PROPOSAL: Transparent and community-driven sound camp allocation
I hereby propose to revisit how sound kiezes are allocated. This should apply new and clear rules for sound kiezes beginning next year. These rules shall put sound kiez regulations more in line with our principles. They should acknowledge that no competition shall arise between prospect sound camps (which is, due to limited space, regulation and number of participants, the hardest part). Please feel free to add comments, remarks and ideas and do not forget to vote.
Bringing dreams to life is a big driving force for burners. The chance to contribute in a meaning full way empowers people to grow and share their skills. All in all this leads to manifold and wonderful experiences.
For some this contribution is an art piece, for others it is a deep and meaningful talk and for yet others their way to express themselves is music.
Music is an integral part of our culture. It creates a playground and drives emotions. Yet, when it comes to sound camps at Kiezburn opportunities are not limitless. The fact that we do have a lot of restrictions because of the neighbors limits the space where we can have sound in all its forms and variations. This makes it even more important to choose sound kieze wisely and aim for as much diversity as possible. In the last couple of years, though, we have experienced that a lot of the music being played is very similar to each other.
This year we have the special situation that only three or four sound stages are possible at all. If this is still the case next year, this also means that the community should have the power to decide upon the kiezes being allocated to guarantee everyone finds something to enjoy.
Moreover, for musicians it can be very hard to find a place to host them (either because the do not know the kiezes or because they do not fit into their concept). It is fair to say that each kiez should and must have its own vision and musical concept, but this again shows how important versatility is.
However, there were no clear deadlines and/or defined requirements to register a sound kiez this year. This means that obv. sound stages were allocated due to „first come, first served“ and/or relationship to the ORG. With this being said, it was nearly impossible for some camps to make their dream come true (as all spots were taken before they could apply). Only three weeks after the ticket sale all sound spots were already taken and allocated without any further notice. As, for now, the process is unfair and intransparent, I propose a) to apply a new and fair system (like the dreams platform) to decide which camps get a spot (esp. in years where we have a lot of limitations about what is possible) and b) to implement a general system for musicians to get in touch with camps and apply to play (as Underworld did this year). Furthermore, in the future (also starting 2022), there should be dedicated places for mobile sound systems and pop-up parties.
A A VOTING SYSTEM FOR SOUND CAMPS
Just as with tokens for dreams, Kiezburners should have the chance to vote for two or three camps based on their concept. Hence, sound camps should apply before the general ticket sale. Camps should then be presented on a platform and get a very early notice to be able to plan accordingly (as sound camps take a lot of effort)
B GENERAL APPLICATION SYSTEM FOR MUSICIANS
I suggest to implement an all-in-one application system for all musicians (and collaborators, such as body workers, workshop facilitators in need for a PA or looking for musicians etc.) starting 2022. Similar to „Zum brennenden Bären“ the system should offer the chance to upload music anonymously. Applicants can have a look in the camp descriptions and send their applications to all camps suitable (e.g. because of genre). Camps can then get in touch with the musicians. Out of fairness, we could also think about a, for instance, 30%-rate of DJs that camps must commit to invite via the application system. At the same time musicians should not play more often then two times during the course of the event to give others the chance to play.
Let’s discuss this topic further. How do you think sound kiez allocation was handled this year? Could you imagine a system where sound kiezes or at least new sound kiezes could be „voted“ into Kiezburn? Which data should camps provide in order for Kiezburners to get a clear picture of the camp and its plans? How could voting work? Hie can we guarantee musicians from „alternative genres“ get their chance to play, as well (e.g. via sound kieze offering X hours to use their stage and PA during „no peak time hours“) What could be the advantages and disadvantages of a general application system for musicians and how could we make it work?
I am very curious about your thoughts.