Summary 👇
🔹Editorial
Drops of Fira Mediterrània de Manresa and WOMEX
🔹Talk with Laia Canals, director of Tempi (and much more)
🔹Brief news from the media, charts and sister projects
🔹A little bit of mine
🔹Open calls: Budapest Ritmo, Folkherbts, Transglobal World Music Hall of Fame DEADLINE TOMORROW 31ST OCTOBER
🔹Meet me at ✈️
➡️ This is the link for subscription
Hello, how are you?
I hope well. I’m doing well, although somewhat sad about the catastrophe in Valencia and nearby provinces. News about these situations, which can literally end you, triggers a strong internal debate within me between the temptation to indulge in hedonism and the urge to keep striving to leave a better world for when I’m no longer here. For now, the latter tendency still prevails. I imagine this happens to almost everyone.
As I write this, the storm has moved toward Andalusia, mainly affecting Seville and Cádiz, and I hope they’ve had enough time to prepare better than those impacted yesterday. I’m still waiting for news from a couple of people in Valencia, but I trust they’re safe and only experiencing power outages, which I know has happened in several towns, and with no battery on their phones. I trust.
This October has been a very busy month for me. I attended the Fira Mediterrània in Manresa, where I made an interview that I’ll publish in the next edition of this newsletter, with Sharaf DarZaid (in the picture) from the Popular Art Center of Palestine. I shared some additional insights about the Fira in this edition of Mundofonías. Listen here.
I also had a long interview with Laia Canals, director of Tempi. You can find it further down. She is the protagonist in this edition.
And, of course, I’ve been at WOMEX. I’ve been attending since 2011, and this time I had my fourth artist showcasing, the fifth chosen for the official selection (in 2020 Vigüela were selected, but the event was canceled due to the pandemic). This time it was Ali Doğan Gönültaş, and it was a success. I’m still receiving congratulations, ever since last Friday. I am especially moved by the words of some colleagues. I believe none of us who attended will ever forget it. In the photo, you can see us both just minutes before his performance.
| Remember: if you have any news of interest for our community, let me know. Thank you very much for your attention.
Araceli Tzigane | Mapamundi Música | +34 676 30 28 82 |
AND NOW THE FLOOR IS FOR:
LAIA CANALS, DIRECTOR OF TEMPI – ROOTS MUSIC DENMARK
After working since 2017 as the Head of International Projects in Tempi – Roots Music Denmark, the national organization that promotes Danish roots music genres in Denmark and abroad, Laia became its director in April 2023.
I’ve known Laia for several years, but it was only during the last edition of the Fira Mediterrània de Manresa that we were able to spend a good while talking, and it was wonderful. I wasn’t aware of many important aspects of her career, elements of her initiatives from which I have benefitted through the beauty of the music she has supported. For example, Filastine, of whom you’ll find more below. It’s a great pleasure to share these aspects of her career and her vision with the readers of this newsletter. I won’t keep you any longer. Enjoy.
Araceli Tzigane: Why do you work with music?
Laia Canals: Music has been my life, even though I’m not a musician. I never learned to play an instrument or attended a conservatory.
AT: I feel the same way. Music has been a kind of madness for me ever since I can remember.
LC: When I was in school, I was always very musical. I never learned to play an instrument, but I’ve always loved dancing. I even skated competitively and became the European champion in figure skating, which is all about dancing to music. I was always very physical and focused on networking—I was the one organizing all the parties at school. At the end of primary school, our teachers gave each of us a title for our best quality. There was one for the best mathematician, another for someone who would go to the moon, and one for the best friend. I received the title for “the dance and rhythm”, and I had no doubt they were right. For me, there was never a Plan B.
I was also a bit nerdy about machines and gaming, which led me to film school where I specialized in sound, combining my love for both machines and music. For my thesis, I worked with Dolby Digital 5.1, setting up cinemas and handling post-production with split sound.
I was very young, and music meant everything to me. I took a live sound technician course at Microfusa, a well-known school in Barcelona, and started working at a small cultural center. A band there offered me a position as their monitor engineer at Sala Apolo. The venue noticed my work and informed me that their monitor technician was leaving, so they hired me as well. From there, I became the house technician, managing both concerts and DJ nights.
Two key moments directed me toward world music. The first was a concert by Rachid Taha. I had always been drawn to music with roots-based references, but working as Rachid Taha’s engineer was a turning point. He blended electronic music with traditional sounds, making it feel incredibly contemporary, and his charismatic personality made it a joy to collaborate with him.
Sala Apolo hosted a club called Mundo Canibal, which brought in 2,000 students every Wednesday from midnight to 5 a.m. I was the sound technician for those sessions, and I loved the music and the atmosphere. There was a DJ named Mamayé who heard the music I played during soundchecks and suggested, ‘Why don’t you try DJing?’ So, little by little, I began warming up for the club. I had the opening hour, and gradually, people started arriving earlier just to catch my sets.
One day, Mamayé said to me, ‘Laia, you’re ready for prime time,’ but I hesitated, saying, ‘No, no, no, I’m scared.’ However, she believed in me and pushed me forward. She was an incredible mentor and gave me a prime-time slot, and that’s when I DJed for the first time. To my surprise, a music booker from Roskilde Festival was in the audience. Shortly after, I found a manager who started representing me, leading to performances at Sziget, Sfinks, and many other festivals across Europe and around the world.
At these festivals, I met a few other DJs who were doing what I was—combining electronic music with global influences. This was back in 2004, and while that style is well-established now, hardly anyone was exploring it then. By chance, we decided to start a record label focused on electronic music with roots music influences.
Rachid Taha included a version of “Ya Rayah” in his 1998 album Diwân. I think this was the greatest hit of his career. The song was originally written by the Algerian artist Dahmane El Harrachi in the 1970s. It speaks about migration, nostalgia, and the challenges of leaving one’s homeland. It is a powerful symbol of the immigrant experience and cultural identity, particularly for North Africans in Europe. Here below you have the videoclip of Taha. And you can listen to the recording by El Harrachi, here. |
AT: What was the record label called?
LC: Post World Industries. It was home to artists like Filastine, Maga Bo, Copia Doble Systema, and Alo Wala—many of whom performed at WOMEX and gained significant recognition. We collaborated with Enchufada, Buraka Som Sistema, and even Major Lazer. It became a cult label. As many of our artists started gaining popularity, they often lacked management representation.
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AT: You were still in Barcelona?
LC: Yes. Many of the artists didn’t have representation, so I gradually began managing and booking several of the label’s artists. As the daughter of a businessman from Spain, I learned a lot from my father, but I had never really connected music and business until I started the record label. It came naturally to me, and I found great enjoyment in blending business with music. That’s when I realized this was my true passion.
Of course, there wasn’t a music management school back then—and I don’t think there still is. For me, it’s an art form, a craft. I refer to it as the craft of being a manager. That’s when I discovered the role I wanted—I found my joy!
I worked in artist management for over 15 years, developing many artists who are well-known today. I also traveled to Denmark frequently to DJ, receiving calls from the venue Vega, which flew me from Barcelona to perform once a month. That’s how I got to know the Danish music scene and industry. Eventually, I moved to Denmark and started working with the local music landscape and the people here.
Then I had two children. Artist management is a 24/7 job, and with two babies, I realized I couldn’t continue in that role. So, I had to move on from my agency. The organization I work for now, Tempi, was seeking to establish a strong international network, and as a manager, I specialized in artist internationalization and export initiatives. I’ve been attending WOMEX for 17 years and Eurosonic as well, because I worked in mainstream markets too, not just world music. However, I’ve always promoted global music, even in mainstream contexts. For the past seven years, I’ve been leading the export initiatives for Danish roots music.
To close this part about Laia’s career before joining Tempi, the organization where she has been working for the last 7 years, I’d like to bring here one of the artists she mentioned and which I had the chance to see live at WOMEX in 2013: Filastine.
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This outstanding piece is called Colony Collapse and I find it very beautiful and also meaningful. The artists are Grey Filastine & Nova Ruth. This was release by the record label founded by Laia: Post World Industries. About the video, they explain that: “Colony Collapse is filmed at sites of ecological friction, the fault lines of conflict between humanity and (the rest of) nature. It is a video made to confront and indict the ongoing catastrophes that are the very fabric of our globalized economic order.” Read the complete text in the descripcion on Youtube:
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AT: Which kinds of music do you work with at Tempi?
LC: Roots music, folk, global music, Chamber Folk Music, Americana and Country, Blues, Afrobeat, all play a significant role in our landscape. We have a strong tradition of singer-songwriters, and even in mainstream music, elements of roots music are blending more than ever—just look at artists like Rosalía. Many Danish artists in the mainstream are now incorporating Colombian and Kurdish influences into their music.It’s like the coolest office in Denmark because we get to work across so many genres: jazz, classical music, electronic music, hip hop, rock, and more. As the director of the office, I have the opportunity to work both nationally in Denmark and internationally.
AT: What are Tempi’s goals? To internationalise the artists as much as possible?
LC: Tempi primarily focuses on national objectives. We participate in three festivals and two music conferences each year. Additionally, we create artist accelerators, mentorship programs, sync conferences, writing camps, and data collection projects. Beyond functioning as an export office, we manage a mobility fund that artists can apply for to cover both national and international travel expenses.
For instance, if an artist has a tour to promote an album, they can seek funding to cover their travel costs. We also provide various forms of support. If you’re starting a festival, we can assist with fundraising, offer advice, and help in any way we can.
We also facilitate the participation of international delegations at events like the Resonator Festival, Spot Festival, Nordic Folk Alliance, and Tønder Festival. Essentially, we’re deeply involved in the entire Danish and international roots music ecosystem.
AT: And you have three of your own festivals, which are those?
LC: It’s always about partnership. We don’t run the festivals ourselves; instead, we handle the coordination and fundraising at specific stages. It’s a collaborative effort. For example, we work on the Resonator Festival, which is gaining recognition, as well as the Nordic Folk Festival, which, while niche, is popular within Nordic music circles. We also collaborate on the Rosenthal Chamber Folk Festival, which beautifully blends folk and classical music. In the Nordic countries, this intersection of genres has a strong identity, exemplified by bands like Dreamers’ Circus and Stundom, who thrive in that classical-folk crossover niche.
Additionally, we’re involved in two conferences: the Nordic Folk Alliance, which we produce, and the Spot Festival, which is Denmark’s equivalent of BIME or Eurosonic. At these events, we contribute by curating and funding the global roots music and folk music stages.
AT: And what would you like to develop within Tempi that hasn’t been done yet?
LC: My obsession is to leave a structural impact in the industry. Denmark has incredibly talented musicians, thanks to the excellent music schools and the economic support to the artists, as well as great music conservatories. However, once they leave these institutions, there’s a lack of industry. We don’t have booking agents or management within our music genre, and that pulls the brakes on the artists careers and the whole tapestry of our music genre in Denmark.
What we are working on is attracting the existing labels and independent booking agencies that are independent but still considered mainstream into our niche. And it’s working—we’re seeing the industry grow more and more, and making contracts with Roots artists.
As the director of Tempi, I hope my legacy will be the establishment of a robust infrastructure that provides sustainable career opportunities for artists in roots music. Currently, we have a major project focused on block booking networks, where concert venues collaborate on artist bookings. We’re also partnering with festivals. My goal is to leave behind a more developed music industry with a solid infrastructure when I eventually move on from Tempi.
Under this video we will continue talking about Laia’s work in Tempi and other of her activities. But before, let’s listen to one of the Danish bands she mentioned: Stundom.
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Så meget godt i vente was the first single from their most recent album, Hvis ikke de er døde, lever de endnu, their second studio album, released last September. Feel free to learn more about the band, on their website.
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AT: Is all of this work at Tempi funded by public money?
LC: Yes, at Tempi, we get around 5 million kroner from the Ministry of Culture and the Danish Arts Council. We also apply for funds from private foundations. While fundraising is a big part of what we do, a core portion of our funding is a fixed amount from the state, which we then distribute across national projects, international initiatives, and our mobility fund.Another thing I’m really passionate about is board work. I sit on a number of boards and see firsthand how limited representation is at this level. Having diverse voices here is so important for driving real change in the industry. I’m involved with the Nordic Folk Alliance and the Nordic Folk Council, which is similar to the European Folk Network but focused on the Nordic region, and we’re also part of the European Folk Network.
I think boards are where big shifts can happen because they’re all about strategy. We don’t talk enough about the impact boards can have, but when there’s a clear vision, they can make a real difference. I’m genuinely passionate about it because I see the potential for change when we’re intentional about how we approach it.
AT: But you also have that vision. It also happens that, often, this type of non-commercial music excludes itself.
LC: For me, beyond any commercial value, we hold an incredible democratic value.
AT: Of course, that’s part of the legacy of the peoples.
LC: That’s exactly what the European Union resonates with and needs: our message of community, unity, inclusion, diversity, openness to new cultures, and creating a safe space for marginalized voices…
AT: Exactly, but we sometimes excluded ourselves, as if we don’t believe that we belong in that space.
LC: Yes, I agree—we often lack confidence in our own value, in saying, ‘This is what we’re worth.’ But we’re taking steps to change that.
AT: It’s also about global justice. Why are there cultures that are completely outside of the “industry”? Because there are countries that don’t invest in this.
LC: There are real differences in privilege. I’d love to mention that I’m the chairperson of Another Life Community, an organization in Denmark that advocates for marginalized groups within the music industry. It’s incredibly interesting work—we gather data through surveys and publish an annual report to keep a pulse on industry inclusivity. Our work spans LGBTQ+ communities, people with disabilities, ethnic minorities, and gender balance, always assessing and aiming to improve the landscape. Alongside the report, we also run workshops and even organize a festival each year.
I love this specific work. It’s where I can bring on my activism.
👉 Check more about Another Life Community, on their website |
AT: And what about ageism, is that included?
LC: Yes, I find it very important.
AT: Whenever I see projects that are for people under 35… how many super marginalized people over 50 are doing truly emerging things?
LC: Like many others, people often start their entrepreneurial journey young. But why should starting under 35 open doors to funding, while starting at 45 is overlooked? Entrepreneurship isn’t limited by age—you don’t have to be young to innovate and build something new. I believe it’s important to offer incubators and accelerators for all ages.
AT: The people I know who are deeply committed to music end up seeking the real roots. It could be flamenco, traditional music, or whatever, but intermediate substitutes eventually aren’t enough.
LC: They definitely serve a purpose, but for me, it goes beyond that. I can still enjoy a great night at a club listening to Baiuca or Bomba Estéreo—I’m always the first one on the dancefloor
AT: Yes, yes, because I think it’s a world where people are very decent, in the sense that they’re very respectful. It’s even healthy in the sense that the drugs consumed aren’t hard drugs. It’s a healthy vibe in every way, with a general sense of respect.
LC: I believe we have a lot to contribute on a democratic level—that’s our strength. And on a community level as well, since folk music is deeply connected to local communities and community work.
AT: Yes, and to participation.
LC: A partner once asked, ‘What are the ticket sales? What’s the audience size?’ But that’s not the right approach. The real question is: ask the community—is this platform meaningful to them? Is it a good investment? We’re not mainstream.
AT: Right, and it’s public money. You have to show returns, but you need to show social returns, not just economic ones, because these are taxes. If that’s your world, go into the private sector and don’t mix taxes into it because you’re competing with private business.
LC: The same applies to public radio stations—they’re cutting folk programs. The question is, ‘If you don’t support us, who will?’ We may not generate the audience numbers that Spotify or private radio stations seek, but abandoning us isn’t the solution.
AT: But public money shouldn’t compete with private companies. That’s unfair competition. If a private company needs to do commercial things to survive and Spanish Television does the same with taxpayer money… Then shut it down, don’t spend millions a year doing that. You have to cover what the private sector doesn’t cover. That’s something that astonishes me because the EU tries to prevent governments from distorting market competition. But they keep doing it with culture, using it for propaganda and advertising…
Thank you, Laia!
BRIEF NEWS FROM THE MEDIA, CHARTS AND SISTER PROJECTS 
🔸#1 for Transglobal World Music Chart in October of 2024 is: the homonymous album by Buzz’ Ayaz (label: Glitterbeat)
🔸Mundofonías: the three favourite of the months are the albums Mute by El Khat, Svängo Nuevo by Sväng, and Gyezz by Söndörgő.
A LITTLE BIT OF MINE
Let me share a bit of joy from me. After so much work, investment and expectation, I can’t keep for me the words I have been receiving the last days about the showcase by Ali Doğan Gönültaş:
🔸”It was AMAZING”
🔸”A wonderful artist and group”
🔸”I enjoyed it enormously – what an amazing talent!”
🔸”Congratulations again for a great showcase. It was one of the highlights for sure”
🔸”Ali, your concert was the best I’ve heard at this year WOMEX”
🔸”I was truly touched by the show”
🔸”Ali Doğan Gönültaş was in my top 2 of best performances at WOMEX”
🔸”It was a glorious concert 😎”
| Do you have a call of interest for our community that you want to share? Let me know asap. |
OPEN CALLS
This section is open for news. It is free of charge. You can let me know if you have any open call of relevance to the community.
🔹Budapest Ritmo NEW IN THE NEWSLETTER
🔸
Who is it for?
Bands and artists from the world music scene, from Poland, Slovakia, Hungary, Czech Republic, Western-Balkan countries, Eastern Partnership countries, Baltics, Hungary’s neighboring countries, ready to step on the international stage.
🔸How to apply?
The application is free and you can do it through the platform gigmit, until midnight on December 22. This is the direct link for the call in gigmit.
🔸To learn more:
Check all the conditions, on the official website.
🔹FolkHerbst NEW IN THE NEWSLETTER
“The FolkHerbst is a series of music events, as a result of which the only European folk music award in Germany, the Eiserner Eversteiner, has been awarded since 1992. […] The single “competition“ concerts take place from the end of September to the end of November.”
🔸Who is it for?
Participating artists must have their residence in Europe.
They must engage with folk music in the broadest sense in their musical performances – everything from traditional to crossover is welcome.
In case of a nomination for the Eversteiner award, FolkHerbst participants need to keep the award – ceremony date available (31.01.26).
🔸How to apply?
Applications must be submitted informally by email to kultur@malzhaus.de by January 15, 2025. Send 3 music pieces (preferably videos in good quality, preferably live), along with a press text and a press photo.
🔸To learn more:
The official document I have received from Christian Dressel is this one.
🔹Transglobal World Music Hall of Fame DEADLINE TOMORROW 31ST
The Transglobal World Music Hall Fame celebrates excellence in the world music field. The Hall of Fame includes three categories: 1) Artists, 2) Professional Excellence; and 3) In Memoriam. Would you like to submit any individual or organization?
The period for proposals for 2024 is open until 31st of October 2024. Submit your proposals through the form at the bottom of this website. Check the previous inductees, in the website.
MEET ME AT
If you happen to attend these events, drop me a line. They are international events to which some of the readers may attend. If you are not, they can be interesting for you too in any case.
- 19-22 November: Mundial Montreal (Canada).