SAUTI ZA BUSARA 2013

Festival Narrative Report

10th Edition

www.busaramusic.org

SAUTI ZA BUSARA 2013 NARRATIVE REPORT

BUSARA PROMOTIONS
PO Box 3635 Zanzibar, Tanzania

In 2013 Sauti za Busara celebrated its 10th edition...

The festival featured electrifying live performances from the main stage, a host of Busara Xtra activities around the island, an African music lm programme, the popular Movers & Shakers networking forum, a Road Show, the festival marketplace, and more. The festival employed hundreds of people, including 150 ofcial crew members, hosted musicians from all over the region and world, and drew thousands of audience members. The Best of the Best artists from the rst nine years of the festival were also invited back to perform once again. This programme featured DDC Mlimani Park Orchestra, Sousou and Maher Cissoko, and the legendary Bi Kidude, among others. Bi Kidude, born Fatuma binti Baraka, is one of Sauti za Busaras most recognizable artists and one of Zanzibars most treasured cultural icons. In 2005, she was presented with the WOMEX Lifetime Achievement Award for her contributions to world music, and in 2006 she was featured in an award-winning documentary lm called As Old as My Tongue: the Life and Myth of Bi Kidude. She performed at all but one of the Sauti za Busara festivals. Bi Kidude passed away on 17 April 2013, only two months after her nal performance on the Busara stage and before the writing of this report. We dedicate these pages to our beloved Bibi. We will always remember, and seek to carry on, her voice, her spirit, and her immortal contributions to Zanzibari music and culture. With thanks, The Sauti za Busara Team

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CONTENTS
INTRODUCTION ARTISTS, EVENTS, & PROGRAMMING Main Stage Film Programme Busara Xtra Busara Road Show Movers & Shakers Networking Forum THE AUDIENCE Audience Statistics Festival Impact and Sustainability Studies THE CREW Festival Crew - Building Local Capacity Technical Production Technical Training and Skills Building Venue, Infrastructure, & Security THE COMMUNITY - More than a Festival Festival Recycling Family Planning Workshops and Education Video Production Collaboration and Training Norway Festival Partnership PRESS & MEDIA Advance Publicity and Promotion The Website Other Press and Media FUNDRAISING & INCOME GENERATION FINANCIAL REPORT Appendix A - Artists

Page no. 4 5 6-7 8 8 9 9 10 10 11-13 14 14 15 15 15 16 17 17 17 17 18 18 19 19 20 21-22 24-26 27-28

Appendix B - Crew

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The Festival in Numbers 3 nights 1 Zanzibar Street Road Show 217 musicians 20,000 audience members 23 groups (Main Stage) 14 East African groups 6 groups led by women 6 groups new / upcoming 27 hours of live African music 10 hours of African music lms 22 Busara Xtra fringe events 4 professional networking forums 146 crew employed 85% Tanzanian crew members 66 media representatives 63,000 newsletter subscribers 1.5 million hits on busaramusic.org (Jan) 18,017 visitors to Zanzibar (Feb)

What started ten years ago as a simple festival of music celebrating local artists has since ballooned into a globally renowned event, arguably the most important in Africa... -Dr. Wolfgang H. Thome

SAUTI ZA BUSARA - AN OVERVIEW From 15-17 February 2013, the 10th annual Sauti za Busara music festival took place in Stone Town, Zanzibar. The aim of the Sauti za Busara festival is to bring people together in celebration of the wealth and diversity of music in Africa, especially East Africa. In addition to building audiences and appreciation for African music, the festival develops skills and opportunties for musicians and crew members, strengthens local arts and culture infrastructure, builds inter national networks of music professionals, and contributes greatly to the local economy. The 10th edition was a landmark occasion, demonstrating both the longevity and the continued signicance of the festival, which has grown to be recognized as one of the best and most inuential on the continent.

BUSARA PROMOTIONS Busara Promotions, the NGO behind the festival, was established in 2003, and since then has worked tirelessly toward its vision of a vibrant East African music industry prominent on the world stage. Sauti za Busara is the principal tool with which the organisation seeks to fulll its mission. Each year, the festival has grown and evolved to reach new heights of technical and artistic achievement, to strive toward ever increasing sustainability, and to deepen its positive cultural and economic impact. The festival organisers, celebrating a decade of bringing sounds of wisdom to the Swahili coast through the Sauti za Busara music festival, focused on making the 2013 edition the best yet, with a special emphasis on promoting freedom of expression and combatting censorship in the arts.

THIS REPORT Internal evaluation based on feedback from audiences, media, sponsors, local businesses, staff and crew has been overwhelmingly positive. This narrative report details the major achievements of the Sauti za Busara 2013 festival, challenges faced and overcome, and evaluation of the impacts of the festival, drawing on statistics, feedback surveys and interviews, and written reports and evaluations from various stakeholders and participants. Based on the overwhelming sentiment that the festival is important to the cultural and economic vitality of the region, Busara Promotions has remained committed to presenting the annual Sauti za Busara music festival in spite of fundraising challenges and rising costs. The 2013 festival delivered again, setting the standard in the region for programming, production value, and unmatched atmosphere.

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Artists, Events & Programming

ABOUT THE FESTIVAL Busara Promotions seeks to build appreciation for East African music locally, regionally, and worldwide. The festival provides a platform for the regions musicians to showcase their skill and unique and diverse talents. It also provides an opportunity for local musicians to meet and interact with African musicians from other parts of the continent who then inspire and learn from one another. Artists invited to participate in Sauti za Busara 2013 included dancers, singers and instrumentalists from both rural and urban areas who performed in a wide variety of styles, including traditional dance and drumming, electric rock, soul, hip-hop, fusion, and more. THE UNIQUE FORMULA Each year the festival attracts diverse audiences by retaining its unique formula of promoting the best live music currently produced in East Africa alongside music from other parts of the continent, all 100% live. The festival aims to meet international standards of technical production and artistic programming, contributing to the professionalization of the industry and setting the standard for events in the region. BRINGING TOGETHER DIVERSE AUDIENCES Bringing together people of different backgrounds, ages, religions, nationalities, and cultures, in shared appreciation for and love of music is central to the Sauti za Busara experience. Part of the attraction for international visitors is to experience African music under Africa skies, shoulder to shoulder with local audiences, reinforcing the authenticity of the musical experience. In addition, local audiences are proud to see the international interest in and support for their musical traditions. The festival provides an opportunity for people to come together in celebration of their shared humanity, to participate in intercultural exchange and dialogue, and to build lasting peace and understanding between people of many different economic and ethnic backgrounds. KEEPING THE FESTIVAL ACCESSIBLE Over ten years,the festival has built a growing international reputation, becoming widely recognized and acclaimed among leading World Music networks and media. For example, the leading World Music industry magazine Songlines named Sauti za Busara one of the top 25 international music festivals for 2013. This widespread publicity has led to increasing numbers of foreign visitors. Keeping the festival accessible for local audiences in Tanzania has been a priority for Busara Promotions; the organisers have increased their investment in publicity in Swahili media outlets (posters, yers, radio, etc), kept the entry fee affordable at 3,000 Tsh (~$2 USD), and providing free entrance before 5:30pm for Tanzanian citizens. EMBRACING AFRICAN MUSIC This year, Busara realized that building audiences not just for East African music, but for the African continent, was not only possible for the festivals budget, but important for the continued development of the East African music industry. Sauti za Busara received applications from incredible and inspiring West and South African acts who helped the festival live up to its name-- Sounds of Wisdom-- and contributed to inspiring East African artists and audiences at the festival. West Africa has long been known for the quality of its musicians and for the professionalization of the music industry there. Many East African musicians at Sauti za Busara reported beneting from the West African musicians musical skills as well as learning from their professionalism and preparation.

I think [Sauti za Busara] is a very good opportunity for me because I got to see a lot of different musicians and artists, all playing different styles. That has helped me so much to develop my own music.
Msari Zawose (TZ MAINLAND), Festival Artist

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ARTISTS
Its a small festival, but at the same time, for me, its big. I think today its time for all Africans to be one, and to promote all the African artists. Here at Sauti za Busara festival, it shows: music has no borders. Cheikh L (SENEGAL), Headline Artist

Main Stage
DIVERSE 3-DAY PROGRAMME Twenty-three groups performed on the main stage over 3 jampacked evenings of 100% live music. Performances started at 5:30pm and ran until 2am, with breaks during Muslim prayer times. The programme featured over 200 musicians on the main stage, from over 16 countries including, Senegal, Comoros, Reunion, Kenya, UK, Rwanda, Ghana, Austria, Zimbabwe, Mali, Guinea, Burkina Faso, and Uganda. As always, the festival featured many local acts from Zanzibar and Tanzania mainland (7 from Tanzania and 4 from Zanzibar). 14 groups (60%) were from East Africa, as this year the festival made an effort to diversify its programming to become a truly African music festival, providing a platform for artists from all over the continent. For a full list of artists, please see Appendix A.

Diversity of music styles, including 50/50 acoustic/electric Balanced representation of groups from Zanzibar /
mainland Tanzania / East Africa / other parts of Africa and the diaspora Creativity and originality Gender balance Mix of established and upcoming artists Once selected, all artists were contracted and the programme scheduling nalised. All but one of the shows went ahead as advertised, including Mani Martin, who was involved in a motorcycle accident a few weeks before but managed to perform despite having sustained minor injuries. Wazimbo from Mozambique was unfortunately unable to perform because his travel sponsor did not provide the funds promised. This year featured The Best of the Best performers who have played at Sauti za Busara before and were selected to come back as crowd-favourites. This year, the organisers also paid special attention to artists who have been censored or banned in their home countries as a part of the festivals focus on freedom of expression.

SHOWCASING ORIGINAL LIVE MUSIC The performances at the festival were praised for their energy, skill, and diversity, and each represented, in its own way, the ethos of the festival: Sounds of Wisdom. Highlights included historic performances from Cheikh L (Senegal), Khaira Arby (Mali), DDC Mlimani Park Orchestra (Tanzania), Mokoomba (Zimbabwe), Owiny Sigoma Band (Kenya/UK), and Nawal KHAIRA ARBY AND THE SITUATION IN MALI and les Femmes de la Lune (Comorose/Mayotte). In October 2012, violent Islamist extremists took power in Timbuktu, and began a ruthless campaign of intimidation and SELECTION & PROGRAMMING repression of freedom of expression, which targeted musicians Groups were selected from a shortlist of over 560 applications, as well as ordinary citizens. Khaira Arby, known as the queen according to the following guideline criteria: of Malian desert soul, was one of those musicians. Her bands instruments were destroyed when troops invaded her native Does the music t with the spirit of Sauti a Busara? (contd next page) Will local audiences be likely to enjoy it?

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ARTISTS
All the performances were phenomenal. Which was my favorite? It wouldn't be fair to mention one in particular as being the best.
Audience Survey Respondent

Main Stage (contd)

(contd from prev. page) Timbuktu, and she was threatened that if she did not stop singing, they would cut out her tongue. She ed to Bamako. Thanks to generous support from the US Embassy, who covered the costs of Khaira Arbys ight, visa, and accommodations in Zanzibar, she and her group were able to perform at the festival. Her show was electrifying, drawing some of the largest crowds of the entire weekend. It ended with a sung musical prayer for peace in her homeland and for an end to the violence that still raged there. Arbys participation in Sauti za Busara 2013 was a part of the festivals special focus on freedom of expression and combatting censorship; it demonstrated the festivals commitment to protecting musicians right to be heard and to help them spread important messages of peace in times of strife. During her time in Zanzibar, Khaira Arby was interviewed by multiple members of the local and international press who were accredited to cover the festival by Busara. The stories and interviews they published helped draw further attention to the crisis in Mali and the global issue of censorship of music and musicians. performances for Atonga Zimba (Ghana) and Burkina Electric (Burkina Faso/Austria) in Dar es Salaam. Sousou and Maher Cissoko (Senegal/Sweden) played extra shows in Kampala, Uganda and Nairobi, Kenya following their appearance in Zanzibar. Owiny Sigoma Band (Kenya/UK) also played an additional show in Nairobi. In addition, several artists were approached by international booking agents and other festivals to perform at international events. For example, the Oslo World Music Festival representatives booked Owiny Sigoma Band (Kenya/UK) for their upcoming November festival. Paleo Festival in Switzerland booked Mokoomba (Zimbabwe) after seeing their performance and contacting their manager at Sauti za Busara. SHOWCASING NEW AND UPCOMING TALENT 23% of groups were new and upcoming, of them highlights included Mani Martin (Rwanda), Super Maya Baikoko (Tz mainland), Msari Zawose (Tz mainland) and the DCMA Young Stars Band (Zanzibar). INCREASING WOMENS PARTICIPATION 26% of all groups were led by either a female vocalist or female musicians including Khaira Arby (Mali), Nathalie Natiembe (Reunion), Zanzibar Unyago ft. Bi Kidude (Zanzibar), and Nawal & les Femmes de la Lune (Comoros/Mayotte). This percentage fell below Busaras intended 40% goal for female performers, however the quality and scheduling of the selected female artists and groups ensured they would be highlights of the festival. Furthermore, Busara went to extra lengths to make sure they would be able to perform, including supporting the travel of Nathalie Natiembes group when their travel sponsor fell through. Busara will continue to strive to promote gender equity and equality in programming the festival while also guaranteeing the integrity of the process to select the best artists who apply. The organisation will pro-actively seek to discover and invite promising female artists to apply.

We have an obligation to sing, to dance, to respect, and to show appreciation for the suffering and the endurance and bravery of the people who are ghting for us, for those who cannot sing. We must compose beautiful songs before the war, during the war, and after the war, to celebrate what we have. - Khaira Arby
ADDITIONAL SHOWS SECURED FOR ARTISTS The Sauti za Busara festival also presents opportunities for regional touring and extra shows, bringing additional benets to artists and ensuring more exposure and awareness for top quality acts. This year, the Goethe-Institut facilitated additional

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OTHER EVENTS & PROGRAMMING

African Music Film Programme
To complement the live music on the main stage, the Old Forts amphitheatre was transformed into an open-air cinema. The festival showcased lms from East Africa and beyond, curated to present stories about music that focused on African unity and solidarity and the power of music to create positive social change. The lms provided the audience yet another way to appreciate the richness and diversity of African music. To select the lms, Busara ran a Call for Films campaign that received over 50 applications. Ultimately, more than 30 short music videos and clips and three feature length lms were selected for screening. The features were Omar Sosas Souvenirs from Africa (East Africa), Benda Bilili! (DRC), and United States of Africa: Beyond Hip Hop (Ghana). The features attracted approximately 300 people each night. The lm programme was supported by the Goethe-Institut, Tanzania, who provided their lm projector and screen from Dar es Salaam.

I think African unity is a must, and building African unity is a must, but on a person to person level. It was this belief that helped us select which films to present during our film programme this year, where the message of African unity and solidarity will come across loud and clear. - Yusuf Mahmoud, Festival Director

Busara Xtra
Busara Promotions decided to make the rst day of the festival in 2013 an ofcial Busara Xtra day in order to let Stone Town to shine. Events, activities and entertainment took place all over Stone Town, from art shows, to drumming and dance classes, to sunset reggae parties. Busara Xtra was designed to increase opportunities for regional artists who did not perform on the main stage to showcase their work, for visitors to see other parts of the island, and to widen participation in the festival by local communities in Zanzibar. All of the Busara Xtra events were hosted by community partners and supported by Busara with advance web publicity, a dedicated page in the festival programme, and other resources. Busara Xtra continued over all four days of the festival; 22 events were held drawing an estimated 5,000 attendees.

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OTHER EVENTS & PROGRAMMING

Busara Road Show
This year, instead of a Carnival Street Parade, Busara featured a new event inspired by the popular local Gari Bomba (Awesome Car) attraction. The road show travelled to every corner of the island to involve people from all walks of life, from all parts of Zanzibar Town, reecting its diverse cultures and traditions. It was also meant to help increase local participation and awareness of the festival, in response to some concerns from previous years that the Zanzibari population outside of Stone Town were not actively involved in the festival. The road show featured an innovative and experimental pairing of the 26 Magic hip hop dance crew with the traditional Kilua Ngoma group, dressed elaborately in feather headdresses, beaded jewelry, and white powder. The street show ended in Forodhani Square, where it was scheduled to coincide with a One Billion Rising domestic violence protest. The local Zanzibar capoeira group joined in the performances while women and men came together to stand in solidarity with women and female empowerment. Some women brought signs with feminist slogans and engaged with onlookers in conversations about domestic violence. The experimental pairing of the hip hop and traditional styles, and the womens movement gathering at the end of the event were both envisioned as ways to provide space for social debate and cultural activism outside of the festival grounds. Good liaison with local authorities and police helped to organise clearance and security.

Movers & Shakers Networking Forum

In its fth year, the Movers & Shakers Networking Forum for arts and culture industry professionals was a great success, due in part to its special focus on Censorship and Music. Attended by approximately 50 people each day of the festival, the sessions brought together festival directors, promoters, producers, managers, artists and musicians, journalists, donors, activists, and other arts professionals from diverse countries, backgrounds, and interests. As in previous years, the sessions included introductions, a formal discussion or presentation led by a community facilitator followed by an open discussion, and ample time for informal networking at the end of each session. The rst day the organisers took advantage of Busaras 10th anniversary to discuss changes, challenges, and opportunities presented in the music and culture industries over the past decade. This session was formatted in a workshop style, with large pads of paper, sticky notes, and pens spread around the room with headings such as culture and development, crowdfunding artistic projects, marketing music and the arts and more as headers to encourage brainstorming. The second day was titled Speaking Truth to Power: Censorship and Music. The session featured several guest panelists speaking on the topic. The speakers were Alexandra Archetti Stolen (Director of the Oslo World Music

Festival), Yusuf Mahmoud (Festival Director of Sauti za Busara), Comrade Fatso (a censored Zimbabwean hip-hop artist), and Annemette Kirgegaard (a professor of musicology in Denmark and activist with the NGO Freemuse, which is devoted to promoting and protecting artists freedom of expression). The Chairman of Zanzibars Board of Censors was also invited to participate, but he canceled at the last-minute. All of the panelists and participants expressed passionate views on the importance of freedom of expression and speech for building peace and open dialogue in society. In addition to government censorship, self-censorship, and the important distinction between curation and censorship were also discussed. The nal day of Movers & Shakers offered a chance for attendees to Meet the Artists. Musicians from Owiny Sigoma Band, Burkina Electric, SouSou and Maher Cissoko, Nawal, and Comrade Fatso answered questions about their views on topics like digital downloading, music copyright, the role of musicians in society, the importance of music festivals to artist exchange and growth, and their own musical journeys. Feedback lled out by participants was very positive, and many people expressed enthusiasm about the connections, contacts, and conversations that were generated during the sessions. Future editions the organizers will consider moving venues for a more conducive space, expanding the program of panels, and separating the informal networking from the more formal sessions.

Music is one of the most powerful tools we have to speak out against injustice, to celebrate life, and to express the triumphs of the human spirit. Freedom of expression is a human right - and it benets us all when it is observed and respected. That is why Sauti za Busara is proud to amplify the voices of artists like Khaira Arby and Comrade Fatso who have been banned or censored in their home countries. - Rebecca Corey, Managing Director

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AUDIENCES
Great job and congratulations on another great festival! I loved the artists this year. I saw 90% of the performances and enjoyed each that I saw. I thought the scheduling was great! I left feeling inspired. The music was transcendental.
Ashley Crawford (USA/TANZANIA), Festival Audience Member

Festival Attendance
Sauti za Busara 2013 saw record numbers of ticket sales and ticket revenue, demonstrating the continued popularity of the festival as East Africas biggest and most popular music festival. Nearly 3,000 tickets were sold directly to audiences, with advance sales online contributing to a large percentage of tickets sold. Approximately 1,000 more tickets were given away for festival guests, donors and sponsors, volunteers, radiogiveaways, exhibitor and stall holders and workers, and accredited media. With crew members and artists and managers included, this brings the estimated festival attendance each day of the festival to nearly 5,000 people, including attendees of Busara Xtra events on the rst day of the festival. More than 75% of the audiences was Tanzanian, Zanzibari or East African, reecting the growing mobility, income, and interest in live and local music among East African residents. Since the rst edition of the festival in 2004, the number of visitors coming to Zanzibar in February has increased year on year despite a global recession (see bar chart). The Zanzibar Association of Tourism Investors, which tracks visitors to the island by both air and sea port, reported that 18,017 visitors came to the island during February 2013, which shows the numbers remaining largely constant (last year 18,354 visitors were recorded). According to an external study conducted by the Bayimba Foundation, 60% of festival attendees traveled to Zanzibar specically for the festival. In 2013, Busara was pleased to host two separate and independent impact assessment studies. The rst was conducted by the University of Dar es Salaam Business School and collected a wealth of valuable data on audience demographics and perceptions of the festival and the festivals impact on the cultural, environmental, and economic sustainability of the festival. The second study was conducted by Bayimba Foundation from Uganda, and focused on economic impact of the festival as well as audience satisfaction. Both teams used a single audience survey tool to collect information from a sample of more than 300 attendees to the festival. Results are summarized in the following sections.

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Audience Demographics
The research teams from the University of Dar es Salaam and Bayimba Foundation collected a representative sample of the festival audience using a questionnaire survey tool and found the following statistics and gures on various measures, including gender, levels of formal education, and nationality. They were also able to draw conclusions about the sustainability and impact of the festival, including insights about audience motivations and satisfaction.

Nationality 48% Tanzanian 28% East African 24%International

The main motivation behind attending the festival for the locals was to know more about music followed by entertainment and socialization motives. For the non locals, they were more motivated to attend the festival in order to experience Swahili culture. With respect to sustainability of the festival, generally both local and non locals perceived the festival to be sustainable with respect to the environment, contribution to local economy, and environmental concerns. - UDSM Study

The overall satisfaction of the attendees was above average with the main elements contributing to their satisfaction being the performance of the artists, location and the festival ambience. Majority of the locals were made informed about the 2013 Sauti za Busara edition through posters, followed by friends, radio and TV while non locals were mainly informed through friends.

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Audience Perception of the Festival

Attendees Motivation An understanding of what compelled an attendee to attend is helpful in understanding the impacts and benets of the festival. For the 2013 festival, learning about Swahili culture or new music was the main aspect that appeared to motivate both locals and non locals to attend. The other motives included socialization, to hear a specic artists, excitement/entertainment and change of environment. The ranking of the ve motivations among the 2 groups of attendees is depicted as Figure 5 and 6 below.

Sustainability The audience survey asked attendees to indicate their perceptions of the festival along various sustainability factors. Respondents rated these factors on a scale of 1-4, with 1 indicating Strongly Disagree and 4 indicating Strongly Agree. Responses among non locals demonstrated high levels of perceived festival sustainability and impact, especially with regards to facilitating intercultural interaction, enhancing the image of Zanzibar, having a friendly and courteous staff, Zanzibari people being friendly and welcoming, exciting performances, and an appropriate sound level (gure 7).

The Swahili version of the questionnaire had twenty four (24) items that reected the sustainability of the festival. Generally, Sauti za Busara is perceived by the locals to be sustainable and benecial to the community (gure 8).

Among the local population, survey respondents were particularly impressed by Sauti za Busaras contributions to preserving and showcasing Swahili culture, promoting intercultural interactions and social cohesion, contributing to pride in local customs and identity, building good relationships between Zanzibaris and foreigners, providing entertainment and fun, and contributing to the image of Zanzibar as an appealing tourist destination.

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Audience Perception of the Festival (contd)

Among possible negative associations of the festival, respondents disagreed or strongly disagreed when asked whether Sauti za Busara was planned and managed without community input, whether the festival time is associated with higher levels of crime or prostitution, and whether Sauti za Busara contributes to added stress to peoples lives or access to amenities. There was, however, some perception that the festival contributes to unwanted ination in prices and that there are limited local products available during the festival. Nevertheless, these results from both foreigners and locals in the audience questionnaire demonstrate that the festival visitors are highly positive about the festival, not just as a place to have fun and enjoy entertainment, but also to build relationships, have open dialogue, and promote a healthy and vibrant culture.

" 85% of the respondents strongly agreed that Sauti Za Busara facilitates intercultural interactions " 78% also strongly agreed to Sauti Za Busara enhancing the image of Zanzibar as a touristic destination and that the festival is an authentic expression of swahilli culture. " 95% of the respondents thought the festival helped bring more arts to a wider audience " 97 % said the festival is good for Zanzibars arts and culture

Everything was fantastic. Superb location. Thanks for turning me on to music I was not familiar with before! - Audience Comment

Audience Feedback and Satisfaction

When asked about their overall satisfaction with their festival experience, the attendees (both local and non local) was assessed using a single item with 4 indicating strong satisfaction and 1 for strong dissatisfaction. Generally, both locals and non locals indicated an above average levels of satisfaction as the means were above 3 out of a possible 4 (gure 9).

Audiences were also asked to indicate what aspects of the festival and programming they enjoyed the most, and the main reasons for their satisfaction level. The items with their respective frequencies of being selected as the most satisfying factor are presented as Figure 10. Generally, the trend for locals and non locals appear to be the same with performance leading factor followed by festival ambience.

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CREW
Most of all, I would like to say thank you very much to the Busara Promotions crew. You have made me happy and helped me to work with condence. The crew was very hard working, sharp and strong in their work.We worked as one family, which really impressed me so much. The cooperation was excellent!
Sophia Ngalapi (TANZANIA), Crew Member, Press Assistant

Building Local Capacity

During the year, Busara is staffed by ten-full time workers. This number grows to around 150 during the festival. Throughout the year, Sauti za Busara creates jobs and offers skills training that contribute to local knowledge and the professionalization of the music and cultural industries in Zanzibar and East Africa. The festival crew is made up of several departments, including Artists, Ofce, Press, Technical, Tickets and Merchandise, and Security. Busara Promotions is proud to retain many crew members from year to year, with a special focus on employing locals and women. Though many festivals like Sauti za Busara are staffed by international volunteers who work for free, Busara Promotions believes that providing paying work opportunities to locals with a focus on training and skills-building will create sustainability for the festival and organization and economic benets for the community. For a full list of Sauti za Busara 2013, crew, please see Appendix B. The crew this year showed tremendous levels of dedication and hard-work, many of them being on-call for approximately 12 hours each day of the festival. Team leaders demonstrated great commitment and team-building ability, motivating their teams, problem-solving, and contributing to the smooth running of the operations of the festival. After the festival, all crew members received graded certicates, and nearly 90% received and A or B grade.

Crew Nationalities 85% Tanzania 10% East African 5% International 70% Returning Crew 88% Grade A or B 20% Received Training

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Technical Production
The festival technical team is tasked with ensuring seamless and professional production quality for Sauti za Busara in the areas of stage lighting, sound, venue, and stage management. Their job includes constructing the main stage and VIP grandstand, the rst aid, merchandise, and refreshments tents, and any other necessary structures for the festival. They are also in charge of making sure the entire venue has water and electricity, and that it is cleaned, branded, and free of unsafe debris or trash. Perhaps most importantly, the technical crew must ensure that every festival artist or group has a professional sound check, begins and ends their performances on time, and has quality sound and lighting during their shows. The technical team also liaises with the media and ICT department to produce video projections during stage changeovers and supply live video replay on the big screen next to the stage throughout the festival to enhance the experience for audiences.

In the early years of working with Sauti za Busara, I think we were all just learning. But now, we have come a long way and gained a lot of skills every time. Now we are just working on making it perfect. Im very proud to be a part of an event in Tanzania that respects the work of the crew, sees us as professional people, and pays us fairly. That is rare here and so I feel a lot of happiness and pride to be a part of Sauti za Busara. - Juma K. Juma, Technical Manager

Venue, Infrastructure & Security

For the past six years, the Sauti za Busara festival has provided technical training to regional professionals, working each year to develop existing knowledge through continued training and build capacity for the region. Each year, Busara becomes more sustainable and efcient as the technical crew implements the lessons they learned from previous years. Furthermore, the international trainers are given the opportunity to return so that they too are more familiar and comfortable with the trainees and working conditions. This year, Gurjit Dhinsa from the UK, who works with Londons Southbank Centre, and Antoine Canella from France, who is based in Nairobi during the year, were back for their 4th and 2nd years with Busara, respectively. They came a full month in advance of the festival to be able to provide even more training. Because of their previous experience in Zanzibar and with repeat crew members, the technical teams communication and condence had improved a great deal and the hard work of the past few years was readily apparent. Crew members report feeling pride in their work and achievements, a strong sense of ownership, and an abiding camaraderie and feeling of teamwork. Juma K. Juma, who worked as a stage hand on the very rst edition of Sauti za Busara in 2004, was promoted this year to Technical Manager, the top position in the Technical Crew, and proved an effective and hard-working leader. It was difcult, however, to nd a suitable replacement for Stage Manager, the position Juma vacated upon his promotion. Through employment at Busara Promotions, Juma had also received training in his profession at Kenyas Sawa Sawa Festival and Denmarks Roskilde Festival in the year before the festival, along with Steve Kuvutia, a returning crew member from Kenya.

Technical Training and Skills Building

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For nine years, Stone Towns Old Fort (Ngome Kongwe, in Kiswahili) has provided Sauti za Busaras unrivaled festival venue and is often cited as one of the most unique and striking aspects of the festival. Yet hosting an international festival in a 17th century Omani Fort does present its challenges, especially with regards to safety and security and a working infrastructure, including toilets, electricity, internet capabilities for the Press Centre, and more. This year, the production team worked hard to ensure that the festival grounds would be safe, clean, and welcoming for the audience. Thanks to the support of the SMOLE II project, a generator was accessible throughout the festival to provide a stable power supply for all of the areas of the venue, including the toilets, VIP grandstand, backstage, main stage, sound and lighting towers, vendor stalls, restaurant, and press centre. On the rst evening of the festival, before the generator was running, the municipal power supply was cut and the programming of the festival was delayed. Unfortunately, this meant that some performances had to be cut by nearly 20 minutes. However, the artists made the most of their time and once the generator was up and running there were no further problems with power supply. Implementing the recommendations of the Roskilde Foundation, who conducted safety and security consultancy in 2012, meant ensuring proper signage for the Old Forts entrance, exits, and other passage-ways. There were also First Aid and Fire Safety services on-site, and a re truck hired by Busara outside of the venue. A few people were treated for heat exhaustion or dehydration, but otherwise no major injuries or sicknesses were reported.

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COMMUNITY
Busara was again fantastic. The team pulled it off amazingly with the hard work and total dedication and professionalism that have become the hallmark of the event.
Julia Bishop, Director of ZATI (Zanzibar Association of Tourism Investors)

More than a Festival...

Sauti za Busara strives to be more than just a music festival, but a meeting point, a platform, and a space for learning, dialogue, exchange, and collaboration with people from diverse backgrounds and passions. This year, the festival included several extra activities and partnerships that contributed to environmental sustainability, reproductive education, video production training for local students, and festival partnerships with two other regional music festivals and two renowned Norwegian music festivals. The following sections report on these various community outreach and partnership projects that the festival supported this year.

Linking East African Festivals Thanks to a grant from the African Music Festivals Network (AMFN) to promote links and exchange between East African
festivals, Busara Promotions was able to host four interns from two regional festivals at Sauti za Busara 2013. Philip Masembe and Rosette Nteyafas from Ugandas Bayimba International Festival of the Arts and Anitah Mbuguah and Sammy Davies Mochama from Kenyas Sawa Sawa Festival arrived about one week before the festival and were placed on various teams within the crew including the Press Department, Artists Liaison Team, Movers & Shakers, and Technical Department (lm programme and live video projections). The received on-the-job training and mentorship, as well as bringing their own unique talents and skills to Busara while strengthening ties and building relationships between the partner festivals. The festival interns were housed in spare rooms at the Busara Promotions ofces and were fully integrated into the team. After their time in Zanzibar, they submitted reports with their observations and suggestions. The interns reported learning a lot from their placements and gaining valuable skills and insights to take back to their home countries. Busara also beneted greatly from the hard work and dedication of the guest crew members and will continue to develop partnerships with both festivals.

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Going Green with Festival Recycling

Busara believes strongly in principles of environmental responsibility and sustainability. For the rst time in festival history, Sauti za Busara 2013 provided recycling services and education in and around the event venue by partnering with Sustainable East Africa (SEA), a coalition of sustainability NGOs in Zanzibar. Busara recognizes that large events like Sauti za Busara can lead to increased pollution if the organisers do not actively seek to reduce the negative environmental impacts that result from increased numbers of people and consumption during the festival. Manispa Jamii Vikokotoni (MJV), one of SEAs local NGOs, teamed up with Busara to recycle during the festival while also increasing visibility for conservation, sustainability, and environmental protection. Visitors to the festival were able to use three different recycling points in the Old Fort, one in the Amphitheatre and two in the Mambo Club. Each station had two well-marked bins, one for plastic and one for cans. In addition to the MJV team leading the recycling, Sustainable East Africa also had a booth with a local charity schools Environment Club where they sold jewelry, stationery, and other up-cycled products made from recycled materials in Zanzibar. The students working in the booth gave demonstrations of how to make their products. In total, 26 volunteers, with more than 90% of them being local youths, were involved in the Festival Recycling project. Several cubic metres of recycling were collected by MJV, and the school team raised over USD 250 from sales of recycled products which will be used to fund further training and outreach activities.

Family Planning Workshops and Education

UNFPA, the United Nations Population Fund, sponsored the festival and hosted a booth at the festival to start a discussion about reproductive health, youth empowerment, and family planning. UNFPAs focus during the Sauti za Busara festival was on young people and their right to access reproductive health information, including family planning services.Miriam Khan, UNFPAs country director, said that family planning is a sensitive topic but one that needs to be addressed in an age appropriate manner. Family planning services are free and available to all Tanzanians, including young people who want to use them. Our message to all young people in the country: Plan your life, Plan your future, Plan your family, said Khan. Groups of young people, especially young men, were seen ocking in droves to the UNFPA tent to listen to presentations on safe sex and to take advantage of free condoms that were given out in discrete cloth bags.

Video Production Collaboration and Training

In partnership with the Dar-es-Salaam-based NGO Get Real Training, and with funding support from the Norwegian Embassy and the United Nations Population Fund, Busara was able to offer video production training to three highlymotivated students, two from Zanzibar and one from Tanzania mainland. The programme emphasized hands-on training in production, camerawork, and interviewing, and resulted in a 10th anniversary festival promo clip and a 10 minute short documentary. Both videos can be viewed here.

Norway Festival Partnerships

Thanks to support from the Norwegian Embassy, Busara was able to invite representatives from Oslo World Music Festival and Forde Festival, both in Norway, to visit Sauti za Busara and provide constructive feedback and criticism to help improve on future years. The director and production manager from each festival gave specic ideas on how to improve programming, ticketing, the Movers and Shakers networking forum, and other aspects of the festival. Alexandra Archetti-Stolen, from Oslo World Music Festival, also spoke on the Movers and Shakers panel on Censorship, specically about hosting members of the controversial Russian group Pussy Riot during their last festival and the challenges and rewards of bringing censored artists to a large international festival. Busara plans to continue these discussions and pursue further partnerships with the festivals, including sending Busara staff to the Norwegian festivals to observe, train, and exchange more ideas.

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PRESS & MEDIA

If there is one thing to be concluded from a decade of Sauti za Busara, it is that the festival continues to live up to its reputation as the friendliest festival on the planet, and is proof positive of the binding power of music. On top of that, it has played and continues to play a signicant role in exposing East African music to a worldwide audience The festivals guiding spirit the idea that African music can and will continue to bring people from around the globe together, and that artists thrive best when they bring the real thing should be protected at all costs. Long live Sauti za Busara!
Nils Van der Assen (NETHERLANDS), This is Africa

Advance Publicity and Promotion

In the months leading up to Sauti za Busara 2013, Busara Promotions put into motion an advanced marketing strategy that combined traditional media such as newspapers, radio, and TV, with innovative social media strategies and distribution of a variety of internally-designed promotional materials. Busara also hired a full-time Press Coordinator in November to manage all aspects of press and promotions for the 2013 festival. The promotional materials produced were: 100,000 postcards distributed locally, regionally and internationally at many events, partner festivals, conferences, hotels, etc. 5,000 line-up posters distributed in East Africa, with the highest concentration in Zanzibar and mainland Tanzania 3,000 festival souvenir programmes sold during the festival and also distributed at other events and locations throughout the year, with advance sales in local businesses 5,000 Call for Artists yers sent throughout East Africa

The Website

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The Busara website received hundreds of thousands of hits throughout the year, with more than 500,000 unique visitors to the website in January and more than 800,000 unique visitors in February 2013 on www.busaramusic.org. In December of 2013, the website underwent large-scale re-design, making the content more easily navigable, removing duplicate pages, updating old information, and making the website more graphically and visually appealing. Multiple people complimented the new design of the website. The redesign was due in large part to the development of Hakim Kombo, Busaras Web and ICT Coordinator, who began work with Busara as a trainee but has since developed his skills and condence to the point that he was able to suggest and implement many of the new changes. The website is a resource not just for festival attendees, but for African music-lovers around the world. This year, the artists pages were updated to provide more information and links on the current years festival artists, as well as all past artists.

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Social Media
Facebook, Twitter and Youtube were used to great effect in promoting the 2013 festival. By March 2013, Sauti za Busara had more than 2,000 fans on Facebook and more than 1,000 followers on Twitter, representing a more than 200% increase on last years numbers. Furthermore, Busaras social media followers were engaged and active in conversations about the festivals artists, events and themes, commenting on the programming, the Movers and Shakers topics, and other related topics. During the festival, Facebook and Twitter were up-dated with real-time notications about which band was up next, where to nd various locations in the venue such as bathrooms and rst aid, and photos of the artists. The Press intern from Ugandas Bayimba Foundation, Philip Masembe, and press assistant Robin Wright, played a large role in making sure the social media platforms were utilized to their full potential.

E-Newsletters and Press Releases

Six e-newsletters were circulated globally in English, Swahili, and French to over 63,000 subscribers. All of the newsletters can be viewed here. Five press releases, each one covering a different aspect of the festival, were also published on Busaras website and sent to a database of hundreds of journalists around the world. These press releases were picked up by multiple news outlets and blogs, including some of Tanzanias most popular and widely-read newspapers such as The Citizen and Mwananchi. One press release detailed Busaras approach to handling political and religious differences in the community. Another highlighted Busaras focus on censored artists and music. Other press releases revealed the line-up for the festival, and gave readers more background information about some of the headline acts. You can read and download all of the press releases here.

At Sauti za Busara, people replied to the music with their hands and hips and hearts, with screams, hums and grumbles, with their cameras and ags and dancing feet.
-Shannon Schaubroek, Africa.com

Radio Marketing
Audience surveys from past festivals have shown that the radio is one of the most successful channels for reaching local audiences. Radio marketing included a 30-second radio spot produced by media partner Times FM, which was aired on various radio stations around Zanzibar and Dar es Salaam. Other media partners providing free of subsidized airtime were Chuchu FM, Pride FM, Radio France International, and Zanzibar Broadcasting Corporation Radio.

Television
Live performances and interviews with artists and festival management were broadcast on EATV, TBC, Capital TV, Mashiriki Mix (MNET), K24 (Kenya), ITV, and ZBC during and after the festival.

Press Conferences
Two festival press conferences were held before Sauti za Busara, one in Dares-Salaam, and the other in Stone Town, Zanzibar. Over 100 journalists attended these events. The press conferences gave the organisers a chance to announce the line-up for the festival, answer questions from journalists, and share festival materials and resources with the press. The press kits given to journalists included CD and DVD compilations of festival artists, electronic copies of press releases, festival artist photos and biographies, Busara logos, sponsors and donors information, and more. A Festival Press Resource Pack with photos and information was also available on the website here. Additional Press Resources During the festival, accredited members of the press were provided with the following: Press Pit and risers for AV journalists to photograph and shoot from prime vantage points near the stage Press liaison and artist interviews Access to Movers and Shakers Access to the Press Center with work stations, wi, and interview space.

Print

Press and Media

Forty-four media houses were accredited to cover Sauti za Busara, with 66 journalists, including free-lancers. Busara received excellent coverage which helped the festival reach hundreds of thousands of additional individuals, both near and far.

Festival reviews and articles were published locally and internationally both before and after the festival in The Citizen, Mtanzania, Mwananchi, Nipashe, Habari Leo, Mwanaspoti, The Guardian, Zanzibar Leo, Swahili Coast Magazine, The Star (Kenya), The Standard (Zimbabwe), The East African (Kenya), and Precision Airs in-ight magazine.

Radio
Local radio stations such as Hits FM, Zenji FM, Chuchu FM, and Coconut FM, gave generous airplay to festival artists pre-festival, ran radio competitions for ticket give-aways, and covered the festival live. International radio stations who covered the festival included the BBC World Service, Radio France International, Capital FM, and Okapi Radio from the Democratic Republic of Congo.

Online
Over 30 articles, press releases, and photos were published in online publications and blogs including Mambo Magazine, Arterial Network, Global Post, This is Africa, Thing Africa Press, The Baba Project, Africa.com, AfriPop Magazine, Michuzi Blog, KampalaOne, and the Freemuse website. Please view the highlights of Sauti za Busara coverage here.

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FINANCIAL SUMMARY

Fundraising and Income Generation

When Sauti za Busara began in 2004, nearly the entire budget was supported by international donors. Over the years, Busara has managed to diversify its income sources in order to increase its sustainability. Now, the festival is supported in nearly equal parts by international donors like embassies and foundations, commercial sponsors, in-kind support from businesses, and self-generated income through ticket and merchandise sales. Though the government of Zanzibar or mainland Tanzania has never made any direct nancial contributions to the festival, Busara has worked hard over the past few years to build relationships and engagement with the government. This year, Busara received support from the government in the form of increased communication and openness leading up to the event. Furthermore, the Immigration Department of Zanzibar rented two stalls within the Old Fort in order to share information on visas and traveling within East Africa with festival-goers. Such action gives Busara hope that the government will be increasingly willing to work in partnership with Busara Promotions to help Sauti za Busara remain successful. Every donor and sponsor of Sauti za Busara is granted acknowledgment and marketing visibility in thanks for their contributions to making the festival possible. The fundraising and marketing team has developed a great deal of sponsorship materials to help potential donors and sponsors understand Busaras mission and vision and the benets of supporting the event. However, fundraising proves to be a challenge every year, often forcing the organisers to make cuts to the planned programme of events. One way Busara has addressed the shortfall in corporate sponsorship during the global nancial recession is to focus on developing self-generated revenue activities. This year, a record number of ticket sales were made online at zanzibarislands.com in advance. Ticket sales on the door also remained strong, helping to make this year the festivals most successful in ticket sales to date. An exciting range of merchandise was also available from Busaras ofces and the Festival Shop, including locally-sourced and ethically-made Tanzanian cotton t-shirts in a variety of styles and colors, caps, programmes, books, DVDs, CDs, canvas bags, and calendars. Income was also generated by selling stall space to vendors, lming permits to media houses, and advertising space in festival programmes and online.

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FESTIVAL INCOME

FESTIVAL EXPENDITURE

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Thank You! Asanteni Sana!

and we hope to see you again next year...

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Appendix A - Artists

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Appendix A - Artists

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Appendix A - Artists

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Appendix B - Crew

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Appendix B - Crew