Dayak artistes, composers now capitalise on radio, social media lifelines amidst challenging Covid-19 situation
Isa acknowledges that in this digital age, physical album sales have dropped drastically – adding more misery to the industry long plagued by pirated recordings.
THE Dayak music industry is among the hardest hit by the Covid-19 pandemic, in that the cancelled gigs for live events and receptions have deprived the artistes of their main source of income.
However, instead of raising their hands in despair, Iban and Bidayuh composers and performers have taken the bull by the horns by churning out new songs to keep the Dayak popular music mill turning.
To promote their songs, they turn to social media – a platform that offers artistes and bands a lifeline through virtual video releases, which allow them to reach out to a wider audience.
They also turn to ‘an old friend and ally’ – the local radio stations.
Iban and Bidayuh radio programmes still command a wide listenership, and their weekly chart shows are closely followed by local music fans.
Striving amidst challenges
According to Persatuan Anak Seni Iban Malaysia (Pasima) secretary Isa Lee, Dayak singers and composers have remained motivated by their own deep interest and passion in composing new songs, amidst the difficulties and that challenges they are facing.
A singer-songwriter himself, Isa recently released ‘Enda Disadang’ (Unexpected) during this time of the pandemic – the number has since received regular airplay on the local radio stations.
“The challenges of this pandemic have, ironically, made us more creative, motivated and competitive as we have ample time to focus on coming up with new compositions.
“In the current scenario, we understand very much that we cannot earn as much as we had before because of there’s no show or event being organised since we have to follow the Covid-19 standard operating procedures (SOP).
“Still, this has not stopped us from composing, and we take it as a challenge,” he said.
Isa also pointed out that despite the availability of social media, the local radio stations remained the main platform for the artistes and composers to reach out to listeners, especially those in the rural areas.
“The radio deejays have been very supportive, and we appreciate them very much. “Frequent airplay helps to make our songs popular.”
Isa added that although YouTube could boost popularity, not many Dayak artistes had been able to monetise the video views and subscriptions on their channels.
Still, he said YouTube had been able to augment the exposure of their songs and serve as an avenue for artistes to earn money through invitations to perform by business owners.
“Through popularity on YouTube, an artiste might get called by radio and television stations, commercials operations such as bistros or cafés to help promote their products or in other promotions.
“From my personal observation, the Dayak community like to go to YouTube to play songs. I hope they would also sign in and subscribe to the respective channels of the artistes – enabling us to make earnings from it, as we need to have at least 1,000 subscribers and 4,000 watch-hours.
“It is not easy task to reach these figures,” he said.
Power of monetisation
Isa lamented that in this digital age, physical album sales had dropped drastically, adding more misery to the industry long plagued by pirated recordings.
“I am sure now there are less and less production companies focusing on physical sales. More and more of our Dayak artistes are creating – if not already managing – their own YouTube channels, hoping that they could monetise the videos.
Bidayuh singer Jenny undergoes voice recording for a new song at MPH studio in Serian.
“Nevertheless, this needs time and patience.
“I am personally not going to do any physical sale. Many recording companies would also regard such endeavour as ‘tak balik modal’ (not breaking even).
“Notwithstanding piracy, many people now prefer to go online to access their favourite songs and music. It’s faster and easier.”
Respecting copyrights
Isa advised YouTubers doing Dayak song covers to always seek prior permission from the original singers, composers and the production houses.
He said while he was happy to see young talents exuding their creativity by coming up with good cover versions, they should ask permission first to respect the works of those owning the rights to the original songs.
On a related note, he called upon singers, composers and those involved in the Dayak music industry to continue respecting, cooperating and being kind to one another.
He also encouraged those actively involved in this industry to apply for assistance from the government to help them sail through the pandemic – listing the ‘Financial Grant for Musical Instruments and Online Streaming’ from the Ministry of Communications and Multimedia under the ‘Malaysian Creative Industry Stimulus Package’ (PRISMA).
“Under this ‘dana’ (grant), those in the local music industry can apply up to RM10,000 to help acquire relevant instruments and/or machines that can help upgrade their productions.
“Until now, I’m not sure how many of our Dayak artistes have applied for and benefitted from this package. I really hope and urge that our Sarawak artistes would try and apply for it.”
‘Keeping local music scene going’
Alim says his production house has been active in releasing new songs during this pandemic period.
Meanwhile, Bidayuh Artistes and Musicians Association (Bama) chairman Dr Alim Impera said while not many of those involved in the industry had been doing it full time, this did not stop them from coming up with new songs even during this pandemic period.
“Many local singers, including those from the Bidayuh community, are part-timers.
“For some, music is just a hobby.
“Whatever it is, the greatest motivator is their love and interest in music and whatever happens, it will not stop them from pursuing this interest.”
Concurring with Isa, Alim also regarded local radio stations as playing a big role in promoting their new songs.
“The singers who are members of Music Authors Copyright Protection (MACP), Recording Performers Malaysia (RPM), and Public Performance Malaysia (PPM) would receive royalties from their respective associations – meaning there is money in every spin of their songs.
“Being popular, they are in higher demand and would often receive invitations to public performances, which would benefit the composers and the record labels too,” he pointed out.
On YouTube, he viewed the online video platform as providing the Dayak artistes an alternative to selling their album track and video CDs.
“YouTube is indeed very beneficial to the singers and songwriters. They are paid for through advertisements, depending on the frequency of plays and the number of views.
“The actual rate varies, usually between US$0.10 to US$0.30 per view.”
Alim, who had just retired from the civil service, is now the managing director of Mutiara Production House (MPH), based in Serian.
He is also a singer, with few Bidayuh hits under his name.
MPH had been active in releasing new songs during this pandemic period, including the currently-popular ‘Joget My Darling’ by Adrian FJ.
“YouTube contributes immensely, but fans can choose to purchase the music of their favourite artistes through online stores like iTunes and Amazon Music. These two options provide good income for the artistes, musicians and everyone else involved.
Screengrab shows Karen Libau’s ‘Tegepang Ba Dada’ (Heartstricken) official music video, which has so far garnered more than two million views on YouTube.
“Online platforms act as a source of income for us, but we still do rely on sales of physical CDs and DVDs, which are bought by our fans in the rural areas where there is poor or no Internet connection at all,” he said.
On the aid packages announced by both the federal and state governments, Alim said they were not ‘comprehensive and inclusive’ – citing the grant under PRISMA as an example, which would only benefitted a certain group of the artistes.
“Most artistes prefer cash incentives. The government, at both federal and state levels, should provide packages or incentives meant to facilitate the purchase of recording studio equipment.”
Nevertheless, both Isa and Alim were very encouraged to see that amidst the daunting challenges surrounding the Dayak music industry, the artistes and the composers remained steadfast in weathering the storm and keeping the local music scene going.