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DMA 2003: A post analysis
Downsyde. Dexter. Kid Kenobi. Phil K. Resin Dogs. Rogue Traders. A mere sprinkling of the household names in dance music that got lucky at last night's DMA awards. Wettmusic and RBBK kicked off the night with an inspiring display of live percussion.
Channel V provided a telecast with a difference. Instead of just covering the incumbent Sydney-centric production of a single awards ceremony and after party, the 2003 awards were broadcast live, including live satellite feeds to official parties in each state.
Interestingly, the coverage featured interviews with award winners including newcomers the Rogue Traders live from the DMA media room. There was some healthy plugging of the official after party at home nightclub on Saturday. The telecast also included guest mixers such as model Chloe Maxwell (none of whom could actually mix) and some impromptu break dancing.
Audio visual excellence was a recurring theme throughout the night. Visual displays between awards were of a high standard, as was the inclusion of information about each winner after they had been announced. Even more impressive were the live performances from the Resin Dogs, Good Buddha and the stunning Etherfox.
The star studded line up did not stop there. Hailing from a wide pool of industry aficionado's, radio DJs, artists and producers, announcers included the likes of Sharif Galal, Nick Bennett and Nicole Fossati. Even Australian Idol bad boy Dicko, who unfortunately didn't manage to evade Adam Spencer's sharp tongue made a brief appearance.
The DMAs were conceived in 2000 as a result of growing discontentment with the media attention that dance music had been receiving. Stereotypes of vampires and drug abuse have long been associated with the scene. Dance music is almost always under-represented at conventional music awards.
With a name whose acronym is mdma, it’s little wonder the Dance Music Awards has trouble dispelling the druggie connotations so often associated with dance music culture. This rationale led to moving to the awards ceremony from its traditional stomping ground The Metro to The Parade theatre at NIDA.
According to Francis Presser of Think Creative, the event organisers, getting the awards out of the Metro is of significant psychological importance. “The Metro is really just a nightclub whereas the NIDA theatre is an actual venue” said Francis.
It is also about improving the image of dance music. “We’re really trying to get away from the vampire drugged-up night clubber stereotypes that have plagued dance music for so long” said 3D World manager Jade Harley.
Considering dance music is a niche market with many sub genres, the awards design features categories that wouldn’t even get a look-in at a generalist production.
Imagine ‘Best Turntablist’ at the ARIAs, for example.
The DMAs were born in the offices of 3D World in 2000. Staffers Marnie Neck, Monica Nakata and Jade Harley were behind the concept, and remain the hub of organisational activity. “It was an innocent process, it was never a question of commercial viability” said Monica.
The DMAs are truly unique being the only non-commercial and not-for-profit music awards in Australia. They represent the first stand-alone awards for dance music, which was sorely needed, according to Monica.
The objective of the awards is two-fold. Firstly, they seek to foster the growing popularity of dance music in Australia by celebrating respected artists, producers and performers and secondly they aim to uncover new talent. “It is essential to acknowledge hard working artists and to encourage new talent and keep the scene fresh,” added Monica. As the Rogue Traders put it best, “It’s great to be recognized by your peers”.
2003 is the first year that the ceremony has been open to the public. Previously, the event was only open to industry insiders. Dance music lovers had to hold out until the after party to boogie down with the winners. The ceremony has been moved to NIDA from Metro Theatre to accommodate the extra numbers.
Despite the increase in numbers, the venue at NIDA is still relatively small. The 750-seat venue was “all we could afford” according to Monica. “The DMA’s are a not for profit event, without our sponsors it wouldn’t work.”
The awards depend entirely on their devoted sponsors to survive. “Companies don’t get into it for the money” said Monica. The fact that the artists’ success is measured by popularity rather than record sales, distinguishes the DMAs from other awards ceremonies such as MTV and the ARIAs.
“We are aiming for slow growth” she explains. “We don’t want to live beyond our means. Our objective is to keep the awards as honest as possible.”
The night was an absolute success, according to winners and organisers alike.
Congrats to winners The Resin Dogs, The Rogue Traders, Phil K, Infusion and sublime@home to name but a few of the talented people whose superior talent and contribution to this lively scene has finally been acknowledged.
But the best acceptance speech on the night was definitely the Resin Dogs, who thanked themselves, and mentioning that their record label recently dumped them. Kudos goes to them also for slamming promoters for booking international acts.
DMA after parties abound this year. Apart from the Channel V parties in each state, an after party takes place at NIDA on the ceremony’s conclusion. An official after party featuring prominent UK breaks Master Adam Freeland will be held at home nightclub this weekend. With a live PA performance by Etherfox, both parties are set to go off in a big way!
The live satellite feed and the many after parties were designed to enhance the national ‘feel’ of the awards.
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Published / Thursday, 13 November 2003
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