What’s Up with music Town Hall ?
Between 2018 and 2023, possibly dozens or more than a hundred “Town Hall” sessions for the music industry have been organized. (“Town Hall” in the Malaysian language is translated as “Dialog Awam” according to the translation by the Malaysian Institute of Language and Literature).
Some are organized by non-governmental organizations by inviting representatives from ministries, and some are organized by specific ministries aiming to provide a two-way discussion platform between stakeholders and administrative bodies (usually government or related government agencies) regarding current challenges and opportunities in the music industry.
Usually, these public dialogues are formal sessions between stakeholders and administrative bodies. All findings from these public dialogues are recorded by the administrative bodies for specific purposes.
In the context of the music industry, the government plays both roles as a stakeholder and an administrative body.
In the role of a stakeholder, the government has the responsibility to protect, promote, and ensure balanced development in the music industry. This includes protecting copyright and intellectual property under the law, as well as ensuring fair compensation for artists and music creators. It also involves regulating and formulating industry policies that control music industry operations, including policies related to licensing, copyright use, and music streaming.
The government is responsible for monitoring and overseeing the industry to ensure compliance with laws and regulations within the music industry and to protect consumers. It plays a role in promoting the local music industry and fostering musical talent development both locally and internationally. It ensures fairness in the distribution of opportunities and funds within the music industry and promotes cultural diversity in music production and delivery.
As an Administrative Body, the government’s role is to frame and implement policies and regulations related to the music industry. It issues licenses and permits for music royalty collection, provides funding and financial support for music projects, organizes programs to advance the music industry, and protects cultural heritage and creativity within the music industry. It establishes sufficient infrastructure for the growth of the music industry.
Furthermore, the government is responsible for planning and implementing measures to address challenges and crises that may impact the music industry, such as pandemics or technological changes. The roles of the government as a stakeholder and administrative body in the music industry are crucial in supporting development, protecting, and preserving the music industry.
Who are the stakeholders of the music industry? In addition to the government, stakeholders in the music industry refer to individuals, entities, and other parties with interests in the music industry. They play an important role in contributing to the development, promotion, and regulation of the music industry.
The list of music industry stakeholders includes artists, musicians, and all individuals involved in music production, song composers, lyricists, and music arrangers. Music publishing and recording companies, artist managers, music producers, and music composers. Broadcasting and streaming organizations (radio stations, television, and music streaming platforms).
Creative industry workers, such as photographers, videographers, directors, graphic designers, and individuals contributing to artist branding and image. Music consumers (music supporters, fans, and listeners who play a crucial role in supporting and demanding music works). Music enthusiasts and music education (individuals, schools, and institutions involved in music education and talent development). Welfare organizations and support groups, venue owners, event managers, as well as writers, journalists, critics, and media.
The question raised is: (1) whether or not actions are taken by the government after the conclusion of these public dialogues, and (2) whether or not official reports or accessible videos have been published on any official websites or social media platforms of ministries or responsible agencies to communicate the action plans to be taken within a specific timeframe. Within a period of 3, 6, or 12 months after the implementation of government actions, reports about achievements or failures, or any valuable information accessible to stakeholders, can be published.
This is important not only to communicate the latest developments but also potentially to invite stakeholder participation for cooperation when needed to address issues or promote campaigns.
Furthermore, it aims to prevent repetitive discussions of old issues during each public dialogue, ensuring that discussions remain relevant to current challenges. This prevents discussions from being repeatedly held without any action or decision, such as the issue of music royalties, which has been discussed repeatedly without decisive government actions. Many stakeholders are disappointed by this situation, as these dialogues often seem to be a formality without meaningful outcomes. What do stakeholders expect from the public dialogues they attend? They might expect several things from these public dialogue sessions:
They want to see honesty and engagement from the relevant authorities in the music industry.
They want to understand decisions and measures taken by these authorities and have the opportunity to provide their viewpoints and suggestions.
They want in-depth explanations about policies and decisions that affect the music industry. They want to understand the background and reasons behind these decisions.
They want to feel that their viewpoints and concerns are considered in the decision-making process. This gives them a sense of ownership and involvement in shaping the music industry’s direction.
They want to see that challenges faced by the music industry are acknowledged and openly discussed.
They may contribute to finding solutions and measures to address the issues faced by various parties in the industry.
They want to see that the music industry continues to develop and innovate. This includes recognizing new opportunities and devising strategies to encourage growth and diversity within the industry. They can use this platform to share ideas and form partnerships that may benefit all stakeholders in the music ecosystem.
They want access to accurate and up-to-date information about the latest developments in the music industry. This helps them make informed decisions based on reliable data and information.
Overall, stakeholders want to see that public dialogues provide space for meaningful engagement, information sharing, and interaction to help shape a better future for the music industry.
Why are public dialogues important for stakeholders? Public dialogues play a crucial role in strengthening the industry as a whole. They provide stakeholders with an opportunity to participate in decision-making processes and express their viewpoints. Public dialogue sessions allow up-to-date information about current issues and changes in the music industry to be communicated to stakeholders.
They promote collective understanding of challenges, opportunities, and trends within the music industry. This helps stakeholders make informed decisions based on available information. It allows stakeholders to discuss and collaborate on finding solutions to controversial issues or challenges.
Through public dialogues, stakeholders can share new and innovative ideas that can advance the music industry. They promote transparency in industry management and strengthen stakeholder trust in decisions made by authorities.
Participation in public dialogue sessions is a responsibility that every stakeholder should undertake.
Stakeholders have a responsibility to share their experiences and viewpoints based on their knowledge of the industry. Attending public dialogue sessions allows stakeholders to hear perspectives from various parties, fostering better learning and understanding of industry issues.
Stakeholders need to provide constructive contributions in seeking solutions to challenges and issues faced by the industry. Being present in public dialogue sessions shows support for efforts to advance the music industry.
Stakeholders can bring feedback and suggestions from their peers who were unable to attend the session. Through public dialogues, stakeholders can collaborate with others to achieve shared goals for the advancement of the music industry.
The attendance of each stakeholder in public dialogue sessions contributes to forming a more inclusive, informed, and empowered landscape for the music industry. Which ministries are involved in the Malaysian music industry?
There are 12 ministries directly and indirectly involved in the music industry. Unfortunately, the music industry does not have a specific guardian like the film industry overseen by FINAS. The Malaysian Music Industry Corporation (PIMM), which was approved by the Cabinet on July 14, 2021, has not had any news so far.
Among the ministries directly involved in the music industry are the Ministry of Domestic Trade and Consumer Affairs (KPDN), the Ministry of Communications and Digital (KKD), the Ministry of Tourism, Arts and Culture (MOTAC), the Ministry of Education Malaysia (KPM), the Ministry of Higher Education (KPT), the Ministry of Foreign Affairs (MOFA), and the Ministry of Finance (MOF). Ministries that are not directly involved but have implications for the music industry include the Ministry of Economy (EPU), the Ministry of Investment, Trade, and Industry (MITI), the Ministry of Housing and Local Government Development (KPKT), the Ministry of Science, Technology, and Innovation (MOSTI), and the Ministry of Home Affairs (KDN).
Stakeholders are recommended to become members of arts and music associations such as Karyawan, Seniman, YKAT, PAPITA, the Recording Industry Association of Malaysia (RIM), and other relevant associations actively. This can help them collectively voice their concerns to the government.
On Tuesday, August 29, 2023, the Malaysian Artists Association (Karyawan) in collaboration with the Ministry of Domestic Trade and Consumer Affairs (KPDN) will organize a Public Dialogue session aimed at finding solutions to artists’ royalty issues.
To all stakeholders, attending dialogues like these or any other public dialogues organized from time to time by non-governmental organizations (NGOs) or the government is advised. Attendance at such public dialogues is typically free.
For administrative bodies (government), it is hoped that stakeholders will have access to post-dialogue reports on specific platforms.
Author’s Biography:
Ahmad Samri Mohamed Akhir, also known as Ahwee Sc, is the Chairman of the Music Republic Society. He joined the band Scandals as the lead singer in 1986. His talents span various fields including business, singing, music, and music production.
Additionally, he was a former Creative Industry/Music Advisor to the former Minister of Communications and Multimedia Malaysia (KKMM), YB Dato’ Sri Saifuddin Abdullah, from 2020 to 2021. One of his significant achievements in his career is his role as the coordinator in preparing the Cabinet paper for the “Malaysian Music Industry Corporation (PIMM)”, which received Cabinet approval on July 14, 2021. Ahmad Samri holds a Bachelor’s degree in Multimedia Communication and a Master’s degree in Corporate Communication.
Brief Background of Involvement in the Music Industry:
He began his serious involvement in the music industry in 1985 as the lead singer of the Scandals band and won the “Champion of Rock Champions Federal Territory” competition in 1986. Starting in 2015, he began collaborating with several non-governmental organizations (NGOs) fully engaged in music administration and organized a series of public music industry dialogues.
In 2018, Ahmad Samri was introduced to YB Senator Datuk Razali Idris by Zaha Spring. After several discussions at the Malaysian Senate office, Datuk Razali requested Ahmad Samri to prepare a paper for the establishment of a music corporation, titled “Malaysian Music Corporation (PEMUZIK)”. With the support of Datuk Razali and the Malaysian Senate, Ahmad Samri, along with several senior artists including Ito Blues Gang, Nasir Search, Aishah, Datuk Francissca Peter, Helen Yap, and others, submitted a memorandum for the establishment of the music corporation to YABhg Tun Dr Mahathir Mohamad (the 7th Prime Minister at the time) and YB Gobind Deo (former Minister of KKMM). This success led to his appointment as a Pro-Tem Committee Member of the KKMM Music Committee.
Subsequently, he was appointed as a Creative Industry/Music Advisor to the former Minister of Communications and Multimedia, YB Dato’ Sri Saifuddin Abdullah (2020 to 2021). His task was to finalize the preparation of the Cabinet paper for the “Malaysian Music Industry Corporation (PIMM)”.
Ahmad Samri has shown commitment and valuable contributions in driving the Malaysian music industry forward. Through his role in coordinating and preparing the Cabinet paper, he has helped shape the country’s music industry landscape to be more progressive, especially during his tenure at KKMM when the nation faced the challenges of the Covid-19 pandemic. He made a significant contribution by initiating the “Entertainment From Home (EFH)” initiative, which provided assistance to as many musicians.
-DG
(The views expressed in this article are those of the author(s) and do not reflect the official policy or position of Hipz.my)
