January 25. Talk with Miklós Both (Folk_ME), Juan Antonio Vázquez (LIMúR), A’mosi Just a Label (Ntwala Oh Yeah!), many new calls and + #79

Summary 👇 

🔸Editorial
🔸Learning traditional music: Folk_ME with Miklós Both
🔸LIMúR, the Iberian roots music chart, turns one year old. Juan Antonio Vázquez shares some insights
🔸A new edition of Ntwala Oh Yeah!, with A’mosi Just a Label
🔸Brief news from the media, charts and sister projects
🔸Open calls: WOMEX, Premio Andrea Parodi, World Music Showcase in Sofia, Mercat de Música Viva de Vic, Fira Mediterrània de Manresa, So Alive Music Conference, Circulart
🔸Meet me at ✈️  Line up of Flanders Folk Music Awards and Belgian Worldwide Music Night, announced

 

➡️ This is the link for subscription


 

Hello, how are you? I hope well! I am very well, after some time without flights, but the activity will be hectic again very soon.

I already shared this picture with Miklós Both in a previoys edition. We made it in Kaustinen on the occasion of the annual conference of the European Folk Network. In this edition of the newsletter, here below, Miklós shares some insights about a project that I find really exciting: Folk_ME.

It is conected to an issue that is in my mind very often: the learning of the traditional music. I dedicated the edition of August 2024 to this topic. There, Marie Devlieger, coordinator of the academy and Peter Van Rompaey, artistic director of Muziekpublique told us about their educational offer. I shared some insights about the experience of Antonio Mirón in rural areas of Almería province (Andalucía) and I mentioned the Escuela de Música Creativa from Madrid. Three different initiatives oriented to teaching traditional musics.

I am writting this editorial on Sunday night. This morning I learnt about the international conference “Le Musiche Tradizionali in Conservatorio” (Traditional Music in Conservatory), that will take place on 24 and 25 of January at the MARCA Museum, Catanzaro. You can check the details, here.

From 27th of February to 2nd of March, the AEC – European Association of Conservatoires will have their Pop and Jazz Platform anual meeting, with the topic of “Mother Tongue: European Identities in Heritage, Pedagogy, and Repertoire”. And they announce that

“Together, we’ll explore the impact of native languages and the dominance of English on:

🎶Musical identities
📚Repertoire choices
🎼Music teaching and learning
🌍The state of musical traditions and Indigenous forms” 

It is meaningful for me that they pay attention to specifically these topics.

I wonder if these conferences will include people who are still bearers of traditional music. It would be essential, but I’m not quite sure if that will be the case.

Yesterday I attended the concert by Asmâa Hamzaoui & Bnat Timbouktou in the Limo concerts series. There, I was told about a musician from Sardinia who had been learning to play the zambomba with the videos I made with Juan Antonio Torres from Vigüela six years ago for the Youtube channel of the Association of Dissemination of the Styles. The play list of 13 videos is here. Juan Antonio has been teaching traditional music for many years, developing his own methodology.

Where am I trying to go with all this? I don’t think it will lead anywhere beyond reflecting on all the different ways this topic can be approached. I’m glad to see activities related to the teaching of traditional music, and I believe we need to keep exploring ways to approach it. This is one of the topics I address further down.

But as you’ll see shortly, the news is on fire. We have a handful of open calls and very interesting content, which I hope you enjoy.

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 


Folk_ME

Let me invite you to play this in the background, if you can. Or listen to it first and then keep reading, if you can’t. I’m the second type. Good music captivates me too much for me to focus on what I’m reading.

According to the website, “Folk_ME’s platform is a versatile online teaching toolkit designed primarily for teachers and their students.” It is a project led by Miklós Both, whom I first heard about in connection with the Polyphony Project. Piotr Piszczatowski, Polish percussionist who works with Janusz Prusinowski, told me about this. It is superb; check it out.

In November 2021, Miklós became the director of the Hagyományok Háza (Hungarian Heritage House). On the day he took office, I was there for the annual conference of the European Folk Network. This picture of us together is from the 2024 annual conference in Kaustinen. Miklós is also a composer, performer, folklorist, singer, guitarist, actor, and vitar violin (a mix of guitar and violin) player.

Following a similar model to Polyphony, with an added educational layer, Folk_ME is fascinating not only for those interested in improving their performance of traditional Hungarian music but also for anyone who appreciates good music. This is how Miklós explains Folk_ME:

“The Folk_ME platform currently offers 134 recorded pieces, each structured according to the Folk_ME methodology, focusing on education and cultural heritage preservation. The website is designed as a versatile toolkit for musicians, educators, and enthusiasts, providing a deep dive into traditional folk music through various interactive features:

🔸1. Video Clips: Each piece has a main video showing the performance. Detailed information accompanies the video, including the song’s origin, performers, and lyrics, to contextualize the piece culturally and geographically.

🔸2. Tracks: The multi-track player allows users to isolate or combine individual instrumental and vocal parts. This feature helps users analyze the music layer by layer and study each instrument’s role.

🔸3. Parts: Individual performances of each musician are recorded separately, with a focus on their hands and instruments. Videos can be slowed to 0.75x or 0.5x speed for detailed study without losing quality. This is ideal for musicians learning the techniques.

🔸4. Sources: Archival recordings spanning the past century are included to explore the rich diversity of folk music traditions and their historical evolution.

Additionally, the site supports searches by instrument, musical dialect, or genre, making it easy to explore the content based on specific interests. This combination of educational and analytical tools fosters both learning and appreciation of folk music in an engaging and innovative way.”

As I mentioned above, one of the topics that frequently occupies my mind is the transmission of traditional music, and I find this project fascinating. I asked Miklós a few more questions, and I’m sharing his answers below. My thanks go to Linda Diligens from the Hagyományok Háza for her support in the coordination.


Araceli Tzigane: How has it been the traditional music teached in the tradition? In Spain the way of learning before the massive exodus from the village to the cities was very different from the way after that. Indeed I think there was a cut in the transmision, and the learning of traditional music was substituted by learning other things (let’s say that the people started to learn a kind of recreated folk music from the concepts of academic music). At the same time (years 50s-60s of XX century) in Spain there was an explicit movement from the Regime, of folklorization of traditional music and dance, where many things were rejected and other things were standardized. At that time, they were created the folkloric groups that are still alive, mainly in villages and in little towns. So we have these folkloric groups on one side and the urban-recreated-folk on the other side, and so far these are the main ways to learn something that some people call tradition. 

Miklós Both: In Hungary, the transmission of traditional music historically took place within rural communities through oral tradition. This meant that children and young people naturally absorbed the repertoire of songs, dances, instrumental techniques, and performance styles by observing and participating in community events such as festivals, weddings, religious ceremonies, and work-related gatherings. This process was deeply embedded in the everyday life of these communities, where music and dance were inseparable from social functions and communal identity.

Learning occurred primarily through observation and imitation. Young people would listen to older generations, watch their performances, and gradually internalize the repertoire and techniques. Certain skills, particularly in instrumental music, were often developed autonomously, with talented individuals experimenting and refining their abilities based on the examples they had seen and heard. However, intentional teaching also played a role: experienced musicians, such as fiddlers or bagpipers, often felt a moral obligation to pass on their knowledge to the next generation. In some regions, there was even a belief that a musician could not die without transmitting their craft to a successor—a powerful illustration of the cultural and ethical weight placed on preserving heritage.

The shift from rural to urban living in the 20th century disrupted this organic process. As traditional communities fragmented, the natural settings for transmission—village gatherings and communal festivities—diminished, and with them, the immersive environment where traditions thrived. In response, the preservation and teaching of folk music became more formalized, particularly through the establishment of institutions and movements such as the dance house (“táncház”) revival of the 1970s. These initiatives aimed to recreate the communal and participatory nature of traditional music within an urban context while also incorporating structured teaching methods to ensure the transmission of knowledge.

Today, traditional music in Hungary is learned through a combination of institutionalized education (e.g., music schools, workshops) and community-driven initiatives like dance houses, which aim to preserve the spirit of traditional oral transmission. However, the cultural and social immersion that characterized the original rural context is challenging to replicate in modern urban settings. Despite this, the commitment to passing down traditional music remains strong, supported by a growing recognition of its cultural value and its role in shaping a shared national identity.

AT: Which are the future plans of the project Folk_ME?

MB: The Folk_ME program is preparing for a significant expansion with two major initiatives launching in April. These additions aim to enhance the platform’s offerings and further its mission of making traditional culture accessible to diverse audiences, including teachers, students, and enthusiasts.

The first initiative focuses on urban Gypsy music traditions, particularly Hungarian “városi cigányzene.” This module will digitize and present this rich musical heritage, highlighting its historical roots, characteristic instruments (such as violin, cimbalom, and clarinet), and distinctive performance techniques. Through interactive tools, users will explore orchestration and stylistic nuances, preserving and educating about this vibrant tradition.

The second initiative extends Folk_ME into traditional handicrafts, offering step-by-step tutorials and cultural context for various crafts like embroidery, pottery, and woodcarving. With accessible materials and detailed demonstrations, this segment will inspire both educators and hobbyists to engage with these crafts while learning about their historical significance.

Together, these developments will deepen engagement with cultural heritage, promote hands-on learning, and foster cross-cultural dialogue, ensuring that both musical and craft traditions remain vibrant and relevant for future generations.

AT: And which are your future plans? Because you made the Polyphony Project before, which is absolutely fantastic, and Folk_ME after. Do you have any other ideas like these for the future? 

MB: My future plans are closely tied to the further development and expansion of the Folk_ME and Polyphony Project platforms. Both initiatives have immense potential for growth, as demonstrated by the upcoming modules on urban Gypsy music traditions and traditional handicrafts. These new directions not only broaden the scope of the projects but also require significant time and expertise to fully realize.

Our primary focus is to continue enriching these platforms by expanding their methodology with specialized knowledge and high-quality content. This approach ensures that they remain innovative and comprehensive tools for preserving and teaching cultural heritage.

Given the scale of these developments, the projects themselves represent years of dedicated work, allowing us to delve deeper into diverse aspects of traditional culture while maintaining the highest professional standards.

Looking ahead, my goal is to refine and expand this methodology further, ensuring that these platforms serve as exemplary models for digital cultural education and inspire similar initiatives worldwide.


 

THE LIMúR, THE IBERIAN ROOTS MUSIC CHART, TURNS ONE YEAR OLD

Recently, LIMúR announced its first annual chart, following four quarterly lists produced throughout 2024. I am part of the panel, but, as I did with Transglobal World Music Chart, I have not voted during the time when I had an album from my own label in the list of candidates. This was the case with Vigüela’s album We. Even so, it reached the number one spot. Honestly, I consider it well-deserved. However, the focus of this article is not that, but rather to celebrate LIMúR’s first anniversary. Congratulations! And we’ll do so with a few words from Juan Antonio Vázquez, its driving force and the coordinator of a team of nearly 30 jurors. You can find more details on the website and social media (Facebook and Instagram).

Without further ado, here are the statements from Juan Antonio.

Araceli Tzigane: Please, make a short introduction of LIMúR. What is it, who is part of it, what do you do, and why did you start it?

Juan Antonio Vázquez: LIMúR stands for Lista Ibérica de Músicas de Raíz (Spanish) / Raiz (Portuguese), or Iberian Roots Music Chart, a chart that highlights recently released albums of roots music either made in Iberian countries, by artists of Iberian origin anywhere in the world, or based on Iberian musical roots, no matter the origin or the place of residence of the artists. In fact, we’ve already included in our chart musicians from other origins (Sahrawi, Brazilian, Cape Verdean, Moroccan, Italian, Senegalese…) living in Iberian countries. Similarly, we could also have, for instance, a Portuguese artist creating Indian music or a Japanese artist residing in Germany making flamenco. In other words, we understand the concept of “Iberian” in the broadest and most inclusive sense possible. This inclusivity also extends to the approach to roots music, ranging from strictly traditional to the most diverse experiments.

We also want to highlight the variety of Iberian cultures, languages, and musical expressions, which demonstrate a much richer diversity than what might be expected if we only look at administrative borders. In that sense, we advocate for Iberian diversity, ensuring complete equality and non-discrimination. This is reflected in the fact that the name of the chart is displayed in every Iberian language that has a standardized linguistic form established by a recognized institution, such as the various language academies and their equivalents. Therefore, the full name of LIMúR appears in Spanish (Castilian), Portuguese, Galician, Catalan-Valencian, Basque, Asturian, Aragonese and Mirandese, as well as in English. We are still missing Aranese, for which we do not yet have a verified translation. Similarly, we aspire to have the website’s introductory texts in all these languages, and we welcome any possible collaboration in translating them into these languages.

We are aware that there are other Iberian languages and linguistic variants besides the ones mentioned, but we have chosen to focus on those with recognized codification to make the representation manageable. For practical reasons, communication regarding the chart is conducted exclusively in Portuguese, Spanish and English.

To launch this initiative, I invited a series of recognized journalists and disseminators of these musical genres, initially from Iberian countries. Over time, the invitation extended to participants from other countries. Currently, the panel includes members from Argentina, Puerto Rico, Poland, Brazil, Mexico, Greece, and Serbia, among others, with plans to incorporate new panelists from different regions in the future. We are fortunate to have journalists working for major media outlets, such as newspapers like El País or El Mundo; national radio stations in Portugal, Spain, Poland or Serbia; university radio stations in Mexico, Spain, Puerto Rico, Brazil or Portugal; specialized web-based stations and more. But most importantly, they are specialists with extensive knowledge and broad perspectives.

The process involves identifying and exploring roots music albums published during the previous months. Each quarter, panelists vote for albums that meet the criteria, covering releases from the last quarter and the one before it. At the end of the year, an annual vote determines the top albums of the entire year.

The voting mechanism is straightforward: each panelist ranks their preferences, and the votes are tallied to create the final list based on the aggregated scores.

AT: Which are the objectives?

JAV: The primary objective of LIMúR is to act as a platform that amplifies the visibility of Iberian roots music, both within Iberian countries and internationally.

In the Iberian context, these styles are often underappreciated, except for a few better-known genres like flamenco or fado. Even within these better-known genres, there are many artists with very interesting yet underexposed proposals. Additionally, root music from different territories within Iberian countries often does not transcend local boundaries due to linguistic and cultural divides. LIMúR aims to foster mutual understanding and exchange across these diverse traditions.

Another goal is to highlight works of excellence, prioritizing quality and providing a comprehensive reference for anyone interested in Iberian roots music. This includes both specialized media and sparking interest in mainstream outlets, with the ultimate aim of reaching a wider audience.

AT: After one year, what are the insights you have about the development of the production of this kind of music?

JAV: All the objectives are currently in progress, with very promising outcomes. The response and impact have been overwhelmingly positive, but I hope it will gain even more recognition, especially after the publication of the first annual chart, corresponding to the year 2024.

The initiative has been warmly received by those in the roots music sector, particularly by the artists and groups who have been recognized through LIMúR. Many of them have become ambassadors for the project, proudly showcasing the recognition they’ve received, which in turn helps spread awareness about LIMúR’s work.

Ultimately, LIMúR has brought joy to talented artists and contributed to the growing recognition and dissemination of its mission. This shared enthusiasm continues to expand LIMúR’s influence and reputation.


THE THIRD EDITION OF NTWALA OH YEAH! WILL TAKE PLACE IN JUNE IN MALANJE

Ithe March 2023 edition of this newsletter, I talked about the first open call of Ntwala Oh Yeah! Festival. The artist A’mosi Just A Label contacted me about it and told me about this new initiative in Angola, a multidisciplinary and international gathering of artists.The event took place already for two times and now, KONONO SOUL ARTS, the organization of A’mosi, announces the NTWALA OH YEAH! Malanje Edition 2025. It is scheduled for June 24-29.

According to their press release,

 “NTWALA OH YEAH! It is an itinerant meeting between the performing arts, Music, Dance, Literature, Visual Arts, and Spoken Word. Plus, Book Launches, Talks, Workshops, Networking and Tourism. The 2025 edition in Malanje – Angola, it’s a camping edition with ecological footprint. The aim of the festival is to promote and highlight emerging artists, offering them a platform to present themselves.” You can read the full press release, here. And I really recommend it to understand it better.The call for proposals is this form. It is open until February 15th. And you can check the social media, here.

After these two previous years, I made a couple of questions to A’mosi. Check the answers here below.


Araceli Tzigane: Which where the biggest challenges in the previous editions? 

A’mosi Just a Label: The biggest challenge in producing Ntwala Oh Yeah! is first the people, including myself! Then the institutions in Angola. Me, because i dared to think about holding a festival of international standard in Angola! Even though I was aware that the Angolan people understand that art is just entertainment, hype, etc. And yet, I insisted on proposing this festival model to the people.

As for the other people, because regardless of whether there are some of them involved in the project, which makes me happy and makes me believe that the child that was born in 2023, will crawl and walk, I feel that they are still far from being able to contribute more than they already should.

The institutions in Angola, because they are egocentric and incapable of opening their minds and changing the sociocultural system, I see them as dream killers, blind, and structures without the neurological capacity that allows them to generate consciousness and feel emotions.

I confess that it was very difficult to answer this question, for several reasons, I faced so many challenges and didn’t know where to start explaining myself.

Araceli Tzigane: Who participated in the previous edition?

AJL: These artists participated: Marina Queiroz Miranda (Brazil); Clington experiment (Angola/Portugal); Zadio (Angola/United Kingdom); Yoleni (Angola/France); VI-CI (Luanda/Angola), Rainy Mar (Luanda/Angola); Kark Sumba (Luanda/Angola); Uncle Jay (Luanda/Angola); Santimant Mwiny (Luanda/Angola); Jorge Pimentel (Benguela/Angola); Ismael Farinha (Luanda/Angola) and Roberto Leal (Angola/Brazil).
5 for exhibitions: Ely Inglês (Luanda/Angola); Gato Preto (Luanda/Angola); Eltina Gaspar (Luanda/Angola); Nefwani Júnior (Luanda/Angola); Parasol (Luanda/Angola).
2 selecta artists: Wilmara Maravilha (Luanda/Angola) and Mara Baoba (Luanda/Angola).

I really wish much success to A’mosi and the team for the 2025 edition and I hope they can fulfil their aims! 


BRIEF NEWS FROM THE MEDIA, CHARTS AND SISTER PROJECTS 


🔸#1 for Transglobal World Music Chart in January of 2025 is: Mari Boine’s Alva

And the results of the Festival Awards 2024 have been announced. Check them here.


🔸Mundofonías: the three favourite of the month are  JB Moundele’s Racines, Melón Jiménez & Lara Wong’s  – Confluencias and Benoît LeBlanc’s, Mô kouzin, mô kouzinn


🔸LIMúR (Iberian Roots Music Chart), annual results of 2024

Check the results in the link. In this collage Juan Antonio managed to put the top 25. 


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.

NEW CALLS IN THE NEWSLETTER:


🔸WOMEX
This year WOMEX will take place in Tampere (like in 2019), Finland, 22 – 26 October 2025.

“Recognized as one of the most important gatherings in the global music scene, WOMEX is the most diverse music meeting worldwide. Its musical spectrum spans from the most traditional to the cutting-edge global local underground, embracing folk, roots, jazz, local and diaspora cultures, and urban and electronic sounds from across the globe.”

The deadline for sending the proposals is Friday, 28 February 2025. The application must be done in this website: https://www.womex-apply.com/

The submission fee (payable by Paypal) is:
· 20 January – 07 February: Early Bird Rate, 15 €
· 08 February – 28 February: Late Rate, 25 €


🔸Premio Andrea Parodi
The 18th edition of the competition has been launched, with the final rounds scheduled from October 9 to 11, 2025, in Cagliari. The call for applications is now open, with free registration available until May 9, 2025, through the official website www.fondazioneandreaparodi.it.

The winner and several finalists will receive significant prizes, including opportunities to perform at major Italian music festivals.


🔸World Music Showcase in Sofia
The call for applications for the international showcase for emerging artists in world music is open from January 05th to February 16th, 2025. Each accepted application will be evaluated by a 5-member international jury. 12 participants will be selected to participate in the showcase program in Sofia. The official artist selection will be announced on March 17, 2025.

The showcase will be held on July 3rd, 2025 in Sofia, Bulgaria. Participation includes also speed meetings with the delegates and networking sessions on July 4th, 2025.”

To be elegible, the artists have to fulfill some conditions. Check them in the official website.


🔸Mercat de Música Viva de Vic
The 37th edition will take place from 17 to 21 of September in Vic, Catalonia. The call for applications expires on 31st of March. Proposals can be submitted for all musical styles and genres, with the exception of classical music.
Check the conditions for the participations, here. Application, here.


THESE CALLS WERE IN THE NEWSLETTER IN THE PREVIOUS EDITION:


🔹Fira Mediterrània de Manresa 

The 28th edition of the Fira Mediterrània will take place in Manresa from 9 to 12 October 2025.

🔸Who is it for? 
“Music, performing or street art, folk culture and association-related proposals that are based on traditional roots as a driver of creativity and speak to us in the present.”
Note also that:
“The programme of Fira Mediterrània is divided into three main itineraries:

  • Music, featuring the world music and traditional roots music scenes.
  • Dance, with a dynamic perspective on traditional roots and folk culture.
  • Memory, llegacy and oral storytelling, with performance and outdoor arts offerings, particularly theatre and circus, which draw on folk culture.”

🔸How to apply? 
The application is free and you can do it through the website. Deadline: Thursday 23 January 2025 at 12.00 a.m. CET.

🔸To learn more:
“Fira, as a performing arts fair attended by sector professionals (1,140 registered delegates), will agree a financial contribution with companies and groups.” Check all the conditions, on the official website.


🔸SoAlive Music Conference.

For artists of any genre, from the Balkans (Albania, Bulgaria, Slovenia, Serbia, Kosovo, Greece, Bosnia and Herzegovina, Montenegro, Romania, North Macedonia, Turkey, Croatia).

It will take place in Sofia, Bulgaria, 14-17 October 2025. The call for artists is open until 15th of February. What do they offer: “As part of SoAlive 2025, you will perform in front of an audience that includes over 800 delegates from the music industry.” They won’t pay any fee. They cover fixed travel reimbursement (specific details provided upon selection), catering during the event, Pro + accreditations for all band members and accommodation for the duration of the festival.

How to apply? In the previous edition this was not answered but yes in this: the application is on Gigmit (for free, you don’t need to create a pro account), here.


🔸Circulart
The call is open for artists/bands, agencies and labels, Colombian or settled in Colombia or from the “Iberoamerican common cultural space”. Until 28th of January. All the details are on the website (Spanish).

In 2025 it will have its 16th edition. The event will take place from 12th to 14th of June in Medellin, Colombia. It includes showcases and a digital networking platform.

 


MEET ME AT

  • 27-29 of January, Brussels. Flanders Folk Music Awards (the performances will be by Snaarmaarwaar, BLIET, and Bamako Express) and Belgian Worldwide Music Night (with performances by Gaïsha, NENA, Soledad Kalza & Sina Kienou, and Peixe e Limão).
  • 20-22 of March, Marseille. Babel Music XP.