9 Better Granting

We would like to see that grants available for musicians on national, regional and municipal level and grants available for the creative enterprises of the industry are supported with more suitable and more available grants. Because Czech cultural spending is not very low, but very few musicians and music businesses are granted, we would like to initiate a review of the current granting system, a better coordination among different levels of the government, and the introduction of better practices.

9.1 Program Considerations

The CEEMID Music Professional Survey 2019 has shown a very low level of grant availability for Czech musicians in comparison with the region. Because of the small sample size, it is difficult to judge suitability, but our data does not support a negative view on suitability.

Musician Grant Availability in the CEE

Figure 9.1: Musician Grant Availability in the CEE

In Czechia, until the country’s economy catches up with the EU average development level, most regions are available for structural and cohesion grants. The structural programs are often aiming at small- and medium sized enterprises, and technically all organizations of the industry, except for OSA, maybe eligible for grants. Because the music business has an exceptionally strong employment records, especially among low-skilled young people, and it has a strong ability to create a high value added and high tax base, it should be very much supported in these grants (Manyika et al. 2017) . The methodology we use for this development program is actually a Dutch method used in preparing grant calls in this framework.

9.1.1 Impact On Artists, Professionals & Enterprises

Please give your personal example, if the change above would start, what positive impact you would expect to feel on your professional career or on your enterprise / organization? These are just made up examples.

Karolína Pavlova, singer, The Band: I applied to the Grant A, and I regreted that I won. It turned out that I cannot provide the documents for ….., …., so eventually I gave up on 45% of the sum. However, they gave me …. for …. which I had no idea how to spend. Of course, I could have ‘got’ an invoice for this activity, and could have paid my visual artists instead, but I did not want to cheat.

Jan Svoboda, festival promoter, Festivals s.r.o: I think that people who give grants to regional festivals do not understand the concept of a festival in itself. We are going to a small town, because they do not have the money to build and maintain a concert house, so of course, the local population is small. etc etc.

9.2 Granting Needs Assessment

Granting needs assessment and the creation of suitable grant calls is the responsibility of the granting authority. It is, however, the responsibility of music industry stakeholders that they are involved in this process. Because the next programming period for EU funds will start in 2021, it is essential that the music industry is well prepared for this.

Whenever EU funds are used, there are institutional guarantees that in place that the granting goals are made in partnership with the affected organizations and civil society. It is not always the case with national, regional and municipal grants that these procedures are followed, and even in the case of EU grants, the needs assessment may be formal.

  • Using a suitable methodology, for example, the one used in the making of this development programme, granting needs, development and learning goals should be professionally collected and presented for the relevant grant planners.

  • In the framework of creating this development program, sufficient level of Czech language documentation should be prepared, which can be directly used in granting. In fact, for the continuation of this work, our Consortium is planning to apply for a TACR or EU grant.

The Hungarian granting needs assessment was made in an 8-fields workshop with about 80 professionals in various artistic, technical and managerial roles, followed by an online questionnaire on granting goal priorities, contract forms, available funds and required funds for granting needs with the participation of about 1000 music professionals and entrepreneurs in 2015 (Dániel Antal 2015a).

9.3 Grants for music education

It would be great if an overall modernization of the music education in the Czech general education system would not be based on a grant but as a general improvement work within the continuous improvement of curriculum. However, the music is very special field and a methodological grant could give a momentum to such activities.

9.3.1 Grants for introducing new music into the classrooms

  • Grants should help teachers learning new methods, acquiring and overseeing recording equipment, instruments, rehearsal rooms.

  • Grants should help teachers bringing musicians and performances to the classroom, or to take students to concerts and to the backstage to learn about the artistic, technical and managerial aspects of music.

9.3.2 Grants for introducing new pedagogy

  • Incorporating of popular music, and the learning of a new music pedagogy should be supported by grants and within the framework of lifelong learning for teachers.

9.4 Ex Post Assessment

A very good practice in preparing better grant is the ex post evaluation of existing grants and making corrections to make them more efficient and suitable. Superfluous funding that cannot be used for the granting goal should be reduced, and new elements that can help the grantee better achieving goals should be strengthened. Grant sums should be adjusted to market values, both to make the fulfillment of the granted activity realistic, and to avoid distorting the fragile infant markets.

  • In cooperation with the Ministry of Culture, create an ex post evaluation of existing granting schemes, if possible, in the same project as (GR-NA) Granting Needs Assessment.

  • Music industry stakeholder’s specialists should be involved in the marco-level ex post assessment of existing structural grants, and highlight the strong potential of the music industry to create jobs, reduce youth unemployment and create a larger tax base than manufacturing or agriculture.

9.5 Working Group on Better Music Grants & Sponsoring

Please give the following details if you would be ready to join this working group: Jan Svoboda, concert promoter, Concerts s.r.o, 17 years of concert promoting experience.

Professionals and artists with at least 3-4 successful and not successful grant experience, grant managers, researchers and experts in the field of ex ante and ex post evaluations. It would be very good to involve the Music Fund and the OSA Foundation into this working group. Usually there are similar know-how available around the managers of national and regional operational programs of the EU. Foreign experts may be needed, as this is a very special topic.

9.6 Indicators to Measure Progress & Keep Direction in Granting

9.6.1 Strategic indicators

  • Percentage of music professional who received a grant in the last 12 month [see chart above]

  • Percentage of grant income in the income of music professionals

  • Number of ex ante and ex post grant evaluations

9.6.2 Impact indicators

  • Accepted / rejected grant applications per granting agency

  • Anonymous survey evaluation of grants [ we will show the baseline data in the final version ]

  • Due to ex ante evaluation, the grants are more suitable and more appropriate for the individual development goals of artists and music SMEs, startups.

9.6.3 Effect indicators

  • Number operational programs for the 2021-2027 period that are suitable for music enterprises

  • Number of music enterprises and professionals who were asked about their development priorities, existing resources and additional needs.

  • Number of grants in total subject to quantitative ex post evaluation for the period 2014-2020, including EU-funded, national, regional and municipal grants.

References

Antal, Dániel. 2015a. “Javaslatok a Cseh Tamás Program pályázatainak fejlesztésére. A magyar könnyűzene tartós jogdíjnövelésének lehetőségei. [Proposals for the Development of the Cseh Tamas Program Grants. The Possibilities of Long-Term Royalty Growth in Hungarian Popular Music].” manuscript.

Manyika, James, Susan Lund, Michael Chui, Jacques Bughin, Jonathan Woetzel, Parul Batra, Ryan Ko, and Saurabh Sanghvi. 2017. “Jobs Lost, Jobs Gained: Workforce Transitions in a Time of Automation.” McKinsey Global Institute. https://www.mckinsey.com/~/media/McKinsey/Global%20Themes/Future%20of%20Organizations/What%20the%20future%20of%20work%20will%20mean%20for%20jobs%20skills%20and%20wages/MGI-Jobs-Lost-Jobs-Gained-Report-December-6-2017.ashx.