activitiessuch as the management of the event ticket office or the management of theaters and concert halls.

It seems more and more necessary to reduce the distances between private institutions and bodies to finally decide to consider the added value of culture equal to the economic one, and to identify the cultural activity as a model for the industry of the future and as a possible driving force for tourist attraction in c.itty.

The goal is therefore to establish one shared comparison and scheduling platform to compare experiences, critical issues, but also opportunities between actors in the sector, which can only arise from a common vision, e.g.r start again right from cultural sites and from cultural planningnot just how social protectionbut also and above all how economically induced And job placement tool in the cultural field.

With the quote from the surrealist artist Maurits CornelisEscher My work is a game, a very serious game “,we want to represent the complexity and the artistic value of a sector, the of live music and culturewhich rises and falls sfor many years, without ever finding the keys to the house.

Overlaps and regulatory sediments, from local to national, are the legacy of decades that actually lead the sector to the spread of a potential that could instead be the engine for fashionlli of remodeling and of social and cultural renewal.

Over two years of pandemic has helped to bring to the surface the critical questions that have already existed since time immemorial, but above all to bring about an interruption which between the culture defined “theconstitutional ”and what sector operators like to define as“ widespread culture ”. This huge crisis has therefore caused significant damage to the sector, but has also contributed to a clear path to reflection, identification and rapprochement.in relation to the issues of the future and to a great deal of solidarity between cultural actors and operators, which have been transformed into networks.

From these networks it is supposed to start againwith a vision operation based on the great awareness that there is a lot of work dto do, and which requires a broad listening dimension on the part of the institutions. A prospective element of support for competencies and skills must be developed advocacy public / private for new experiences exploring innovation and the future of productspublicity and cultural dissemination. In this sense, research and experiments are the driving force behind a horizon of social closeness and cultural enterprise.

Provides centrality in these cases, the cornerstone is to restore lymph to the culture and society of the future.

Guido CerratoChamber of Commerce in Turin commented on the sidelines of the meeting: “At the end of 2021, 1,298 companies were affiliated the music sector (6.6% of the national figure), of which 715 (55%) between Turin and the province. But beyond these data, the most important question is about the opportunities and potential of this sector, starting from the opportunity that creates technology that opens up new markets, but also the creation of new jobs and new businesses, until now operating in other sectors.

Daniele Citrinites, La Musica Che Gira / I am the music I listen to declares: Come on data emerged from the research “I Am The Music I Listen” which refers to the period 2018/2019 and therefore pre-pandemic (report: https://www.iosonolamusicacheascolto.it/report/) number oneof artists and exhibitions already experienced a decline in places, spaces, cultural events, Besides of live music festivals, with an almost non-existent presence of concerts in the public space. With recoil from frontpost-pandemic iodine according to the data the approximately 200 seats and events dedicated to live music, which were prepared in the two-year period 2018/2019, were reduced by 40% by 2022, and only 6 were the new openings “

Savior Perri, Italian music Festivals on the occasion of“the meeting says:”As a reality of the territory, we take care of a unique and original festival, the Apolide Festival, which takes shape in a special place in the forest in the heart of the Canavese area. Our work, and the whole network of Italian music Festivels however, it does not only consist of propose programming and concerts, but above all in the ability to build active and participatory communities, but also to promote a territory capable of delivering consequences, to drive economy and work. I do not want towe therefore constitute an obstacle with regard to allowsbut we will instead be a help in discovering new realities in the sector“.

Alessandro Roggero, MuV – Consortium with live music comments: “During the pandemic, we formed Consorzio Musica dal Vivo, a new tool for building a network that could be solid and that united many souls in Turin, also to accelerate being legally recognized. An external relations tool that unitessce the live clubs in the city with a proactive approach. About 80% of the artists who want to rotate withinEurolandsby has gone from our stages. We therefore aim to position ourselves as a means to joint planning on the future policy of the city, opor at least to be a tool that could be the beginning of this path “

Luca Bosonetfrom ARCI Torino he claims: “Arci Torino has also turned into a pandemic, if prepandemic we had 140 associates now we have 180, 60 of these associations they are engaged in activities in the music sector. The number of musical principals failed to decline. We exist in all districts and we know how to network: Proximity is a value that ARCI Turin could provide, along with aother wealth, the diversity of its realities. We are available to the city, based on our vision, which is not proprietary, democratic, but which produces economies comparable to those of companies, and thus puts this prointimacy in the light of a possible design table “

Arianna Bargiglione, DOC Network – DOC Services – Turin branch declares: “That assertion this meeting represents the soul of our cooperative, in fact we take care of the operators every day both in the field of entertainment and culture. During the pandemic, we lost about 75% of the total revenue for the weektimer. In addition, about one-fifth of show business technicians have decided to change jobs after the pandemic period. We are therefore in a period where the city of Turin is exploding with events and we no longer have the same workers. What chapand we must therefore spread the work culture and also try to spread optimism and try to instill more optimism for the sector

Leave a Comment