August 2021 edition, here
FOCUS ON THE US
Summary ?
- Watch me tonight at the “SQRZ Talks with Will Willa”?
- In depth with Danielle Devlin, from Canis Major Music ?
- Talk with Katie Orman from Arts Midwest ?
- Talk with Peter Rushefsky from the Center of Traditional Music and Dance ?
- Brief news from the media, charts and sister projects ?
- Open calls and professional events ?
- Meet me at… ?
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Hello, how are you? I hope well!
In this meantime, the first batch of artists to perform in the official WOMEX selection has been released. Mapamundi Música has the joy to present Hudaki Village Band, from Ukraine. They are the third artists we have in the official selection. Viva!
Apart from that, this edition of the monthly magazine has a lot of content. Three interviews with three people from the USA. In recent months I have been in contact, in the framework of AGIMA, with Danielle Devlin, from Canis Major Music, USA. It’s always very interesting to know what’s going on “over there”. I put “over there” in inverted commas because this is going to be read by people who are in that “over there”. With these three interviews I pretend to open a window to begin to intuit its idiosyncrasies. I have never been to the USA until now. I hope that will change soon.
On the other hand, on the pandemic, next Sunday I will receive the second dose of the vaccination. It is one step more in the recovery of the life I had. I love to hug and kiss the people I like.
On the 4th of July, Monsieur Doumani performed in Ibiza. In the last weekend of July I have two concerts of Vigüela in central Spain. This last weekend it took place a festival that hosted 50 thousand people in Catalonia, the festival Cruïlla. The attendants had to pass a quick test before entering (289 were positive) and wear a FFP2 mask. You can read more about it, here. For now, there will be more festivals like this, unless the situation worsens dramatically. By the way, this festival, when it began, was called Cruïlla de Cultures, that is in Catalan, “crossroads of cultures”, and the programme was basically world music. The “de cultures” has long since dropped out of the name. It is clear that the “cultures” no longer matter and only one culture matters. After all, it’s business. But this is another story.
What restrictions there are in Spain depends in part on the particular autonomous community, so there will not be one single situation. Right now in the community of Valencia there is a curfew for 14 days and the situation in Catalonia is not good, so they could be the next. I hope it will not be necessary.
Thank you very much for your attention. As always, if you have any news of interest for our community, let me know.
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Araceli Tzigane | Mapamundi Música
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| Do you want to share any useful experience you have had during this difficult time or another content relevant for our community of the world musics? Let me know. |
JOIN ME TONIGHT AT THE “SQRZ TALKS WITH WILL WILLA”
SQRZ is the agency led by Will Villa, the Colombian born, European educated DJ, producer, and entrepreneur. I like the way he introduces his mission: “Will´s mission is to bring great talent together and to connect the many worlds that he is part of. To make this possible, Will founded SQRZ Agency, a creative agency helping Content Creators and Brands during their journey from Ideation to Creation and Release.”
About SQRZ Talks, according to his website, “In this series, hosted by Will Villa, we invite professionals from the music industry to share their stories and to teach about tomorrows music industry. Our guests are Artists, Agents, Promoter & Producers, from different parts of the planet, who share unique insights about their market. How will the music industry evolve after the pandemic? Will touring become a thing of the past? How should artists monetize their brand?”
| Will will publish our talk today at 3 pm EST on his website: https://sqrz.agency/sqrz-talks/ There you will already find a handful of conversations with other professionals. |
IN DEPTH WITH DANIELLE DEVLIN, FROM CANIS MAJOR MUSIC
According to their website, “Canis Major Music is focused on internationally touring artists that perform with heart, enthusiasm, and outstanding talent.” They work with artists like Kiran Ahluwalia, Iberi or Kíla. Their catalogue is here.
The agency started shortly before the pandemic. But Danielle did not despair and quickly set up their own online event. That experience would feed months later into the showcase organised by AGIMA, for which Danielle was a key player.
It is a pleasure to share these insights from Danielle ?.
Mapamundi Música – Which is your background, what made you become an agent for world music artists?
Danielle Devlin – I’ve been fortunate to have many great careers that have led me to this point. I’ve worked in marketing, software and technical support, customer service, engineering, as a pastry chef, and in theatres and nonprofits for development and project management, prior to working in the music industry. All of the skills I learned through my various careers have benefited me in becoming an agent, coupled with my personal passions for world music and dance arts from the MENA and North Atlantic regions. I was lucky to team up originally with one of the leading agencies in global roots music to “cut my teeth” on the industry, as a result of my personal and dance connections with artists that had befriended me. I had previously owned my own business, so it was natural that after a few years of working for another agency that I began my own.
MM – From your training, education, previous experiences, which ones of the skills or knowledge you got have been the most useful for your career as an agent of musicians?
DD – My customer service and project management skills learned through all of my past careers are part of what helps me in this career. I love connecting with people and consider it an absolute honor and privilege to be working in this field and representing my artists. I have an amazing team of creatives behind me with the artists I work with and my one colleague, Eric. We all support each other and communicate regularly. That to me is a big part of our success–the caring, the people, and the communication.
MM – Apart from that or those skills, which other do you think are essential to succeed in this field of work?
DD – I think being flexible and understanding is important. I’ve worked on both sides of the equation–the presenting side and the agenting side (as well as a visual artist myself), so I feel I can understand the challenges faced by both the presenters and the artists and keep both perspectives in mind when discussing booking. Time management is also key, as well as good written and verbal communication skills.
MM – Any particular advice for a fellow newcomer or someone who wants to get started in this field?
DD – I think agenting is a very unique career, and that the best way to really understand what is required is to intern with an agency if you can find the right fit and someone that is willing to mentor you. The difficulty is that in most circumstances, you don’t see any financial compensation as an agent until your bookings actually occur. So you may be working essentially for free 12 months out or more until your bookings are realized and you start to receive your commissions. It’s a slow build up and requires some financial independence to get started in this field.
MM – And now, for the artists. I’m sure you get requests from artists every day to be their manager. I am sure because it happens to me too, and many colleagues tell me the same thing. Do you have any recommendations for the artists, so that they can improve the way they communicate when they do it for this purpose?
DD – I regularly connect with artists regarding that ask, for certain! I do spend the time almost every week connecting with an artist to share my feedback on how they are positioning their music, reviewing their marketing assets and social media presence, and providing general advice on what they might improve or who might be a good agent for them. For me, it’s an important part of being in this position. I was given the opportunity to intern (without payment of course), and I feel like this is part of my payback for making this far at this point. I love helping people, discovering new artists, and am happy to do what I can in this regard. A couple of the things I so often note is that people don’t have a strong social media presence, or else don’t have appropriate messaging about their work, nor good marketing assets.
MM – Do you think it makes sense for the artists to try to find an agent? Have you ever started a stable collaboration with a band or artist that approached you in their search of an agent?
DD – I think that an agent can truly help an artist further their careers. They have to be at the right point though, and be willing to put some work in that the agent or manager may require or ask. And for me, fit personality-wise is as important as musicality and genre fit. I have to really personally love their music. Most of the artists I work with are on my roster because they sought me out.
MM – I think there will be still, at least for many years, a lot of artists and a much smaller number of agents, that is the current situation. This makes me think that we are not in a very interesting business, otherwise there would be many more agents working in world music. Nevertheless, it seems the artists require us. Something seems to be wrong, what is it?
DD – I believe the reason is that financially it is very difficult. I only get paid a commission when my artists play their gigs. I do not get a base salary or retainer from them. So, if someone wants to change careers, they need to be financially independent to some degree in order to build up future gigs and not realize any payment for all of that work for many months, and even still it takes a lot of time to build up enough gigs to receive a liveable wage. I think that is the biggest hurdle. It is stressful work, but I love it so very much!
MM – Especially in the last year, many of us, independent agents or micro-companies, have felt a bit alone and misunderstood. I have heard claims from colleagues from different countries arguing they have not been considered in the support for the arts after the ravages of the pandemic. With this in mind, I have several questions.
- We are required by the artists but, at the same time, it seems we are a bit invisible. Do you feel that?
DD – I do not feel invisible, but perhaps some could feel under-appreciated. It can be a very “heavy lift” to build a viable tour. Sometimes presenters think they are doing artists favors by contacting them directly to book, and in these times especially, I have noticed that more (and the artist acting directly upon that). This can become a quagmire of a situation and end in a bad result.
- How could we explain briefly which is the value we, the agents, provide to the value chain?
DD – We provide the friendly interface and act as intermediary curators in presenting the right fit options to presenters who have come to trust us from prior working relationships. We are people that connect the dots in a very directed and personal way. Additionally, we negotiate the reality and manage the expectations on both sides. I think we can be better advocates for our artists in most cases. That’s the value we add.
MM – My last question. Explain in one or two sentences, to the wider culture community, the reasons to book musicians from around the world that give a relevant presence to their roots.
DD – In my opinion, nothing brings down barriers more easily than sharing music in a live environment. It’s easy to find something relatable if the music makes you move. Live global roots music can create an appreciation for and understanding of cultures different from one’s own. It can spark a curiosity in a listener that leads to more engagement, even advocacy.
MM – And the very last. Is there anything else you want to share or disseminate?
DD – From another perspective in answer to the above, it’s important to support such artists in that they are carrying on a tradition that may otherwise be decimated by time and inactivity, dying out quickly with just one generation if the mantle isn’t taken up. There is much to be lost if we don’t engage artists working within this realm.
Credits:
- Portrait, provided by Danielle.
- Logo, from Canis Major Music’s Facebook page.
- Screenshot, from Canis Major Music’s website
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A BRIEF TALK WITH KATIE ORTMAN, FROM ARTS MIDWEST
On several previous occasions I have shared calls from this organisation, Arts Midwest. They are based in Minneapolis and work with communities throughout the nine-state region of Illinois, Indiana, Iowa, Michigan, Minnesota, North Dakota, Ohio, South Dakota, and Wisconsin, and beyond. Apart from the conference, they have a series of programmes that support artistic creation, through events, context creation and grants. Check their current and past programs, here.
About their mission, “Arts Midwest promotes creativity, nurtures cultural leadership, and engages people in meaningful arts experiences, bringing vitality to Midwest communities and enriching people’s lives.”
I had a first direct contact with this organisation by Adam Perry during Førdefestivalen in 2019. He recently left his position, looking for new paths. I wish him all the best. In 2020 I was able to participate in the conference, which took place in an online format, and the 2021 edition will also be online. Registration opens on 22 July and the conference will take place between 17 and 22 September. You have the concrete information here.
Katie Ortman (in the picture, credit: Jason Walsmith), program manager, and Ken Carlson, senior director, are in charge of the international initiatives. For instante, the World Fest. Katie kindly answered the questions below and I am really grateful.
Mapamundi Música – This is quite concrete. You have had one thematic programming, the Folkefest, dedicated to Nordic artists. Was this just once or are you planning to make it recurrently?
Katie Ortman – Folkefest was a grant-funded program that concluded in March of 2021. With support from Margaret A. Cargill Philanthropies, we were able to work with ensembles from Finland and Sweden to do week-long residencies in communities with Scandinavian heritage in the Upper Midwest. We don’t have plans to continue Folkefest at this time.
MM – About World Fest, you are currently offering an online edition, with artists from Israel, Japan, Brazil, who have recorded performances and also conference-style workshops. Have you also been able to develop some real-time activity between them and the public?
KO – In a normal year, we do at least 18 weeks of touring where ensembles participate in week-long residencies in small to mid-sized communities around the Midwest. When touring was interrupted by the pandemic, we wanted to find a way to maintain a connection between our partner communities and ensembles. Our World Fest Online work, which came as a result of the pandemic, included pre-recorded videos as well as live connections between the participating ensembles and our partner communities. We aimed to create content that could be shared widely, but also make room for connections where our partner communities could engage a bit more deeply with the musicians. Throughout the last several months, we’ve had many Zoom workshops between the musicians and classrooms or community groups. In one case, Paulo Padilha e Bando from Brazil worked with a group of music students from University of Wisconsin-Stout to film a collaborative music video surrounding the Brazilian holiday of Carnaval.
MM – When you have been able to do the live programme of the World Music, I understand that the artists are in each community for several days, doing workshops and performances. Specifically, in the plans for 2019 to 2022 there were 9 communities involved. I guess for this, you need artists with a certain set of qualities. What are you looking for in those artists that are particularly useful for your goals with this programme? This question is obviously connected to this: Which are your objectives with this World Fest? I think it makes sense to ask them together, feel free to answer them together or separately.
KO – When it comes to ensemble selection, we generally look for three things. The first is artistic excellence – of course, we want musicians who are talented performers and who are good at what they do.
The second is commitment to education, which is especially important because workshops are a huge part of the World Fest residencies. It’s important we work with groups who are just as (or more) excited about doing workshops as they are a concert. During each week-long residency, ensembles end up doing 10-12 workshops with groups ranging from 300 elementary school students in a gymnasium to 30 seniors in a retirement community.
Finally, we look for ensembles who are eager to share about their experiences with their home country and culture. World Fest is a cultural exchange, so it’s important that musicians are interested in sharing personal experiences in addition to their music.
Our objective with World Fest is to bring musicians from a range of countries, cultures, and experiences to small to mid-sized communities throughout the Midwest for a cultural exchange. We think it’s important to give small and mid-sized communities access to musicians who couldn’t otherwise visit so easily. We hope the experience helps small communities less experienced in hosting groups become more comfortable doing so, so they might join the field as active, experienced, adventurous presenters in ways they weren’t doing before our partnership.
We also think music is an important medium for connecting people, and a platform for learning difference or similarities. And in regards to the “exchange” element, we’re also eager to have communities share a bit about themselves with the visiting musicians as well.
As for the musicians, we hope World Fest can be a good experience for them too – World Fest can give new ensembles exposure in the US market so they can perhaps tour here again someday, and in some cases we’ve helped ensembles connect with agents so they can take the next step.
MM – And these communities, once you have established who they will be for this period, do they all receive all the artists or is there a different distribution?
KO – With World Fest, each partner community will host each participating ensemble over the course of the cycle. We choose a partner community in each of the nine states in Arts Midwest’s region of the United States. Of course, the pandemic interrupted the 2019-2021 (now 2019-2022) cycle a bit, but by the end of the cycle, each community will have had visits from all four groups. Next cycle, we’re moving to a three year model – so, 2022-2025 will feature six ensembles which will visit each of the nine communities.
This ? lovely picture is an illustration by Simone Martin-Newberry in the website of the Arts Midwest Conference.
MM – In previous years’ programmes, I see that it is very common to have artists from Israel and China, and also quite a few from Japan. Also from Mexico and Canada, which is logical since they are your neighbours. I imagine that these countries support the programme financially, is this correct or are there other reasons?
KO – Yes, there are certain countries with funding available to cover artist travel expenses, which is significant in offsetting some of World Fest’s expenses. So, that’s one reason why you see a higher representation from some countries over others.
MM – In your communication, in what you explain on your website, I really like something that I think is key, which is the use of art as a service to the community, beyond offering a show. I think there is not enough demand for so many shows, for so many artists who want to perform. Therefore, I think we (I mean, the artists and the people like me, that offer artists to organizations and to festivals) have to change the way we approach the work, and not think so much about concerts on stage, but about how to give a real service. There is a sentence on your website, in the “Community Creativity Cohort” part, that I think says it very clearly: “Making art central to problem solving on more issues in more communities all around our region”. What problems do you solve with this kind of project through art?
KO – The first thing I’ll say is that with week-long residencies, we’re able to find multiple ways to bring these artists to community members outside of a standard concert setting. Folks in these communities might see the artists at their coffee shop, or hear they’ve visited their child’s school, or have a workshop at their workplace – and then perhaps they feel compelled to attend the concert, but we’ve at least reached a wide audience through a variety of engagements. We think it’s important to bring the music to the people.
In response to your question about what problem something like World Fest might work to solve – World Fest gives an opportunity for people from different cultures to interact (who might otherwise never cross paths); it gives communities the opportunity to plan wide-reaching residencies in a supportive, low-risk way; and we hope World Fest gives Midwestern communities the chance to learn something about themselves in the process.
(my editorial note here is that Ken and I don’t work on the Community Creativity Cohort program, so that language about making art central to problem solving doesn’t necessarily apply to all Arts Midwest programming – but I think there’s value in that statement as it relates to World Fest too! The program creation itself just wasn’t necessarily driven by this question.)
MM – If you want to add any future plan that is not yet announced on the website or you want to highlight anything, please, feel free.
KO – We’ll be announcing our return to in-person World Fest touring soon, along with plans for our new 2022-2025 cycle! If anyone is interested in hearing more about what’s going on with international programming at Arts Midwest, you can sign up to receive email updates here: https://www.artsmidwest.org/news/email-signup-form
Credits:
A BRIEF TALK WITH PETER RUSHEFSKY, FROM THE CENTER FOR TRADITIONAL MUSIC AND DANCE
In recent months I have come across this organisation on several occasions. Because of their Beat of the Boroughs video series, but also looking for information on Jewish artists for my Music Before Shabbat weekly newsletter. I have never been to New York. It is for me an imaginary place that I see in movies and read about that took in so many people who had to flee Europe many decades ago.
According to their web page about their mission and impact, it was founded in 1968 and assists New York City’s immigrant communities to sustain their distinctive performing arts traditions and promotes cross-cultural understanding by sharing these art forms with audiences across the city.
It is a pleasure to share these words from Peter Rushefsky, Executive Director (in the picture, done by Bob Blacksberg), in this edition of the monthly newsletter with a special focus on the USA, from a world centre of reference for culture, such as that city. Thank you, Mr. Rushefsky!
Mapamundi Música – From your website, I understand that the main focus of the organization is to assist New York City’s immigrant communities, with the objective of sustaining their distinctive performing arts traditions and promoting cross-cultural understanding by sharing these art forms with audiences across the city. Do you want to add anything else about the objectives of the organization?
Peter Rushefsky – That looks good. I would just add that all of our work is in partnership with members of the immigrant communities, so the programs are very much led by community-based artists and cultural activists.
MM – Why was it “formerly known as the Balkan Arts Center”? Perhaps this is related to its beginning. Could you let me know how the CTMD started, who founded it and how, with which means?
PR – CTMD was founded in 1968 by Martin Koenig and Ethel Raim, folklorists whose work at the time focused on music and dance of Balkan communities. For more info on Martin/Ethel: https://folklife-media.si.edu/docs/festival/program-book-articles/FESTBK1999_30.pdf
MM – You are organising, since March 2020, the online series “Beat of the Boroughs”, with short performances with an educational touch, sometimes interviews too, by artists from many different origins, available in your Youtube and facebook page. Will you continue doing this when the pandemic ends?
PR – We have funding to produce 100 videos in the Beat of the Boroughs program which will continue through the end of 2021 and probably into the first part of 2022.
MM – I think all the artists participating are settled in NY, aren’t they? If I am wrong and you also include artists settled in other places, is there any way of sending proposals from artists from other places in the world?
PR – All of the artists in the program are based in the NYC metropolitan area.
MM – What are the criteria for the selection of the artists in this series?
PR – Many of the artists we have worked with for a number of years, but the series also features some artists that we have not worked with previously. In general we seek out artists who are 1) leading representatives of their community’s performing arts traditions and 2) working to sustain these traditions so that they continue to be a vital part of their community’s cultural life.
MM – I am especially fond of klezmer music so I really appreciate the impact of your organization in the revival of klezmer. I find your website and your youtube sometimes when I am searching for information for my weekly bulletin of Jewish music, Music Before Shabbat. For instance, you have some wonderful recordings of Dave Tarras, the clarinetist of klezmer, or of the Shashmaqam Ensemble, the Bukharian jews. I understand that the An-sky Institute for Jewish Culture is inside the CTMD, as a part of it, and not independent. Is this correct?
PR – The An-sky Institute for Jewish Culture is a partnership between CTMD and the Sholem Aleichem Cultural Center, a Yiddish cultural organization in the Bronx.
MM – About the An-sky Institute, in the website you explain that “Between 1911-1914, An-sky led a team of experts on a remarkable trip to systematically collect Jewish folklore through the Ukrainian regions of Volhynia and Podolia.” And this produced an archive. Do you have it in the CTMD? If so, is there any plan to digitalice the contents and put them public?
PR – We are a partner in the Klezmer Institute’s crowdsourcing project to digitize many of the klezmer manuscripts that were collected on the An-sky expedition. https://klezmerinstitute.org/kmdmp/
MM – Since June 10th you have been able to organize offline concerts. I see you have made at least three at the Wagner Park. For your activities with live music, do you only work with artists settled in New York or do you also book artists from other origins who are touring in the area?
PR – While from time to time we do feature touring artists from other places, our organization’s focus is on presenting and assisting artists in NYC’s immigrant/ethnic communities.
MM – Will you continue organizing live concerts during the Summer? And after the Summer? I think it may be too early to know, as it may depend on the evolution of the pandemic. If everything continues improving as it seems to be now, what are your plans for Autumn and Winter?
PR – We are continuing to program live concerts through Autumn and Winter, though plans obviously could change quickly if COVID-19 becomes a greater risk in the NYC area.
MM – Let’s assume that the pandemic ends. What else are you planning to do after the Summer?
PR – We are working on a new program with Inner Asian communities (from the Himalayan region and Outer Mongolia). Our staff folklorist Andrew Colwell, Ph.D. is an expert in Mongolian musical traditions. Additionally, 2022 is the 100th anniversary of the formation of the Soviet Union, and we are working with local immigrant communities from the former Soviet Union and its sattelites on events that will educate the public on the contiunity of traditional arts within the USSR/sattelite states and how diaspora communites have reclaimed and are reshaping these art forms in the post-Soviet period.
MM – This is a more general question. Which are the main challenges for your organization?
PR – Because we work with under-the-radar immigrant communities and focus our presentation in the city’s immigrant neighborhoods which are underserved by mainstream arts institutions, it is often a challenge to attract audiences, visibility and funding.
MM – If you want to announce or explain anything else, please, proceed!
PR – We were excited that one of our long-term artists, Joanie Madden of Cherish The Ladies, was just named a National Heritage Fellow by the National Endowment for the Arts. CTMD began working with Joanie and Cherish when they were teenagers in the Bronx, and have watched the group blossom to become international ambassadors for women’s involvement in Irish music.
Credits:
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BRIEF NEWS FROM THE MEDIA, CHARTS AND SISTER PROJECTS
- About Mundofonías, our monthly favourites are the albums: Hanin: Field recordings in Syria 2008-2009 (V.A.), Polifonika tragoudia Voreiou Ipeirou (V.A.) and 2 Chamadas Não Atendidas (by 2 chamadas não atendidas)
- And #1 for Transglobal World Music Chart in July 2021: Kkismettin, by Antonis Antoniou.
OPEN CALLS AND PROFESSIONAL EVENTS
Just a little bunch of them, the ones I have identified. If you have anything to share in this section in a future edition, let me know.
WOMEX announced a good bunch of the selected artists
And Mapamundi Música has the honour of presenting Hudaki Village Band. Check the list here.
I hope to be there in person but we will see what happens with some of the artists from outside Europe. Mazaher from Egypt, Sahib Pashasade Duo from Azerbaijan, Rangamatir Baul from India… Will they be able to perform in person? Hopefully, it would be really wonderful.
- Creative Europe (Already present in the previous edition of the newsletter)
Still open for some months. This document is a very good summary.
- Making Tracks, call of individual musicians (Already present in the previous edition of the newsletter)
For individual musicians. “This year, Making Tracks will select eight Fellows to take part in a UK residency and tour, held over one month from mid-October.” The deadline for applications is 19th July. For more info and applications, here.
- Arts Midwest Online Conference (in the previous edition of the newsletter it was announced the application call for artists)
The Arts Midwest’s Online Conference will take place from 17th to 22nd of September and it will be online. Read the interview above with Katie Ortman.
Afro Pepites arts market opens the call for artists until 31st of September (Already present in the previous edition of the newsletter)
This call is open to artists from Africa, the Caribbean, Venezuela, Brazil, Colombia, Haiti, Jamaica, Cuba or any other artists inspired by Africa. The registration form is here.
MEET ME AT…
This will be my first time in Serbia. My Vigüela performed there in 2019, at the time when I was with Janusz Prusinowski Kompania and Manu Sabaté in Sori Festival in South Korea, and although I tried, I didn’t manage to clone myself. This time I will be able to share the festival with my much admired Bojan Djordjevic. Feel free to check the little interview that was published in October 2019 with him, here.
WHO WE ARE AND SISTER PROJECTS
Mapamundi Música is an agency of management and booking. Learn more here. Check our proposals at our website.
We also offer you our Mundofonías radio show, probably the leader about world music in Spanish language (on 50 stations in 18 countries). We produce the Transglobal World Music Chart with our partner Ángel Romero from WorldMusicCentral.com.
Feel free to request info if you wish. For further information about us, get in touch by email, telephone (+34 676 30 28 82), our website or at our Facebook.
This newsletter is open to sponsorship. Feel free to ask for details.
Hello! It is a pleasure to announce you the collaboration that has just started between Mapamundi Música and Medigrecian. 
The debate started on Friday, with the introduction of some of the partners of the project MMM. In the first picture, from left to right, Peter Van Rompaey from 
A few months ago Piero Cremaschi (muchas gracias, grazie mille) put me in touch with Eduardo Quezada to let me know about the work he is developing in Latin America with his LATMUS and Emprende Música LATAM projects. And I think it is very interesting to contribute to the dissemination of his work among the global community.
I’ve known David Sierra for a handful of years. He is one of the people who best knows the reality of my country in terms of booking artists in the styles we work with, and I believe that, to a large extent, our struggles are shared.
MM – Any particular advice for a fellow newcomer or someone who wants to get started in this field?
DS – In relation to this question, there are indeed a large number of people trying to make a name for themselves in the music industry. Another very interesting question we could discuss is whether we are really talking about artistic projects, that is, a project with its own entity, serious and of quality. In this case, I think the number would be considerably reduced, as there are fewer proposals that have that different, magical, special touch? In this sense, we could turn the question around and comment that there are also many other people who want to act as bookers or managers of these bands (friends or relatives of these artists, for example), who have little or nothing to do with the cultural industries.
Mundial Montreal, call of artists NEW
Making Tracks, call of individual musicians 
Performing Arts Discovery 2021 Showcase Application, by Western Arts Alliance – for artists from USA 
If you don’t know what I’m talking about, you can listen to the English version of the song I Want to See you as a Dancer, 
