(Translated from English by Google Gtranslate)
One sector particularly affected by the international pandemic of COVID-19 has been live music and performance, with nightlife perhaps being the most so given its necessity for close proximities. Traditional destinations for nightlife cultures like Amsterdam, Berlin, London, and New York have now gone some six months without events (legal, at least, as so-called «Plague Raves», illegal parties held without health and safety measures in place and some of the world’s biggest DJs participating, continue across the West with promoters in UK, France, and Belgium being particular offenders) drawing concerns on the loss of jobs, venues, and opportunity within the sector. Yet, despite this temporary inconvenience, there have been many regions who have never enjoyed such prominent cultural positions, industries, and resulting tourism, that comes with such titles as «nightlife mecca». In fact, the colonization of nightlife through said «meccas» creates something of a microcosm of lost opportunity for many of its outsiders, where exorbitant artists fees and production costs trickle throughout the globalized world, affecting local scenes and the subsequent chance of international exposure. Factor in local religious, political, and/or social apprehension and conditions for success prove difficult in more places than not.
Next week, WOMEX, running 15 – 25 March 2020, will present a slew of music documentaries as part of its digital conference on global music. As part of its film programme, the culture around electronic music features prominently, drawing attention to many underrepresented scenes . . .
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