The main reason why we want to bother using the blockchain technology instead of using classical euro transactions like most festivals is because we believe there is a failure in the way those mainstream circuits are paying the artist.
In most festivals, especially “for free” events, most of the revenue of a festival (apart from its subvention and sponsoring funds) is coming from the sale of drinks during the live events. However, in the chain of transactions, payments among partners and fees taken by various third part (mainly banking and financial entities), the artist almost always ends up being the last (and less) paid.
Using the Blockchain is for us the opportunity to test how something like Smart contracts could be able to shake this established system.
Smart Contracts: their use would permit three things:
– To formalize the agreements and contracts made between all the partners of the Festival (including furnishers, goods sellers, security providers, and of course musicians), to make it transparent, fair for all, and unquestionable. To get them involved and interested in working together is both the condition and consequence of this plan.
– To provide instant percentage, for all artists performing during the Festival, on each product sold thanks to their presence and work. An example? Imagine a beer being sold for four Euros in one of our food trucks. Our wish is to implement a smart contract on this transaction and all other ones, specifying that 70% of it will go to the person selling the beer, that 10% would go to the musicians playing the day that beer is sold, that 10% goes to the persons providing security, that 5% would be dedicated to paying the personal maintaining the toilet area clean (the more beer, the more steps towards a WC) and 5% to an association working for local development. Note: this percentage rate is just an example; it will be transparently decided by all partners involved before the festival.
– To give awareness to the festival goers on the direction their money is taking once they have spent it. To question the way our cultural economical system is considering the artists work. At a time in which the traditional and monopolistic music industry has shown its limits and yet continues on exploiting the 99,9% of artists who are not rich and famous, it is up to us to propose other solutions, be it for live or recorded music.