Sauti Za Busara Workshop
YOUR MUSIC & SOUND IN FILM, TV & OTHER MEDIA
How can it get there and how it supports your career as an artist or composer.
Instructor: Panos Kolias
Working language: English

February 6th 2026, 10:00 - 14:00 H
Location: MARU MARU HOTEL, Gizenga Street
Stone Town, Zanzibar / Tansania
Free Admission
As the number of participants is limited, registrations will be considered in the order in which they are received.
The Workshop is presented by MediaSound (https://MediaSound.org/) a project of the International Film, Television & Musiic Academy IFFMA (https://iffma.de/).
https://busaramusic.org/

Starting point:
Many composers and musicians wish to write music for feature films or have success as a performing artist. It is common knowledge that this is a big and long term goal. The music licensing market can support you financially and even promotionally while working towards that goal
This workshop shows with specific examples and audio, which income and promotions possibilities exist in the music licensing market and how it can bring you closer to your big goal

The participants bring their own music, and we analyze it and in comparison to the examples we will discuss in detail, what, where, how, and why something works for the music licensing market, respectively, which special criteria the music licensing market has.

The participants receive a few weeks before the workshop a Hand-Out via email in which the most important legal and music licensing specific terms are listed and explained.

Panos Kolias, composer, producer & musician. His credits are international TV shows, award wining short movies, trailer music for Lions Gate, remixes, online advertising, etc. (www.panoskolias.com). He is also the founder of SPARSE MUSIC, a boutique library focusing on minimal, simple, sparse music tracks for media in several genres and moods (www.sparsemusic.com).

The goal of this workshop is to give answers to questions like:
* Where does the music we hear daily in movies, TV-series, advertising, online videos, telephone on-hold-music, etc. comes?
* How can the music licensing market help my career as film composer?
* How can I take advantage of my credits in movies and tv-series for my performing career or when talking to directors?
* How can I create a steady income stream when I am not performing or have a composition commission?
* How can I have a second income from my released CDs, except sales, downloads or concerts?

The workshop consists of the following parts:
How should the music be crafted to be interesting for the music licensing market?
What does work, what doesn't, and why?
The music is done and fits the licensing criteria– how can I get it to be licensed in the movies?
How can I take advantage of my placements in movies and tv-series financially and promotionally for my performing or composer career?