Flash news: European Folk Network’s newsletter, 2nd edition
Brief news from the media, charts and sister projects
Talk with Sonja Heimann, from World Music Forum NL
Open Calls and Professional Events 💼
Meet me at ✈️
How are you? I hope for the best. In Spain today half the people are on Easter holidays. Hotel occupancy is expected to be close to pre-pandemic figures and in some cities close to 100% capacity. The Easter processions are a real spectacle, with people crowding the streets completely. If you get in the middle of one of the most popular processions in Madrid, you will have to stay until the procession is over because you can’t get in or out, there is no room for a single pin. This year there are finally no restrictions, so this custom will take place again, after two years in which it has not been possible. On 20 April the obligation to wear a mask indoors will be lifted. The feeling is almost normal now, although at present you don’t know what is going to come next. The news from Ukraine is still horrifying and I think we still don’t fully know how this is going to affect us in other countries. To make matters worse, our Prime Minister has contributed to further destabilisation by supporting Morocco’s proposal on Western Sahara, in a move that no one expected, not even in his own cabinet.
Where do we go from here? I do not know. But on this road, let’s try to build. I hope you find the contents of this edition interesting and, as always, feel free to send me ideas for future editions.
As always, if you have any news of interest for our community, let me know. Thank you very much for your attention.
FLASH NEWS: EUROPEAN FOLK NETWORK’S APRIL NEWSLETTER INCLUDES A BIO OF ŠABAN BAJRAMOVIĆ FROM ME
You can find a bio of him in many other places but this is a great excuse to recommend you to subscribe to the European Folk Network newsletter if you have not already done so. In the second edition there is even more content and I have had the pleasure of writing a short profile of Šaban Bajramović, a Serbian Roma artist who has been a milestone in the music of his region and continues to inspire artists from far away and who is a pleasure to listen to.
Check the 2nd edition here. And sign up, here. The newsletter is also open to contributions from non-members.
BRIEF NEWS FROM THE MEDIA, CHARTS AND SISTER PROJECTS
Mundofonías: our monthly favourites for April are the albums: Isabelle Courroy’s Confluence#2: Le chant des sources, Black Flower’s Magma and Gonora Sounds’ Hard times never kill
AND NOW THE FLOOR IS FOR: SONJA HEIMANN, FROM WORLD MUSIC FORUM NETHERLANDS
I met Sonja Heimann at WOMEX 2015, in Budapest. The World Music Forum Netherlands was planning a very ambitious project, the European World Music Monitor.
I found it very useful and I liked that people who had such a useful initiative, so it was a pleasure to participate, passing a survey to several contacts in my country, to collect concrete, quantitative data on how many people are involved in one way or another in working with world music.
I don’t think they found as much enthusiasm from all the people they asked to collaborate and the project was not concluded but I am sure it was very useful to sharpen the focus of their further efforts.
The European World Music Monitor project would be really interesting and useful if it can be taken up again in the future, by them or by some other organisation. To some extent, more recently the European Folk Network is developing a similar project, Mapping, oriented to folk music, which to some extent includes a good part of the musical manifestations that are considered world music. In any case, there is still a lot of work to be done and it is really very complex, as the reality of the different European countries is very different and the concepts are not understood in the same way in all cases.
But well, I’m going off on a tangent! Since then, contact with Sonja, and also with other people in her team, has been regular at fairs and other events.
As Sonja herself explains below, next autumn they will celebrate the 15th anniversary of this organisation and will face new challenges. I hope they will achieve everything they set out to do. In the meantime, let’s find out more from Sonja herself.
Thank you, Sonja!
Mapamundi Música: Why was the WMFNL born? What were your objectives?
Sonja Heimann: World Music Forum NL was actually born in the summer of 2006 as a grass-roots – non governmental organisation because there was no actual organisation in the area of ‘world music’ in the Netherlands. Everyone was working on its own without any kind network or collaboration. A strong need was felt to join forces and strengthen the sector making world music visible amongst other genres like pop, classical, jazz, and contemporary music. Moreover there was an urge for acknowledgement, sence of pride and advocacy. At the time we formulated concrete goals:
1) regular network meetings to connect and stimulate collaboration;
2) research to present facts and figures proving the relevance and value of our sector;
3) conferences and expert meetings to advance development on key topics like music-archives, marketing – strategic scenario thinking, music-education, broadening the scope of stages;
4) collective national and international promotion at Womex;
5) online platform;
6) Dutch World Music Award;
7) media outlets: Beyond Magazine – resulting in current online Mixedworldmusic.com;
8) recognition by Dutch policymakers and a paragraph on world music in the Dutch cultural policyplan (‘Cultuurplan’);
9) promotional samplers;
10) a Dutch world directory to connect stakeholders in the Dutch world scene.
MM: What resources did you have when you started?
SH: At the very beginning we had no financial- but lots of human resources at our disposal with strong believes in our mission & goals. First of all we initiated a tight and enthusiastic team representing the eco-system of the Dutch worldscene in its broadest sense. Thus World Music Forum NL was founded by a polyphonic bunch of musicians, promotors, journalists, festival- and venue programmers (until today our Advisery Board consists of an identical mix). This grassroots approach enabled us to work on the basis of solidarity and goodwill.
The Tropentheater in Amsterdam was so kind to host our World Blend Cafés during the first five years. ‘World Blend Café’ is like a mini-Womex. An informal network meeting consisting of a buffet, panel-discussion, several pitches, showcase and live dj-session in one. Over the years we have hosted over 100 WBCafe sessions, many new matches and initiatives were born here.
👉 The next World Blend Café is announced for June 24th, in Rotterdam. More information, here.
MM: What is the legal form of the organisation? SH: WMF NL is a foundation. Up to now membership was free for all. To stimulate accessibility anyone interested could visit our network meetings without any charge. However for the near future we will ask more commitment from our field with payed membership.
MM: There are quite a few of you, but according to what you say on the website, most of the activities are carried out by volunteers. Even so, you have some expenses, such as the website, the presence in fairs, the logistic costs of the World Blend Cafe, don’t you? How do you cover your financial needs? You have some support, such as Buma Cultuur and Fonds Podium Kunsten. Do you also have contributions from your members or do you offer any product or service as well, from which you get any return?
SH: Gradually over the years we have managed to get acknowledgement and support from two Dutch rights organisations: Buma Cultuur and Sena Performers.
Concerning international activities like Womex we receive additional funding by the Dutch government through its Dutch Performing Arts Fund and local Dutch Embassy’s as well.
Up to now we have tried to keep the network accessible for all without any costs. Organisations and individual musicians only contributed for some limited services, such as a personal page in our Dutch World Directory. However since we are dealing with receding funding we need to safeguard continuity and support by the stakeholders. Therefore we need to introduce a paid membership system in the coming year.
MM: Can you explain a bit more about “Kweekvijver”?
SH: This word actually means ‘breeding ground’ or ‘spawning pool’. Creating opportunities for new initiatives belongs to our main objectives, especially in the informal setting of our World Blend Cafés. Not only by staging young bands but also by offering a platform for ‘3-minute pitches’ from people who look for collaboration and connection. At an average of four /five sessions a year these network meetings are hosted in relevant venues spread around the main cities like Amsterdam, Utrecht and Rotterdam to connect as many members as possible.
MM: You have several Spotlight artists on the website, but the latest edition is 2019-2020. Are you going to do it again? If so, how do you decide who these artists are?
SH: Indeed our spotlight artists represent the tip of the iceberg of new exciting initiatives and talent with international appeal. And yes we will continue to present new Spotlights. Unfortunately due to Covid-19 we had to skip the last two years. A jury consisting of experienced programmers will present their new list of hand-picked spotlight artists around WOMEX 2022.
Mehmet Polat & Embracing Colours, Dr. Jordan Institute and Magda Mendes are the latest artists who have been selected for the Spotlight. In the video below, Mehmet Polat & Embracing Colours play Dancing Statues:
MM: What are you working on now and in the medium term?
SH: Currently we are looking for ways to get our scene back on its feet while trying to recover from the pandemic. Especially in difficult times it is essential to meet colleagues, exchange insights and possibilities for collaborations. At medium term both media attention and audience reach are very high on our agenda.
Other urgent issues: musical education, talent development, music archives, involving younger generations, internationalisation, sustainability, signalling current trends and developments like hybridisation.
Autumn 2022 we celebrate our 15th anniversary with a conference and several showcases. Some of the above-mentioned issues will be addressed as well.
Vital future point of attention is the search for extra financing to ensure the continuity of our World Music Forum NL. Largely depending on goodwill and limited contributions we shall need a more solid ground.
This is the crowdy stand of the WMFNL in a pre-pandemic WOMEX:
MM: What would you highlight as the main achievements of WMF NL during the years you’ve been working?
SH: We have been able to map out a network of around 3000 contacts of organisations and individuals involved in the Dutch world music scene, probably just the tip of another iceberg.
Firstly we are proud of having the acknowledgement by our governmental institutions being a solid grassroots platform for the worldmusic scene in the Netherlands. We have reached most of our goals with very limited financial means, however now it is time to make our platform future-proof.
Second highlight is the on-going success of our World Blend Cafés. Since 2006 when social media put human relationships upside down, these blend-meetings functioned as an alternative face-to-face book. Therefore we are proud to discover how this way of warm instead of cold networking inspires many other initiatives, has been adapted both at home and abroad. We take this as a compliment.
MM: Do you want to explain anything else?
SH: Yes! First of all, I would like to refer to your introduction – and the paused European World Music Monitor project. Perhaps it was too ambitious at the time. But let’s see if the near future the European world music scene will bring an opportunity to join forces to quantify collective facts and figures. Indeed it would be great if we this idea could be integrated by EFN’s mapping, and would really be a helpful tool to profile our sector on a bigger scale.
Secondly, one of the most interesting and unique qualities of Dutch World Music is its geographic and cultural history which shaped its musical identity. Imagine: the river Rhine is to the Netherlands what the Mississippi is to New Orleans. In these ‘nether’/‘low’lands- actually the delta of Western Europe- multiple streams of cultural influences have both come down the river and in from the sea. From all over of Europe but since the 17th century from its maritime and colonial links with Africa, Asia and the Americas. During the last 100 years political and economic changes led to lots of new influxes of migrants. This added hybrid legacy now multicolours our contempory music world, echoing a dynamic music ecosystem called Dutch Delta Sounds. Think of Altin Gün, Amsterdam Klezmer Band, Arifa, Boi Akih, Cabocuba Jazz, Jungle by Night, Karsu and many more to come. Check our Spotlight artists overhere and … stay tuned!
In this picture below, Sonja Heimann is with Stan Rijven, who is also a key member of the WMFNL:
Credits:
Logo and cover of the dutch world directory 2020, from the website.
Pictures of Sonja by Arkady Mitnik.
Picture of the stand in WOMEX, by Eric van Nieuwland.
Do you have a call of interest for our community that you want to share? Let me know asap
OPEN CALLS AND PROFESSIONAL EVENTS
If you have anything to share in this section in a future edition, let me know.
Visa for Music, call for proposals open. This festival and professional market will take place in Rabat from 16th to 19th of November. Application form, here. “The festival’s stage features emerging artists from the African and Middle Eastern music scene and renowned artists for the enjoyment of our passionate audiences.” “This call is addressed to artists/groups, of all musical styles, valuing the music of Morocco, Africa, the Middle East and the World.” Application open until April 30th.
MusicAire (An Innovative Recovery for Europe). – FOR THE EUROPEAN UNION AND COUNTRIES INCLUDED IN CREATIVE EUROPE – The deadline has been postponed to 25th April. Learn more here.
Mobility grants to book Spanish artists, by Acción Cultural Española. The dates and conditions for this grants have been dramatically enhanced. The official information is here.
Andrea Parodi Prize competition. The subscription (for free) for the 15th edition of the contest is open until May 31st, here.
Folk Alliance International annual conference. Hybrid event. 18th-22nd May. More info, here. Registration is open, both for the in person and for the only online categories, here. My Vigüela are part of the official selection and they will participate with a new online showcase.
MEET ME AT
My travel plans are still fairly quiet but I will have the pleasure of returning to Zurich for the Mediterranean Music Festival, run by the fabulous Alkis Zopoglou, on 15 May, where I will be with Vigüela and also dancing jota, fandango and seguidilla with folk dance teacher Miguel Ángel Montesinos, director of the Caldo de Pésoles school. If you are interested in the traditional dances of Spain, he has an impressive online school, but for now, only in Spanish.
I will be visiting Brussels in June, but I will announce it later.
And if nothing prevents it, of course, WOMEX, which goes without saying. If you haven’t seen it, I invite you to watch the video of the Ukrainian Hudaki Village Band’s showcase there last year and read the band’s message in the video description.
Flash news: the European Folk Network begins a monthly newsletter
Brief news from the media, charts and sister projects
Talk with Eric Van Monckhoven, from Music4You
Open Calls and Professional Events 💼
How are you?
My smiling picture in the sun with the blue sky usually starts this letter every month. But today we have woken up in Alcorcón and in many areas of Spain, with a heavy haze of dust (see an example here) that has covered the surfaces with an ochre tone. Neither the sun nor the clouds are visible. The sky has a dirty grey colour, as if the sky itself wanted to remind us of other dirty skies, dirty with smoke and dust, at the other end of Europe. But here it is only haze. In a couple of days it will pass and, with luck, the rain will wash the dust away. But how long will it take for those other skies to recover their blue?
The world has become very ugly between the previous letter and this one. In addition to the pain of the violence, the uncertainty for those of us with an international approach to our work has increased even more, on top of the still complicated pandemic situation. It is hard to keep faith that your efforts will bear any fruit. Last October, Hudaki Village Band crossed Europe, from the Ukrainian Carpathian to Oporto, to perform at WOMEX. It was an achievement they were thrilled about. In the last few days, I occasionally hear back from Yuri. In their remote, rural village, they have not been attacked so far, but they are busy helping those escaping from other regions. How long can they hold out? Hopefully this will be over soon.
I hope you find this letter useful. Thank you very much for your attention.
As always, if you have any news of interest for our community, let me know. Thank you very much for your attention.
FLASH NEWS: THE EUROPEAN FOLK NETWORK BEGINS A MONTHLY NEWSLETTER
The European Folk Network has started a monthly newsletter, to serve as a loudspeaker for news from its members and to contribute to the conversation about the work of the artists who fall within its scope: arts of tradition currently practised in Europe in their diverse forms and origins.
The first edition is available on the website and it included news from several of its members (10th edition of the Festival Eurofonik, open call of the Italian magazine Lineatrad, open call of WOMEX, new CD with Izvika singing, from southwestern Serbia (by World Music Asocijacija Srbije) and the announcement of the 1st North Atlantic Song Convention 2022), the featured member Mr. Geoff Cripps; the featured artist is Ms. Norma Waterson and three special contents: a recap of VONK festival and Showcase, a panoramic view on the Calabrian Tarantella and our statement about the invasion of Ukraine.
There is a way to participate, whether you are a member or not, in the special sections, that can be, for instance, an interview with someone from an institution that is not a member or a thematic article by a guest writer or anything that can appear and be considered as interesting for the scope of the EFN. If you’d like to share any content, contact them in advance in efneditors@gmail.com
Registration is free of charge by filling in this form.
BRIEF NEWS FROM THE MEDIA, CHARTS AND SISTER PROJECTS
Mundofonías: our monthly favourites for March are the albums: Alrededor de la húmisha: La música de los conjuntos típicos amazónicos de Perú [V.A.],Dobranotch’s Zay freyleikh! and Divanhana’s Zavrzlama.
AND NOW THE FLOOR IS FOR: ERIC E. VAN MONCKHOVEN
I have a more serious picture of Eric but I found this one on his Facebook profile and I loved it. He gave me permission to use it.
This is not the first time Eric has appeared here. He already told us about his World Music Lab Italy initiative in this issue and he also provided me with an interview with Alex Walter, director of WOMEX, which he published in Italian and I published Eric’s translation in this issue. I really like his generosity and his willingness to go one step further.
We are both currently members of the board of the European Folk Network and in this context we are in frequent contact.
But this time I called him as the director of Music4You, his booking agency. Click on the logo to learn more about his work, so you will have a better background before reading the interview.
Thank you, Eric!
Mapamundi Música: Which is your background, what made you become an agent for world music artists? I also want to know what made you move from Belgium to Italy.
Eric Van Monckhoven: I am not someone who used to be in the music industry. I worked for 25 years as a capacity builder, eco-social project designer, startupper, and grant writer/fundraiser for grassroots organizations, local communities, and NGOs in various parts of the world, including Europe, the Mediterranean, Africa, and eventually Indonesia and Brazil. I also had a passion for cultural diversity. This is what brought me to music.
At the beginning of the 1980s, while studying social economy and social communication in Paris, I started with some friends a live music club for ethnic minorities living in the city. They needed a place to rehearse and express their musical, artistic, and cultural heritage and creativity. We had exciting concert series presenting music from Central and South America, Africa, Asia, the Balkans, but also local folk music from Brittany, Occitania, Ireland, and Quebec. Then I helped a musician friend from Quebec to create and develop a project on Native American music. Soon I realized that I could help other music artists walk their own paths.
In 2005, while living in Finland, I started to work as a cultural producer, and in 2007, I set up Music4You to offer PR and booking services to various artists and bands of world, folk, and roots music.
Then, I met my wife, and I moved back to Italy where I had worked some years as a consultant in social project management. She is from Modica, in Sicily.
Northern Resonance is one of the groups Eric works with from Music4You. They were performing at the last edition of WOMEX and I have chosen them because Eric told me how happy he was with the result of the showcase and the feedback he received. I hope their music accompanies you as you read on.
Mapamundi Música: 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?
EVM: To me, a booking agent is a facilitator who helps build bridges between the artist (or the management) and the venues/festivals (or/and the audience) to provide the artist with gig opportunities and live music income streams. In this context, networking and project management are important, as they deal with processes, plans, and operations. Then, there is a lot of work understanding the value of the artistic proposals and communicating it to the right people, at the right moment, through the right channel at the right time. One needs to know how branding and marketing are working – as well as sales of course.
Mapamundi Música: Apart from that or those skills, which other do you think are essential to succeed in this field of work?
EVM: Listening to all parties and knowing their needs is important too, And trying to be smart, patient, passionate, flexible, honest, transparent, plus a good sense of humor never hurts.
Mapamundi Música: Any particular advice for a fellow newcomer or someone who wants to get started in this field?
EVM: If you are looking for an easy job, pass your way and look for other opportunities. However, if you really think that this is your dream job, I would suggest starting by working in other positions within the music, cultural or creative industry – to learn how things are really working (or not working), and build connections and relationships. Never promise anything to the artists unless you are 100 % sure.
Because you will invest time, knowledge, competencies, relationships, and money, and take multiple risks – in a market that is in constant evolution, often unstable, saturated, and full of uncertainties, you do not want to work with any artist. If there is no real alchemy between the artist (or management) and the booker, it will be hard to put good work on. Things are already enough challenging in “normal” conditions. Start lean and smooth, try to understand the proposal you have and if it is “market-ready” and fits your network of venues/festivals. What I mean is the artist should have a minimum of history: followers, recordings, live gigs, and useful content you can use for promotion & marketing (video clips, live videos, etc.). It is always better if the artist has some management structure – being this internal or external.
The Belgian band WÖR is also in Music4You’s rooster.
Mapamundi Música: 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?
EVM: I am personally of the idea that artists should be the CEOs of their own businesses. I am interested to build working partnerships with such artists. In the past, artists were products of music companies. They did not control anything. Today, thanks to the Internet, artists can handle their careers themselves. And that is where they can make a difference. At a lower cost than music companies, they can record their albums, distribute them, promote them, build a lasting relationship with their audience, grow their fan base, etc. Why should they give up their assets to people who will rarely put a priority on them?
I see the artist as a personal brand in search of a supportive audience. The core business is not the music but the brand – a mix of tangible and intangible values that comes with the music but also many other features. This is the new frontier of the artist or musician business. Run your projects like a startup company that puts the customer at the center of the business, and build alliances with other small business owners (like me for instance) for specific tasks. Build a “circle of trust” (including super fans, professionals, and media people) around your music and brand. Capture multiple revenue streams. This is where building a strategy for the long term starts.
Most of the artists who are contacting me are still living in the 20th century. They have no idea how the music industry works today, and what means to be an artist in the digital age. They are thousands of music talents out there in the world. This kind of talent is not enough to succeed. Artists who succeed are those who become entrepreneurs of their own careers. They start cultivating other talents to make their career sustainable and resilient. They take responsibility and act. They look for guidance and training to move their operations to the next level. They do not wait to find someone with the magic stick who will make them successful. I would love to have a magic stick. But unfortunately, I have not found it yet.
I of course listen to the artists who are contacting me and try to be clear where I stand and where they should/could stand. I need to have the big picture of who they are and where they want to go. Most of them are not market-ready – I mean for the market I am working with. So I offer them some guidance, and if I see them do something with it, I am ready to walk a step forward. But they should understand that I am already very busy with the artists I am collaborating with. I am a sole entrepreneur and cannot take them all. I am only a piece of the ecosystem.
Mapamundi Música: 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 for an agent?
EVM: I think it makes sense to look for people with whom to collaborate – as an artist and manager of your own career. To succeed you need many skills and competencies. If you are not that good at something, you can look for people to hire for that specific job. On the basis of the results, you will decide if to go on with it or not.
When it comes to labels, booking agents, managers, etc., I would say to the artist: do not look for them but build your career to the point where they are pounding down your door begging to work with you. At that point, you will be able to decide to go on your own, or sign. But ask for the advice of a professional or experienced colleague to read the contract. In this position, you will get a better deal. Contract terms can always be discussed and negotiated.
My point is that if you want to have a career in music and pay your bill at the end of the month, as with any other business in the world, you have to work for it. Agents mostly want acts that are proven, have a fan base and are making things happen on their own. There are exceptions of course. But exceptions are not the rule.
How could we explain briefly which is the value we, the agents, provide to the value chain?
I believe there are many different kinds of agents. One should be clear about what he can offer to both the artists and the venues. I think that as agents we are in a position where we can do a lot to educate both sides. Especially because we are working in a niche market and our products are specific.
Mapamundi Música: Is there any difference in the work of an agent like you, when working in the market of Belgium than of Italy? If so, which one/s and how to deal with it/them?
EVM: I am from Belgium and I am based in Italy. I am not that familiar with the Italian market, however, which I find very hard to read, understand and navigate. The audience is fantastic, but the live music ecosystem is very complicated. Belgium is interesting and very diverse. There is a real interest in folk/world music, especially in Flanders, and there are many venues and festivals for such a small country. To be honest I am not specialized in any territory. My network of contacts is international. Because I am most of the time working with musical acts that are little known, my focus is on equipping them with a CV and the tools or strategy that will help them be more attractive to other agents -who are more specialized in specific territories. It is a lot of work. But I am not complaining. I like it, and I am also developing other activities or other ways to look at my profession. In that way I think it is clearer for people if I tell them I am not working that much as a booking agent but more as a free-lance music export manager. I know how the music ecosystem for the world/folk music artists is working in various countries, like Italy, France, Benelux, Scandinavia, and Canada for instance, and who the players are. Those ecosystems are quite diverse, and it is a plus to know how they work.
Mapamundi Música: Do you have any future plans that are especially thrilling for you and that you can share with us? (related to your work as an agent)
EVM: Because many artists I meet need capacity building and education in non-artistic matters, like identifying their niche, building a personal brand, growing their online presence, creating a fan base, defining their marketing mix, etc. I created a training package on such topics. The idea is to provide them with inputs so they can strengthen the foundation to boost their careers and start build a business model that works for them. A business model is not good or bad. It is a tool that can help them visualise and organise the work to put forward to reach a scope. Business modeling is not a waste of time, and it can be fun too. There is a growing number of artists who are handling their careers as cultural and social entrepreneurs and are successful with making a living.
Mapamundi Música: 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.
EVM: For me, music is an instrument of peace and healing. World and folk music are living expressions of human diversity and richness. Music that is rooted in a culture, a territory, a community has the power to connect and reconnect us with nature, the people around us, the deep, and the ancient.
Mapamundi Música: Do you want to tell us anything else?
If you have anything to share in this section in a future edition, let me know.
Visa for Music, call for proposals open. NEW. This festival and professional market will take place in Rabat from 16th to 19th of November. Application form, here. “The festival’s stage features emerging artists from the African and Middle Eastern music scene and renowned artists for the enjoyment of our passionate audiences.” “This call is addressed to artists/groups, of all musical styles, valuing the music of Morocco, Africa, the Middle East and the World.”
WOMEX, call for proposals open. DEADLINE NEXT FRIDAY! The expo will take place in Lisbon, Portugal, from 19 and 23 of October. The call is open until Friday 18th March, for conferences, showcase, club summit and films. The submission site is here.
Mundial Montréal. Deadline for the call for artists extended until April 1st. The 12th edition will take place in Montréal, Canada, from 15th to 18th of November. The submission form is here.
MusicAire (An Innovative Recovery for Europe). – FOR THE EUROPEAN UNION AND COUNTRIES INCLUDED IN CREATIVE EUROPE – The deadline is on 28th of March. Learn more here.
Mobility grants to book Spanish artists, by Acción Cultural Española. The dates and conditions for this grants have been dramatically enhanced. The official information is here.
Andrea Parodi Prize competition. The subscription (for free) for the 15th edition of the contest is open until May 31st, here.
Folk Alliance International annual conference. Hybrid event. 18th-22nd May.More info, here. Registration is open, both for the in person and for the only online categories, here. My Vigüela are part of the official selection and they will participate with a new online showcase.
This newsletter is open to sponsorship. Feel free to ask for details.
Brief news from the media, charts and sister projects
Flash news: new batch of festivals & clubs in MOST Music + Mapamundi renews the collaboration with Reforesta
Talk with Sabina Schebrak, from Culture Works
Open Calls and Professional Events 💼 Many new ones!
Hello, how are you? I hope well! I am well. We got to complete the series of 3 concerts at the Museu de Oriente in Lisbon without further postponements (and with the intention of repeating it), with the concert by the Afghan master Daud Khan on 4th of February, Vigüela is presenting the new album on the stages (by the way, you can listen to it here), some programmers are even considering to bring Hudaki Village Band to Spain next Summer…
Things are starting to move again even though the incidence of the covid remains high in some areas. And during the process of writting this, an artist collaboration of mine has told me he has just known the cancelation of a concert he had for May… But WOMEX, Mundial Montréal and some others have opened their calls for proposals recently. And colleagues, like our protagonist of today, Sabina Schebrak, are daring to organise tours. I hope she succeeds! You will find below more information about the specific tour I mention. I hope you enjoy getting to know her better and that you find the news and call useful.
As always, if you have any news of interest for our community, let me know. Thank you very much for your attention.
Araceli Tzigane | Mapamundi Música
Do you want to share any useful experience or call relevant for our community of the world musics? Let me know.
Mundofonías: our monthly favourites for February are the albums: Choduraa Tumat’s Byzaanchy, Kreiz Breizh Akademi #8’s Ba’n dañs and Vigüela’s A la manera artesana.
FLASH NEWS: NEW BATCH OF FESTIVALS & CLUBS IN MOST MUSIC
On many occasions I have echoed MOST Music news here and I do it again. For several reasons. It is a very ambitious and interesting project that is worth following in itself, and it is also giving visibility to artists, festivals and other organisations that I find useful to know about.
Yesterday they released the list of winners of the festival and club exchange programme, who are:
ARTE Feastival (Bulgaria)
Balkan Trafik Festival (Belgium)
Bánkitó Fesztivál (Hungary)
ESTAM World Music Festival (Serbia)
The Festival of Street Performers (Albania) DoArt
Gardens of Sounds/ Festiwal Muzyki Świata Ogrody Dźwięków (Poland)
Globaltica (Poland)
Goulash Disko (Croatia)
Haapavesi Folk Music Festival (Finland)
Kvaka 22 (Serbia) club
Lokum Fest Bitola (North Macedonia)
Music in Village – Estensioni (Italy)
Old Town Street Fest Mostar (Bosnia and Herzegovina)
Resonator (Denmark)
Festival Șaraimanic World la Brezoi (Romania)
Sargfabrik (Austria) club
Špancirfest (Croatia)
Tivat World Festival (Montenegro)
Trefpunt (Belgium)
Viljandi pärimusmuusika festival / Viljandi Folk Music Festival (Estonia)
I hope it will ease their path towards achieving their goals.
FLASH NEWS: MAPAMUNDI MÚSICA
Mapamundi Música reiterates its collaboration with Reforesta, for the second consecutive year. Reforesta is a non-profit association founded in 1991 and declared of Public Utility. It is dedicated to the promotion of sustainable development, especially through actions for the recovery of native vegetation and the fight against desertification.
Thus, part of Mapamundi’s profit from the sale of concerts will be dedicated to reforestation of forests, which improve air quality, absorb CO2, protect the soil, provide products and food, and are home to thousands of species of plants, fungi and animals.
AND NOW THE FLOOR IS FOR: SABINA SCHEBRAK
It is impossible to look at her face and not feel overwhelming sympathy. She is Sabina Schebrak, founder & owner at CultureWorks, an essential figure in the European music landscape.
Sabina is a Tyrolean lady who loves the snow and the sun and the music. She speaks German, English, Spanish, Portuguese, Italian… She is also an experienced agent with very good taste, who works with some of the most important artists of the last decades, such as Riccardo Tesi, Renato Borghetti or Maria Kalaniemi. Yes, on top of everything else, I share with her a love for the accordion. By the way, if you are in France next week, her Portuguese accordion quartet Danças Ocultas will be performing in Paris (23rd), Metz (24th) and Bordeaux (25th).
I invite you to visit her website before starting the interview, as it will provide some context as to where Sabina is at the moment professionally. Click on the logo:
Thank you, Sabina!
Mapamundi Música: Which is your background, what made you become an agent for world music artists?
Sabina Schebrak: Probably I am a typical Austrian, more specifically Tyrolean: Grown up with a lot of classical music and a family background outside the current borders of the country (grandparents from what today is Northern Italy and Slovenia). I have always felt I belonged to this wider cultural space on the crossroads between the alpine, romanic and slavic world, and I have always had a strong interest for languages, travelling, music and the stories behind it.
When I was young I hated the local alpine Tyrolean folk music as perverted through the Nazis first and then through mass tourism, so my first musical heroes were Italian cantautori such as Fabrizio de Andre and Francesco Guccini, Pino Daniele and Gianna Nannini. I loved Juliette Greco, Georges Brassens, Renaud, Victor Jara, Luis Llach, Maria Farantouri, Mikis Theodorakis and Astor Piazzolla, then I discovered Al di Meola, Chick Corea, Barbara Thompson and Keith Jarrett.
As a young language student in Innsbruck I literally fell in love with a group of street musicians from Sicily – this was my first real encounter with what later on would be called world music or “nouveau trad”, and I became their friend and first agent for Austria (still at a time without internet!).
For 15 years I worked as director of communication and international relations at WUK, a big multidisciplinary cultural center and venue in Vienna, and during that time I became a passionate international networker and curator/organizer of international exchange projects.
When I finally met Brazilian accordionist Renato Borghetti at my last festival in 2000, I was so blown away that I decided to quit the job, follow my real passion and set up my own agency for exquisite sounds from the borderlands between contemporary folk, jazz and chamber music.
So the world owes Sabina’s decision to quit her job and open her own agency to Renato Borghetti. I think he deserves a few minutes of Renato’s time here.
Mapamundi Música: 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?
SS: My knowledge of languages, my own musical education and experience (I was a passionate choir singer and co-founded one of the craziest choirs in Vienna), my experience as a networker and international communication and project manager, my experience as a teacher and tourist guide. And I love driving and travelling in general.
– The choir that Sabina mentions is Jedweder Küchenchor. I haven’t found any video where she appears singing but you can watch a video of them here, made on the occasion of their 20th anniversary. –
Mapamundi Música: Apart from that or those skills, which other do you think are essential to succeed in this field of work?
SS: First of all you have to love the music you sell and the people who make it. As a person you have to be a paradox mix of very structured and organized and at the same time crazy enough to party with your artists, crew and promoters 😊 You need a lot of patience, endurance, enthusiasm and conviction about your artists’ quality, even in the face of negative or no answers at all. Do not be afraid to get in touch with people you do not know. You better have a big reserve of good humour when dealing with artists as well as promoters.
Mapamundi Música: Any particular advice for a fellow newcomer or someone who wants to get started in this field?
SS: Don’t work with artists whose music you do not really love, you won’t be able to sell it. Better start parallel to another job that allows you to pay your bills, if you are not extremely lucky you will not be able to make a living as a booking agent right from the beginning. Do not dream of working with somebody just for the good money – or switch your musical genre towards mainstream pop. Beware of super-ego artists who make you feel their secretary or personal assistant. Be clear and transparent about your own conditions right from the beginning.
Mapamundi Música: 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?
SS: Oh yes! Dear artists, please check my website and artistic agency profile before you get in touch with me (No, I am not interested in Heavy Metal Bands). And do this only by email, I will not react to long messages on Whatsapp, SMS, Messenger & co which I consider private channels for people I know.
Mapamundi Música: 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 for an agent?
SS: Difficult question. In twenty years this has happened once – I liked the album the band sent me but then it still took some years until we really started working together. Usually I prefer to discover my artists on some live occasion such as concerts or festivals, or on recommendation of people I trust. I think that young newcomers should do their own bookings at least for some time, this will make them understand the job, and they won’t have to share the fee with an agent. If the project is good enough the day will come when somebody approaches them actively, which in my opinion is far better than losing time running after people you do not know. Better develop your self marketing strategies and continue working – no matter with or without agent. And we all know that the scenario is quite the opposite with well known artists, if they approach you as their eventual agent you will feel honoured and try to make the deal (always depending on whether you like the music and what you have heard about them from your colleagues).
Mapamundi Música: I think there will still be, 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.
SS: I do think our business is interesting but we are working in a small niche, probably one of those with the smallest budgets of the whole music business. You have to be a passionate aficionado to work as a world music agent, and it seems there are not so many of them 😊
Mapamundi Música: How could we explain briefly which is the value we, the agents, provide to the value chain?
SS: We are the ones who lubricate the channels and in the best case make life easier for artists as well as promoters – we structure chaotic promotion material, deliver it on time, deal with the administrative needs of both sides, we know the people and their tastes in specific territories and know what to propose to whom, we have the overview of scheduled dates and can add more, thus increasing the artist’s revenue and at the same time reducing the costs for the promoters. And of course we are nice people creating a positive working climate 😊.
Mapamundi Música: Do you have any future plans that are especially thrilling for you and that you can share with us? (related to your work as an agent)
SS: My most thrilling plan at this moment are three upcoming concerts of my Portuguese accordion quatuor Danças Ocultas in France at the end of February – if they really happen and the French audience decide to attend and leave their black COVID hole I will offer champagne for the whole team!!!
I hope these guys of Danças Ocultas will make a toast with Sabina next week! 🥂
Mapamundi Música: 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.
SS: This is the music that touches my heart as well as my brain, it opens up the world to me and at the same time makes me think about my own cultural identity.
Do you have a call of interest for our community that you want to share? Let me know asap
OPEN CALLS AND PROFESSIONAL EVENTS
If you have anything to share in this section in a future edition, let me know.
WOMEX, call for proposals open. NEW.
The expo will take place in Lisbon, Portugal, from 19 and 23 of October. The call is open until Friday 18th March, for conferences, showcase, club summit and films. The submission site is here.
Mundial Montréal. NEW.
The 12th edition will take place in Montréal, Canada, from 15th to 18th of November. Call for artists for the 2022 edition of Mundial Montréal is open until March 15th. The submission form is here.
MusicAire (An Innovative Recovery for Europe). NEW. – FOR THE EUROPEAN UNION AND COUNTRIES INCLUDED IN CREATIVE EUROPE
“MusicAIRE offers small grants for music organisations for projects focusing on the green, digital or just and resilient recovery of the music sector.” “In order to be eligible, proposals must be presented by a single applicant must be a public or private organisation with legal personality, e.g. not-for-profit organisations; public authorities (national, regional, local); international organisations; profit-making entities, established in one of the 27 EU member states or non-EU countries participating in the Creative Europe programme.” The deadline is on 28th of March. Learn more here.
MOST Open Call for Urban Projects. NEW. – FOR SOUTH EAST EUROPE –
The call is open until March 15th. “As part of the large-scale MOST project, the Urban Project Hub is looking for creative and unique projects to add colour to local cultural scenes, and connect the music sector and cities. In a bit more detail, ideas that are city-level or regional, provide exchange or networking opportunities for local musicians, provide activities that can strengthen the local music scene will be considered for funding. Selected applicants will have to pair up with a local policymaker.” The submission site is here.
EXIB Música. NEW. – FOR IBEROAMERICAN ARTISTS –
The call is open until February 21st. This is the site for the submissions. The 8th edition of this meeting will take place in Setubal, Portugal, from 13th to 15th of October.
Mobility grants to book Spanish artists, by Acción Cultural Española.
The dates and conditions for this grants have been dramatically enhanced. The official information is here.
The subscription (for free) for the 15th edition of the contest is open until May 31st, here.
Folk Alliance International annual conference. Hybrid event. 18th-22nd May.
More info, here. Registration is open, both for the in person and for the only online categories, here. My Vigüela are part of the official selection and they will participate with a new online showcase.
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.
Brief news from the media, charts and sister projects
Talk with Kaushik Dutta, from MusicConnect Asia
Talk with Dušan Svíba, from Earth Music and Colour Meeting Festival
Open Calls and Professional Events ?
Meet me at…
Hello, how are you? I hope well! Happy 2022! I am well. The tour Klangkosmos by Jako el Muzikante is going on well, today it will be the forth concert. I am working for the promotion of the new album by Vigüela, to be released on day 28th and presented live in Madrid (February 1st) and Toledo (March 25). Despite the fact that the incidence of covid in Spain is rampant, I remain healthy.
Today I share with you two long and extremely interesting interviews. And I am sure that the end of the pandemic is just around the corner. What more can I ask for! I hope this email finds you in a good mood too. Enjoy the content.
As always, if you have any news of interest for our community, let me know. Thank you very much for your attention.
Araceli Tzigane | Mapamundi Música
Do you want to share any useful experience or call relevant for our community of the world musics? Let me know.
FLASH NEWS: MUSIC BEFORE SHABBAT HAS NOW SURPASSED 100 EDITIONS
Music Before Shabbat is a weekly bulletin and a website, dedicated to the music from the various cultural branches of the Jewish people, contextualized with info about the artists, places and other relevant data.
Since 24 January 2020, a new edition of Music Before Shabbat has been published every Friday. Only one week during this time the Friday email did not go out, because I had to undergo emergency surgery. Last Friday the 102nd edition was sent out.
With Music Before Shabbat, through music, we learn about history, places and stories. As well as being sent by email to subscribers, each edition is published on the website MusicBeforeShabbat.com.
Mundofonías: our monthly favourites for January are the albums:Hoven Droven’s Trad, Assafir’s Digressions / Parekvasis and Ruşan Filiztek’s Sans souci
The Balkan World Music Chart released the last chart of 2021. #1 is Xhanthoula Dakovanou’s Lamenta.
AND NOW THE FLOOR IS FOR: KAUSHIK DUTTA
I have to confess that as I was editing this questionnaire with Kaushik’s answers, I felt I was talking about two lives or more. Such is the number of activities Kaushik recounts in these lines, each one more fascinating than the last. I hope this piques your curiosity because it’s really worth it.
Kaushik Dutta presents himself as Founder and President of MusiConnect Asia, Vice President of Glommnet and Founder CEO of Song of Soul / SOS Productions. The next lines will fill with content and meaning this list of functions… and much more.
SPOILER: the Asia Music Summit is planned for 24-28 of February. Kaushik explains this further in his answers.
Thank you, Mr. Dutta!
Mapamundi Música: Before entering into the current activities of MusicConnect Asia, please, could you explain to me which is your background? Why are you working with music? What brought you to the current moment of your professional life?
Kaushik Dutta: Music has always been my passion and I have grown with it. I started learning different musical instruments at a very early age but later on restricted my focus only on string instruments. During this time, I started listening to music of different kinds, starting from Indian classical, regional to the music of the west. Though in the sixties and seventies we had very little access to western music, radio was the only source for us. It was quite an overwhelming experience for me.
I stepped into the commercial music scenario in my thirties and gradually started receiving assignments. In the year 1985, I opened my own sound recording studio in Kolkata (erstwhile Calcutta) by the name ‘Sing–to-Live’ and started producing music. I have designed sound for ELAN (European Live Arts Network), scored music for innumerable dance theatre projects and conducted music symphony involving 400 children and 250 youths at the festival of joy in India. I have also composed for theatre, ad films, documentaries, and Bollywood feature films. Renowned Bollywood and international playback singers had lent their voice to my compositions. I have also worked as a composer and musician for a world-class multilingual British theater production. I have had the opportunity of touring extensively and performed at over 300 shows abroad. Besides conducting workshops for differently abled children and special needs schools, I have participated in many collaborative projects, including the jazz master class series organized by the National Arts Centre, Ottawa in collaboration with Manhattan School of Music. I was also invited as a visiting tutor at the London Roundhouse and Singapore Music Academy. In addition to this, I was a Judge for the Inter school drama competition and was also a workshop trainer for annual inter school drama festival both organized by the British Council. So, it’s been quite a journey for me and I cherished every bit of it.
You may have found Kaushik Dutta in some international event of world music but, were you aware of his career as a composer? You will find him in this video about a piece composed by him, Udd Jaa. And you can listen to the complete song, here.
Mapamundi Música: What brought you to the current moment of your professional life?
KD: While I was touring extensively I developed lot of international connections in the music industry and subsequently had the chance to meet many music professionals from around the globe. All my visits helped me in expanding my horizon and reach out to people whom otherwise I wouldn’t have met in my whole life.
By now I had a very clear understanding of the functionality of the global music industry and decided to contribute in my own way to the existing structure and develop a strong networking framework. This was a major turning point in my career as I have been successful in gaining trust and making a mark at the global level. I started receiving invitations from international events as a speaker, some of which are ‘Live Singapore’ a conference on performing arts (Singapore) ‘IOMMA’ (Indian Ocean Music Market, Reunion Island),’BWME’ (Borneo World Music Expo,Malaysia), ‘APAMM’ (Asia Pacific Music Market, South Korea), ‘Seoul Music Week (South Korea) ”MMVV’ (Mercat Musica Vive De Vic, Spain) , ‘Talinn Music Week’ (Estonia), ‘Showcase Scotland’ (Scotland), ‘Trans Asia Music Market’ (Okinawa), ‘Focus Galicia’ (Spain), ‘Visa for Music’ (Morocco), ‘WOMEX’, Musiconnect TransCanada (Canada), ACC world Music Festival, (South Korea) and Sharq Tarolanari Festival (Samarkand, Uzbekistan).
I was a jury member for Jazz in Seoul and was appointed as one of the Vice Presidents for GloMMnet (Global Music Market Network). Along with table maestro Zakir Husain I was appointed a judge for the 3rd Asia World Music Awards. Presently, I am the founder and acting President of MusiConnect Asia.
Mapamundi Música: In your Womex profile you still appear as founder of Song of Soul. What is this?
KD: Song of Soul was initiated by me and a group of young and energetic music lovers in the early of 1986. It is a non-profit organization and works primarily for the folk and traditional music community. We started organizing seminars, workshops, cultural programs, recording sessions and were engaged in multi various social activities. Song of Soul moved into the villages to know about the unknown and unnoticed musicians, their life, music and misery. Their histories are undocumented and the complex patterns of changes in song text, tunes and melodies, and rhythmic accompaniment as they pass from village to village and generation to generation make historical reconstruction extremely difficult.
“Song of Soul moved into the villages to know about the unknown and unnoticed musicians, their life, music and misery.”
We started travelling to villages to document this rich cultural expression. The experience has sometimes been painful, but in spite of that, the music and songs from their heart is so refreshingly melodious that encouraged us to delve more and take interest in research work. Interesting documentation has been done on forms moving towards extinct, like the BulBuli, Natua, Jhumur, Nachni, Pata Nach, Ghora Nach, Guba Naach, Dhaki and Chaau. Pung Chalam, Tusu , Jhumur, Bhatiali. The variety and intricacies in expression of these folklores that came out through such workshops have helped the rural artists to get a feel of the inner essence of such songs of the soil.National level workshops were conducted with musicians from different parts of the country as well. For a brief period of time folk artists from different corners of Bengal were recorded and filmed at the home recording studio of Song of Soul.
Along with all these Song of Soul makes a continuous effort to provide basic care and support to the rural artisans and focuses on imparting moral value education to the children of the folk musicians. We have launched Kolkata International Music Festival mostly to give a platform to these unknown forms and neglected genre of music. In the past six years the festival has supported more than 1700 distressed folk musicians of India and featured over 170 international musicians from 27 countries. This festival is probably the only festival in India that has covered more than eighty rare folk music and dance forms from all over India.
This is a video from Kaushik’s Youtube Channel with a recording from the Kolkata International Music Festival:
Mapamundi Música: About Musiconnect Asia, checking your website, there are some things about which I’d like you to elaborate a bit more. When you explain what MusicConnect Asia is, you say:
a. “Alliance with worldwide music festivals and music markets to facilitate artist exchange, residency, collaboration.” Could you explain what you are doing about this?KD: In terms of music and music industry Asia is huge, the continent has lot to offer to the rest of the world. Music of all forms and multiple genres has evolved from this region. From South Korea to India and from China to Japan, some of the world’s most ancient cultures are now producing its most modern music. Asia’s booming music scene doesn’t fit neatly in any box. It spans the spectrum — from classical, electronic to dance via R&B and hip-hop, all written with local flair and flavor. But where this is going? We are still way beyond penetrating the international market.
“For promoting the musicians working at the grass route level it is the need of the hour to create a strong networking system. And, this can only be possible through strong alliance and partnerships.”
For promoting the musicians working at the grass route level it is the need of the hour to create a strong networking system. And, this can only be possible through strong alliance and partnerships. The music fraternity is gaining more and more exposure through alliance and multiple opportunities. We are creating opportunities for musicians who are facing road blocks to travel beyond their limited boundaries. Of course, the past two years have not seen much of a development but we have initiated multiple online projects like the ‘Artist from Asia’ featuring bands from Asia, a collaborative venture between Australia and India, and South Korea, Nepal and India, workshops on digital monetization in Pakistan, Nepal and India. Featuring international bands at the Hidden Kingdom Music Festival, held in Bhutan. Featuring artists, managers, promoters, festival directors at the two virtual Asia Music Summit.We hope that we could do more when the situation eases up and start with the artist residency programme with Canada which is already on our cards. We have already signed two MOU’s with the Government of Mizoram and Nagaland (India) for ‘Artist Mobility’ and will turn this arrangement into multiple opportunities which will open up unsighted doors for the musicians. We are happy that we are already connected to international partners like Small World Music, Global Toronto, Music Works International, Cultural Connections Africa and Cultural Connections Latin America.
b. “MusiConnect Asia also envisages to create a touring network for the musicians, which will be beneficial for the touring band and the organizers.” With the current situation of the world, I think this is not possible nowadays but, what is your vision about this? How would this look if you reach your objectives related to this touring network?
KD: This is a very good question. The touring band always faces problem securing multiple concerts for themselves. Let me explain, when a band from Europe is invited to play for a stand-alone festival in any of the Asian countries it sometimes becomes less profitable for the travelling band. In most of the cases these bands search for multiple performance opportunities so that they could make substantial profit to sustain themselves for a few more days. But this is not easy. Moreover, after the pandemic many festivals are declining to cover the international travel cost and pushing the bands to a more complicated situation. The funding organizations also ask for a minimum of three concert deal. The process is arduous and back breaking.
We have already started creating a data base which will have useful information’s not only on festivals but also on local promoters, agents and musicians as well. Once we have substantial information’s with us we will create a touring calendar which will cover all the details of the festivals, concert venues region wise, thus enabling the musicians to draw up a tour plan. This will have a quid-pro-quo effect for both the promoters and the travelling band in terms of working out a workable budget. For instance, if three promoters from a particular region come together they can share the total cost and the band benefits by a package deal which will help them to earn extra money and play for a different set audience.
Mapamundi Música: How and why did it start?
KD: In the past ten years there has been a considerable growth of regional events. The regional events are really the new trend and they are answering to greater need now in the markets. People from the Asian music and arts industry are trying to act as catalyst to develop infrastructure at the Asian level. Unfortunately, their noble effort is becoming very regionalized. While many Asian artists have had broad regional and international careers, the world has had only a mere glimpse of the great Asian music in store. There is so much more to come, more to be discovered, so much waiting and worthy of breaking through.
“In a globalized world, where people and cultures are mixing and merging like never before, Asian music landscape is willfully ignored globally.”
In a globalized world, where people and cultures are mixing and merging like never before, Asian music landscape is willfully ignored globally. This is the reason why it is essential and need of the hour to set up an Asian Music Network and that is why we have taken up this initiative. The idea took off in 2017 at a music market in Okinawa and was subsequently launched in 2018.
Board members of MusicConnect Asia (January 2022):
Mapamundi Música: Which is the structure of MusiConnect Asia? Is it a registered organization?
KD: MusiConnect Asia is governed by a board consisting of seven members from India, Jordan, Pakistan, Malaysia, Uzbekistan, Japan and South Korea. We also have an advisory board and territory members responsible for individual territory. The board decides on the programming and activities. There will be more people joining our advisory board soon. The platform is registered under a separate organization.
Mapamundi Música: On the website, I see your address is in Jordan. If you are registered there, why did you guys choose this location?
KD: All of our activities are being monitored from India and Jordan. My colleague Lama who plays a very vital role also lives in Jordan. We have two office, one in Jordan and the other one is in India.
Mapamundi Música: Is the network open to more members? If so, what do they have to provide to the network? How can they apply?
KD: Yes, the network is open to all. They can join us as a general member and will be allowed to participate in our general meetings. We have a nominal joining fee for the general members. If anyone wish to be in charge of a territory they have to write to the board: musiconnectasia@gmail.com
Mapamundi Música: On the website you have a section of Playlist, with videos and audios of several artists. I think this is just the beginning. Do you have any plan of doing a catalog of artists on this web page? If not, what is the plan for this section? I think this is a relevant question because you guys, the board and all the members, are renowned professionals, so I think the artists who are and will be on your website have a kind of quality seal, am I right? Another option would be to create a kind of totally inclusive catalog. Please, explain what the plan is.
KD: You are absolutely on the right track. Yes, this just a beginning. We will be creating an exclusive catalogue of Asian artists. The best selection will be featured on this catalogue. We are in the process of collecting data’s and have so far received more than 300 band data’s from across Asia.
Mapamundi Música: There are other “MusicConect”, like the Italian one (an event that took place in December 2021 for the first time) or MusiConnect Canada. Is there any relationship between these “musicconect” networks, besides the name?
KD: The term ‘MusiConnect’ was coined by me. My friend Michael from Canada asked me whether he can use the term and I agreed. It was then decided that we will work as a conglomerate but finally it didn’t happen. MusiConnect Italy was born while we were touring in Canada. We are not connected at the moment but in future we will surely look forward to a possible partnership.
Mapamundi Música: If there is anything else you want to explain, please proceed.
KD: We are launching Asia Music Summit physical version this year (www.asiamusicsummit.com) in India. Our dates are 24-28 February, 2022 but unfortunately due to the travel restrictions declared in many countries we may have to reschedule our event. This event will be an important destination for cultural tourism, international art exchange and a vibrant market for music of all genres. AMS will act as a platform to create and extend professional opportunities for the music industry and will provide international performing arts practitioners with a one stop access to the blossoming Asian music market. The aim of “AMS” is to provide a global platform, where the exchange and birth of ideas, and concepts will be fostered, to create exciting new partnerships within Asia and the rest of the World.
Another heavyweight figure, another high-octane questionnaire. Dušan Svíba appears in this magazine in two roles: as an agent for world music artists, with his agency Earth Music, and as the director of a festival, Colour Meeting, which takes place in July in Polička.
I think his dual point of view, on one side and the other of the, shall we say, service sales process, is very enriching, and his own life story will probably resonate with many of us.
Thank you, Mr. Svíba!
About your work as a booking agent:
Mapamundi Música: Which is your background, what made you become an agent for world music artists
Dušan Svíba: If you’re asking about my musical background, it was rock of the 60s and 70s and later the Czech underground movement (Plastic People Of The Universe, DG 307 etc.) And I was already 14 when I played in my first band. Then came punk and New wave and out of that a lot of great music came – Joy Division, Talking Heads, Devo, Tuxedomoon, This Heat, Suicide etc… And Rock in Opposition – Art Bears, Henry Cow, Art Zoyd… and also Samla Mammas Manna, Lars Holmer, Embryo. And I mustn’t forget the Art Ensemble of Chicago. Especially with those last bands I was attracted to the combination of experimental rock, jazz and traditional music and this was probably where my journey to world music began, although we didn’t know the term back then :). But when I look back, it was actually with old Led Zeppelin that I loved, and still do, the combination of rock, blues, English folk and African or Indian music. Nobody still can beat their version of Gallows Pole.
But if you’re asking about my work background, it’s a woodworking. I used to work as a carpenter and also spent some time fixing up old timber houses. Then I started to work as the assistant and booking agent for the Czech singer Ida Kelarova and later also the Gypsy band Terne Čhave. It was just a coincidence that the booking agent job eventually took over because I still love woodworking a lot.
Ok, so let’s listen to what was so loved by Dušan:
And to his first artist as an assistant and booking agent, Ida Kelarova:
Mapamundi Música: 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?
DS: I guess like most agents I know, I’m self-taught in this business, no prior education. Add the handicap of no music business in the former communist bloc and it’s clear that the vast majority of my skills and knowledge come from my personal experience and discovering what has already been discovered :). It’s great that in the last few years there are already training opportunities for young music professionals in Central and Eastern Europe, but when I started in 2002 there was nothing like that here. My personal experience is that the most useful quality for career of booking agent is to stay constantly open, to communicate, to follow what’s going around and how others cope with it.
“The most useful quality for career of booking agent is to stay constantly open, to communicate, to follow what’s going around and how others cope with it.”
Mapamundi Música: Apart from that or those skills, which other do you think are essential to succeed in this field of work?DS: The job of a booking agent is neverending story. If you don’t have a band that everyone wants, they write and call you and all you do just ask “what’s your offer?”, then for all other artists there are always plenty of other promoters and festival bookers that you haven’t approached yet or that you should remind again with your offer. So if you really want to succeed, don’t go to sleep ;).
Mapamundi Música: Any particular advice for a fellow newcomer or someone who wants to get started in this field?
DS: Never offer booking of artist you don’t burn for. You won’t enjoy it and no one will want that band from you.
Mapamundi Música: 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?
DS: Yes, of course. I think the very first thing is to approach the right person. Not to shoot blind, but first to find out which artists that agent represents. That’s an easy way to find out what kind of music he prefer. As I said above, an agent has to enjoy the music of the band they represent to be able to put their energy, time and enthusiasm into the job, because let’s face it, without that it would just be a terribly boring office job. Hours and hours in front of a computer monitor or with a phone to your ear.
The second thing is to be prepared. Have a short bio, 3-4 good photos (both portrait and landscape) and above all 2-3 good live videos ready. When I say good, I don’t necessarily mean professionally shot videos, but the ones that capture the energy of the band at a live show, ideally with audience reactions. That’s what every agent and especially promoters are interested in. Studio recordings are fine, they are a must for fans and for radios, but every promoter, before booking an unknown band, wants to see them live or at least needs to be convinced by a good live video. If the music of the artist in question appeals to me, and if they give me quality material to convince promoters with, then it’s half won.
Mapamundi Música: 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 for an agent?
DS: Sure it makes sense, but the band need to know what they want, to be prepared and also to come at the right time. The artist must be aware that for the agent music is not only his hobby, but he also does it for living. He can’t work long term without financial reward. So the artist/band should already be able to function professionally and start “generating some income” soon.
Yes, I started working with a few artists based on the offer they sent me because they met all the above. But it’s hard to rely on that because first of all the agent has to read your offer, which unfortunately often doesn’t happen due to the huge amount of emails. In such a case it’s good to meet him at some public or professional event, like a showcase festival etc.
Mapamundi Música: I think there will still be, 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 requiere us. Something seems to be wrong, what is it?
DS: Excellent question. I’m not sure I know the answer, but I’m glad to know I’m not alone :). And it doesn’t just apply to the world music scene, it applies in general to other genres as well. Let’s put aside the big mainstream artists, it’s a different world. Could it be related to the generally poor funding of culture? And that in turn with an underestimation of the role and importance of culture in our world? The money just isn’t there, it’s not a big business. Maybe if it was, the best artists would be with agents for whom music is second only thing to money. Which brings me back to the beginning, this happens quite often in the world of big music business.
Mapamundi Música: Especially in recent times, because of the pandemic, 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 support for the arts after the ravages of the pandemic. My experience in Spain has not been exactly like that (I have got support because I am an independent worker in a field with loss of income, not because I worked with art, and the support in Spain depends a lot on the region, so the situation is a bit complex), but what has been your experience in Czechia?
DS: Thanks to the aforementioned lack of a music industry in the former communist Czechoslovakia, the Czech music scene was very fragmented and unorganized. There have been several attempts to unite and bring the scene together, but compared to Western European countries the situation is still very inadequate. When covid appeared, this need had arisen very acutely. Industry associations and unions negotiated with the government on behalf of the industry, but there was no one to speak for musicians and all the related professionals. At that moment we initiated the establishment of several professional organisations and I personally participated also in the founding of the umbrella association Česká obec hudební, which should bring all these professionals together. We managed to establish a dialogue with the government and the result was financial support for musicians and some professionals in the field. But it was difficult to explain to the government officials how the whole organism works, how many people work in the field, what the relationships are, how the financing is done, etc. Some professionals, such as technicians, who are mostly employed only seasonally, did not reached this support and unfortunately had to leave their jobs, which will only become apparent when the activity is fully restored. It is already clear that if all the major festivals were to restart in the summer 2022, they will not have staff enough.
“It was difficult to explain to the government officials how the whole organism works, how many people work in the field, what the relationships are, how the financing is done, etc.”
Mapamundi Música: Related to the previous question, I have several questions:a. We are required by the artists but, at the same time, it seems we are a bit invisible. Do you feel that?
DS: I don’t think that’s a problem. In all fields there are “stars” in the limelight and plenty of invisible ones. Those, who want the spotlight, go on stage, those who don’t have that need work in the background. And some are even grey eminences :).
b. How could we explain briefly which is the value we, the agents, provide to the value chain?
DS: We create conditions and facilities for artists to focus on their artistic work. We translate artists’ requests and chaotic information to the organizers so that they understand them, have them in time and, above all, have them at all.
Mapamundi Música: My last question in this section. 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.
DS: Face to face to traditions and roots of people from other cultures, you become more aware of your own roots which strengthens your awareness of your own identity, broadens your horizons and enriches your life. And it’s fun :).
The second part is about you as an artistic director of a festival:
Mapamundi Música: How did the festival start?
DS: Colour Meeting was created in 2001 as a reaction to my visit to several festivals where I liked one out of twenty bands who played there. I had an idea to make my own festival where only bands I like will play. Soon I found out this was a naive idea because as a festival director, especially in the first 15 years, I had no time to enjoy the bands. Sometimes it still happens today. But instead I have discovered another benefit – it’s amazing when other people like the festival.
“I had an idea to make my own festival where only bands I like will play. Soon I found out this was a naive idea.”
Mapamundi Música: What do you search for in an artist when you program?DS: Great music, passion, enthusiasm, energy, something new… But then I mix it all together and select it so the programme makes sense, the individual performances build on each other in some way, all the possible genres are there, there are fresh discoveries and current names there, the programme is gender balanced and finally couple of little bit well-known Czech artists are there. Even though we’ve cultivated our audience over the past 18 years that they love to discover new music, always well-known Czech names sell more tickets.
Mapamundi Música: Which are the global objectives of your festival?
DS: Colour Meeting’s aim is to bring to the festival’s audience original, new and innovative artists and projects that speak about the current state of the world we live in and try to offer a new perspective on it or their own solution. We present artists and projects that draw from traditional culture, but also those that confront tradition and the present, use new technologies and independently of media trends create today’s urban folklore. At the same time, we support the local community where the festival takes place and involve local volunteers in the organisation of the festival.
Mapamundi Música: What are the most complicated or difficult issues to deal with in your festival (your festival, specifically)?
DS: We are currently struggling with a shortage of people for the core festival team. It is not a full time job, but it still takes up a significant amount of time. Up until now it has been done by a few volunteers, but this model has become inadequate to the increasing demands and most of the volunteers have left us. Now we are trying to build a core team of a few professionals and shift resources to pay them.
We are also dealing with the funding structure of the festival. We have no commercial partners, relatively unknown names on the festival lineup and low capacity of the festival are not attractive for commercial partners. Most of our budget is covered from public grants. This model provides us with important artistic independence, but on the other hand it is quite vulnerable if any of the grants fall through. The simplest solution could be to raise the admission fee but for a festival of our size and in our circumstances our admission is already relatively high. Another option is to spread the structure of public grants over multiple donors. The real solution is likely to be a combination of both approaches.
Our third pain point is the size of the festival site, which is already at the edge of its capacity. It is a park in the middle of the city between medieval walls and a pond, a beautiful place. However, thanks to its location and genius loci, this place is one of the great assets of the festival and we would certainly not want to move the festival to any green field without an atmosphere somewhere on the edge of town.
Mapamundi Música: Which are currently the main challenges for this kind of cultural proposal like yours (in general, not only about yours)?
DS: The two problems described above with the lack of festival stuff and with funding are more or less common to all similar festivals in our country. And of course the last 2 years with covid have thoroughly tested viability of all festivals.
Mapamundi Música: In one sentence, summarize the reason/s to go to your festival.
DS: If you like the idea of a small family festival in a park under medieval walls, with home made food, workshops, theatres and a music programme made up of current and interesting artists regardless of genre and country of origin, come!
Mapamundi Música: How are the plans for 2022? Are you working considering a scenario of normality, concerning the pandemic?
DS: In the Czech republic unlike big festivals, small festivals had been able to operate with relatively minimal restrictions over the last 2 years. The main problem for Colour Meeting was getting foreign artists to come to us. But we hope that in 2022 the situation will be more under control. We are preparing for a standard version of the festival.
Credits:
Portrait of Dušan, provided by him and credited to Tomáš Moudrý.
Do you have a call of interest for our community that you want to share? Let me know asap.
OPEN CALLS AND PROFESSIONAL EVENTS
If you have anything to share in this section in a future edition, let me know.
Mobility grants to book Spanish artists, by Acción Cultural Española. The dates and conditions for this grants have been dramatically enhanced. The official information is here.
Fira Mediterrànea de Manresa. The application for showcasing is open until January 20th at 12 PM. It will take place from 6th to 9th of October 2022. More info, here. And for the application, here.
Andrea Parodi Prize competition. NEW. The subscription (for free) for the 15th edition of the contest is open until May 31st, here. “The overall winner will be entitled to a scholarship of € 2,500, as well as the opportunity to perform in some of Parodi’s partner festivals in 2023, such as the European Jazz Expo (Sardinia), Folkest (Friuli), as well as in the Andrea Parodi Prize itself.”
Folk Alliance International annual conference. Hybrid event. Postponed to 18th-22nd May. More info, here. Registration is open, both for the in person and for the only online categories, here. My Vigüela are part of the official selection and they will participate with a new online showcase.
MEET ME AT…
Most of the time, at my house. I won’t attend the concert by Monsieur Doumani on 21st of January in Coimbra. The rise of the infections in Spain is too high to increase more uncertainty for attending and they will be perfectly looked after by the Sons em Trânsito team.
This is still planned:
Lisbon, Portugal, for the third concert of the series of Músicas Escondidas at the Museum of Orient. 4th February: Daud Khan Sadozai
And besides that, the rest of the concerts I have, among them the presentations of the new Vigüela’s album, are in Spain (Madrid and Toledo for now).
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.
Flash news: 120 minutes with the music of my life, at the Slovak New Model Radio
Brief news from the media, chats and sister projects
Talk with Laurent Boireau, from Crépuscule Productions
Open Calls and Professional Events ?
Meet me at…
Hello, how are you? I hope well! I don’t know what to tell you about how I am. In January I will have the pleasure of collaborating again with alba Kultur and their project Klangkosmos, with a tour of Jako el Muzikante in Germany and with a date in Belgium. And although I am not superstitious, I am starting to touch wood with my fingers crossed. Not true, I say this only to express that I feel subject to forces over which I have no control. I imagine you understand that perfectly.
In any case, activity continues in many countries with a certain degree of normality. Let’s look ahead. I hope your plans continue and that you have a wonderful holiday season too.
As always, if you have any news of interest for our community, let me know. Thank you very much for your attention.
A few days ago I had the honour of participating in the initiative of the Slovak radio station New Model Radio, which consists of inviting a person from the world of music to select 120-minute playlist.
My selection ranges from a rebetiko recording from 1932 to some of today’s most exciting artists, such as Sam Lee, through little-remembered milestones in history, such as Reinette l’Oranaise, and others who have gone on to big success, such as Mori Kanté with his Yeke Yeke, or pioneers of the concept of “world music”, such as Aksak Maboul, with a piece from 1980. And of course, some of the apple of my eye, like Janusz Prusinowski Kompania or Vigüela.
Mundofonías: our monthly favourites for December are the albums: Zār: Music for the spirits (V.A.), Xanthoula Dakovanou’s Lamenta and La caña de millo: Voz histórica y silenciada de la cumbia (V.A.)
The colleagues of World Music Charts Europe have released their list of 2021. Their top 10 are the albums by: Canzoniere Grecanico Salentino, Warsaw Village Band, Monsieur Doumani, Antonis Antoniou, Liraz, L’Alba, Sofia Labropoulou, Altin Gün, Samba Touré and Tara Fuki. Congratulations! Check the complete list here.
AND NOW THE FLOOR IS FOR: LAURENT BOIREAU
I don’t remember when I met Laurent, the director of Crépuscule Productions. Maybe at the long-missed Babel Med. For me he has been one of those people who have always been part of the world music scene and with whom you feel you share certain things, such as good taste. Hehehe.
According to his website, Crépuscule Productions is a booking agency dedicated to world musics and “musiques actuelles sans frontières”. I keep this part in French because this concept of “musiques actualles” is very French.
His offer includes artist from Portugal (Danças Ocultas), Argentina (Las Hermanas Caronni), Italy (Rachele Andrioli e Rocco Nigro), Tunisia (Ghalia Benali) and many others. And it is my pleasure to share his insights with you.
Thank you, Laurent!
Mapamundi Música: Why are you doing this? What is your personal background?
Laurent Boireau: I’ve always been passionate about music. I was a young teenager when the punk movement emerged, soon followed by the post-punk era which was extremely creative and musically open. I should also thank the French public radio network who gave me easy access to classical, experimental music, jazz and blues when I was a kid.
When I moved to Paris in 1992, I worked in a theater close to the capital where the Africolor festival was taking place at that time. This is where I attended my first concert of Danyel Waro. A complete shock. The day after, I was immersed in a mandingo Christmas night with Malian musicians playing all night long and an incredible audience coming up on stage, dancing and throwing bank notes at them. It was crazy. Later, I met Africolor’s creator Philippe Conrath. I was looking for work in the music field, he was looking for someone for a short replacement. The six months replacement period eventually lasted ten years. I worked on the organization of the festival and we started developing a touring department for the musicians Philippe was producing on his record label Cobalt. This is how it started.
It is easy for me to understand the impression that Danyel Waro made on Laurent. I’ve only been lucky enough to see him live once, at the FMM in Sines, and that man carries the music in each of his cells. After that experience that Laurent recounts, Danyel Waro has returned to Africolor on several occasions. Here you have one.
Mapamundi Música: 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?
LB: It’s not easy for me to answer to this. I just feel my only “skill” is my passion for music and that alone drives me to do what I’m trying to do: help musicians develop their career. Then, it’s a cocktail of patience, experience over the years with failures, mistakes and successes, the people you meet and network with,…
Mapamundi Música: Apart from that, which other skills do you think are essential to succeed in this field of work?
LB: Conviction and patience. A lot of patience. Luck can also be a crucial factor: when you meet the great, smart artist at the right time…
Mapamundi Música: Any particular advice for a fellow newcomer or someone who wants to get started in this field?
LB: Have confidence and enthusiasm. Never forget you’re at the service of the musicians. A French colleague had a relevant formula: we are the employers of our bosses.
Mapamundi Música: 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?
LB: A lot of the requests I get come from artists who are musically very or too close to artists I am already working with. I would advise them to get in touch with agencies where they would be kind of unique, different, complementary from the rest of the catalogue. But I understand you are inclined to knock at every door when you are looking for partnerships.
Mapamundi Música: 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?
LB: Definitely. First, the artist will save a lot of time and energy. Second, we can use our expertise and network to resolve problems the artist may not be able to solve by himself (search for a label, distributor, etc.). I’ve been working with artists since the creation of Crépuscule Productions in 2008 and we’re still enjoying working together despite the inevitable ups and downs.
Mapamundi Música: 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?
LB: French mainstream media have reduced their support for world music. I don’t believe that the use of social networks compensated for this decrease, like for other musical genres. Now, mainstream media is watching what’s popular in social nertworks… I don’t know how to solve this equation. The audiences we traditionally target use social media but not as intensively as the younger generations. And the younger generations are overwhelmed by the content valued on these social networks, which does not really value musical diversity (although the word “diversity” is now a mantra used to enhance our western multi-cultural societies…).
“It has never been easier to discover new music and the public has never seemed so unconcerned.”
For me, the development of the use of the internet has created a paradox: it has never been easier to discover new music and the public has never seemed so unconcerned. The offer is suddenly so vast that we are lost, helpless, facing this digital ocean and we take refuge in musical genres or artists that we already know, which reassures us. The world music scene is a vast ocean in itself, which is great for us, but probably kind of scary (or boring!) for some people. This is perhaps what makes us fragile.
“We are now more and more confronted with this market reality. For most of us, it does not correspond to our philosophy.”
We are a niche, within the music industry, which has benefited from public financial support for culture, and which has perhaps preserved us from the fierce competition of the market. Since the last decade and over, things have drastically changed, and we are now more and more confronted with this market reality. For most of us, it does not correspond to our philosophy, our desire to defend and promote musical aesthetics which, for us, carry much more than thei commercial potential. We must try to hold on with conviction, patience, confidence and enthusiasm, but I believe it’s the artists themselves who give us the strength to continue. And if the public could support us a little more, it would almost be heaven!
Do you have a call of interest for our community that you want to share? Let me know asap
OPEN CALLS AND PROFESSIONAL EVENTS
If you have anything to share in this section in a future edition, let me know.
Mobility grants to book Spanish artists, by Acción Cultural Española. The dates and conditions for this grants have been dramatically enhanced. The official information is here.
Apply for Folk Spot Denmark 2022. Open until December 21th 12.00 PM, TOMORROW!!! Folk Spot Denmark is a showcase program in connection with Tønder Festival. Find more details, here.
Fira Mediterrànea de Manresa. The application for showcasing is open until January 20th at 12 PM. It will take place from 6th to 9th of October 2022. More info, here. And for the application, here.
Folk Alliance International annual conference. Hybrid event, with the in-person portion being held at the Westin Crown Center Hotel in Kansas City, Missouri, USA. 23rd-27th February. More info, here. Registration is open, both for the in person and for the only online categories, here. My Vigüela are part of the official selection and they will participate with a new online showcase.
MEET ME AT…
Since August I have lived as before the pandemic in terms of travelling but now who knows…
Coimbra, Portugal, for a concert by Monsieur Doumani. 21st January. This concert has been postponed several times. Let’s see what happens for this new date.
Lisbon, Portugal, for the third concert of the series of Músicas Escondidas at the Museum of Orient. 4th February: Daud Khan Sadozai. The first and second concerts of this series two times postponed have been a real success. They have been by Nouruz Ensemble and by Egschiglen. The third one will be by this Afghan master of rubab and sarod, Daud Khan.
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.
Flash news: new call from MOST Music, artistic selecion of Folk Alliance International announced
Brief news from the media, chats and sister projects
Talk with Peter Van Rompaey, from Muziekpublique.
Open Calls and Professional Events ?
Meet me at…
How are you? I hope well!
Womex took place again in person, with an atmosphere that almost seemed normal, with close to the usual number of delegates. I have many tasks pending and many emails to answer related to Womex. Life as it used to be.
It was a delight to see so many colleagues again and to finally meet in person some of those with whom I had only been in contact from afar. I have also received thanks, face to face, from some of the subscribers to this newsletter and it has strengthened my commitment to it even more. And it took place the showcase by Hudaki Village Band, my Ukrainian band, that was a success!
I have also missed some people, some who have not come because of the situation of still some uncertainty related to the international travels and others, for a different reason. For example, Leo Ličof, creator of the Okarina festival in Bled, Slovenia. He was our protagonist in this edition. I will focus on him for one reason. Last month I commented on how the pandemic has accelerated some things and made it easier for others to be destroyed. During my stay at WOMEX, Leo warned me that the festival was disappearing, there would be no more Okarina Festival, by decision of the city council. I’m sure there are many similar situations that I don’t know about.
But there is also hopeful news for our community and colleagues who have managed to retake their activities with the usual strength, like today’s protagonist, Peter Van Rompaey. I share with you some of this good news and, as always, if you have any news to share with the community, let me know.
Thank you very much for your attention. As always, if you have any news of interest for our community, let me know.
Araceli Tzigane | info@mundimapa.com | +34 676 30 28 82 Subscription is available here.
FLASH NEWS
? MOST MUSIC, BRIDGE FOR BALKAN MUSIC: OPEN CALL
— The reach of this project is limited to Europe and countries included in Creative Europe. Nevertheless it can be interesting for you if you are not in that case, as it is a very inspiring project —
This project was our main topic in this edition, in which Balázs Weyer and András Sőrés answered to many answers. And their website is also very informative. I recommend you to check it and in any case, I will bring a little info:
MOST Project has four main areas of activity, focused on artists (export), festivals (exchange, and it includes festivals in several regions of Europe), urban policies and management training for emerging professionals.
And the activity is focused on some Balkan countries: Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Kosovo (this designation is without prejudice to positions on status, and is in line with UNSCR 1244/1999 and the ICJ Opinion on the Kosovo declaration of independence), Montenegro, North Macedonia, Romania and Serbia.
The second year is about to begin, so:
Is this for you? What are they searching for?
From the 9 countries:
Bands, orchestras and musicians
Young, junior, cultural or music managers, bookers, or other world music professionals, who share the goal to join the international world music scene.
From any country that is a part of the Creative Europe programme: festivals and clubs or event venues that have an existing world music programming.
? FOLK ALLIANCE INTERNATIONAL, OFFICIAL PROGRAM FOR THE CONFERENCE, ANNOUNCED!
“The 2022 Folk Alliance International Conference will be a hybrid event, with the in-person portion being held at the Westin Crown Center Hotel in Kansas City, Missouri, USA, on February 23-27.
Our 2022 conference theme is Living Traditions and will showcase various traditional folk music forms regionally, nationally, and internationally. The theme will be explored through topics of music preservation, migration, evolution, and authenticity, while the Global Summit will highlight the work of folklorists.”
I am honoured to announce that my Spanish band Vigüela has been selected for the official programme. ? Their showcase is one of the few online ones.
Check all the official showcase artists, here. And all the details about the 2022 conference are here.
BRIEF NEWS FROM THE MEDIA, CHARTS AND SISTER PROJECTS
Mundofonías: our monthly favourites for November are the albums: Magija djin muzika vlahilor / Vlaška muzička magija / The magic of Vlach music: Gergina 2009-2018 (V.A.), In the year 2021: Looking back at 40 years of JARO music (V.A.), Göç by Cihan Türkoğlu.
Out colleague from World Music Charts Europe Milan Tesař and me will participate in an online presentation in the Rio Music Market, to present their platform and the Transglobal World Music Chart, as resources for the musicians, record labels and promotors. It will be on December 8th at 15:30 CET.
AND NOW THE FLOOR IS FOR: PETER VAN ROMPAEY
I met Peter Van Rompaey more than 10 years ago, in Bergen, Norway, at the beginning of a short trip to a fiord before the Førdefestivalen. Yes, it sounds really chic. After then, we have met in several places, as he is a regular on the traditional musics scene and very multifaceted.
I love his story, for several reasons. One of them is that the process of creation and growth of your organisation, Muziekpublique, is organic. Rather than the result of a detailed, multi-faceted plan, it is the result of responding to social and vital objectives as they emerged. Another reason is that, as you will see from his words below, it is a story of effort, not easy, but a story of success.
Muziekpublique, as he explains in the interview, is a concert and festival organiser, a management and booking agency, a record label and a music school, operating from Brussels.
I have little more to add, as he has generously gone into detail, other than to wish him and his team the achievement of their challenges and the continuation of this fascinating path.
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Mapamundi Música: Why are you doing this? What is your personal background? Peter Van Rompaey: I am the only son of a family of butchers. As my parents were working everyday from 7am until 11pm, I was much alone at night. So, I listened a lot to the radio. One way or another, I’ve always liked a lot of music. And one evening, on the television, I saw the Flemish traditional singer Wannes Van de Velde. As he sings in Flemish, he is not known abroad. Unfortunately, he has passed away in 2008. In Belgium, we are a crosspoint between many countries and it is a flat country, we couldn’t keep the traditions. Some parts of Europe could keep it easier. Some mountainous regions, or Irland… But in Belgium, we have a lot of influences from abroad, and we had the radio and television, the Beatles and the Stones and everything… So, we’ve lost our musical tradition. But Wannes Van de Velde, who lived in Antwerp, still was real traditional singer, who learned it from his father who also was a folk singer. Wannes sang in the pubs and he met a lot of sailors… He was almost our only living link with the traditional scene. When I saw him on television, he did not perform a traditional song, but he was singing an alphabet: A is America that is governing us, B is the bomb that us threatening us. C is the culture that is dying because of all those laws, D are the thieves (dieven) who are stealing from us the artists. That you could talk about society in a song, a political song, was a real eye-opener for me. I was very moved by it. I realised that you could say critical things with traditional music. It went straight to my heart.
If you don’t know Wannes Van de Velde you can discover this in this video that has been suggested by Peter. And if you know him, you may also enjoy it! The interview continues below.
Mapamundi Música: How old were you? Peter Van Rompaey: I think I was like 14 or 13, I don’t remember exactly how old I was. I started to be really interested in traditional music, but more in the topical songs. Every week I went to the library to get new records and to find out about protest singers who sang in the languages that I could more or less understand, like Victor Jara, Atahualpa Yupanqui, some English ones, Dick Gaughan, American folk singers, Woody Guthrie…Some years later, at university in Leuven, I’ve met a lot of friends who were active in music. My neighbour, Bert Bernaerts was a bass and trumpet player. He is still running some very creative musical brass bands. Bert and I discussed all the time about music, discovered artists together such as Charles Mingus (who was also a topical jazz musician), Paul Bley,… Still another friend, Sam Versweyveld, was a jazz trumpet player, now playing with the Belgian mestizo band Chicos y Mendez. Thanks to him, I’ve discovered Miles Davis, Chet Baker. We went to see the first Belgian concerts of then young jazz artists such as Roy Hargrove and Joshua Redman together. Another friend played blues guitar and harmonica and he introduced me to the music of the old folk blues artists such as Robert Johnsson, Lightning Hopkins. We started organising blues concerts together with people like Honeyboy Edwards or Spencer Bohren. Another friend was Piet Maris, the accordion player and leader of Jaune Toujours and Mec Yek. For a very short moment, I was Jaune Toujours sound man, I must have been the worst sound engineer in the world, but at least I was wearing a yellow overall, fitting with the name of the band, which means always yellow in french. Together with Piet I organised concerts in unusual places in student town Leuven such as a solo concert with soprano saxophone player Steve Lacy in a swimming pool.One way or another, all my friends were into music. And also my wife, who I met at university, was playing music and very interested in accordionists and Irish folk music. With them, I starting making radio. I also started writing about music for a student newspaper and a Belgian folk magazine, and I made my first steps organizing concerts of jazz and blues.
After university, I followed my wife to Brussels and started teaching Dutch to people with migrant background. In the class, I was always singing traditional songs to teach them dutch. One of my students was Marisol Palomo, of whom all the family were making Galician music. They also organized folk nights. Marisol knew that I was writing about music for some world music magazines, and that I was very interested in folk music. So, she asked me if I could write the texts for their folk dance nights, which I started to do as a volunteer. At that time, I worked as a freelance journalist, mainly writing about economics.
At that moment, the Palomo family, who were also running the Galician association of Brussels had renovated La Tentation, an old big shop of curtains in art nouveau style in Brussels. They turned it into Galician cultural center with a capacity of 700 people. They asked me to help them to organise folk music concerts. At the opening night we invited some of the best Belgian folk bands to play, among them my all time hero, Wannes Van de Velde.
Very quickly there was so much work for the Galician cultural center that I had to tell my friend “I have not enough time for my job as free lance journalist anymore. If you want me to continue, you will have to give me some sort of paid contract”. And I started to work for them. We were organizing concerts of traditional music on a regular base, one or two concerts a week, most of it of European traditional music. Little by little, we opened up to other parts of the world. And we added music lessons, becoming a small music school, with teachers such as Didier Laloy, Wim Claeys or Anne Niepold (button accordion), Luc Pilartz (violin), Veronica Codesal (pandeireta),… But after 4 years they fired me, together with my former student Marisol Palomo, who was the daughter of the president of the Galician association. It was also a family problem. As La Tentation had become a very fructuous concert place for traditional music, with the concerts and the school, we decided to start a new association, which is Muziekpublique.
Mapamundi Música: What was the name of that Galician cultural center? Peter Van Rompaey: Centro Galego de Bruxelas and the building was called La Tentation. We had people playing there like Kepa Junkera, Breton singer Erik Marchand with Tarab de Caráncebes, the Irish folk band Dervish, also Habib Koite from Mali, Gacha Empega (the first band of Manu Théron from Lo Cor de la Plana)… It was the place to be for traditional music from the world. Mariza played there her first Belgian concert, we had Czech singer and violin player Iva Bittová, the Klezmatics… It was a very nice period but also difficult. First of all, there was the discussion about being mainly Galician center for Galician culture or opening up to different cultures, … They also wanted us to become more commercial than what we wanted to do. They could not understand that it was great to have Alim Qasimov playing there, or Monâjât Yulchieva… that sort of people, and that in those concerts you would do a break even, and not earn a lot of money. They wanted us to make salsa concerts where you can make five thousand or ten thousand euros with the bar instead. That was the discussion all the time: “you should do more commercial things and less those types of concerts”.
Mapamundi Música: And they fired you because of that. Peter Van Rompaey: Yes. Also the building was very special. When the musicians came, they were impressed. So, when we had to start again from scratch with Muziekpublique, we did not have the charm of the hall. In that building, La Tentation, we had every night 700 people… It was really working a lot, well situated in the center of Brussels and we thought “What we do is great, we have a great program, we’ll do the same type of program”. When we started as Muziekpublique we noticed that in fact there were quite some people coming for the building, that they were used to that place. With Muziekpublique we had to travel between concert halls all the time, because we didn’t have our own hall. And then, we had 100 people for the same artist for which would have come 700 in La Tentation. So, that was a very hard reality check.
Mapamundi Música: Who made Muziekpublique with you at the beginning? Peter Van Rompaey: We were four at the start. There was Marisol Palomo, who is one of the singers of Ialma, and two of the other collegues of La Tentation and a lot of volunteers. Most of the volunteers of La Tentation followed us, as did the teachers of our academy, except two. So, we started from scratch but already we had great help.
Mapamundi Música: So you had to work in other places. And what happened with the previous building, La Tentation? Peter Van Rompaey: They still continued doing some concerts but not with the same taste, much more latin, more commercial music. What was hard was that some people who used to come to the concerts before, from the traditional music scene, were angry on us, considering us as traitors… It was a very hard period. I lost a lot of hair and it became grey.
Mapamundi Música: When was this? Peter Van Rompaey: 2002. The family didn’t own the building, but had the possibility to buy it for 300.000 euros. If you see the building you know that the real price should be a least ten or twenty times that amount. It is a large, very beautiful building. They could buy for 300.000 euros in the first 3 years of their renting contract of 30 years. The government was ready to give Centro Galego a 300.000 euros grant to buy it, but they had one condition: they wanted to have one observer in the board. Unfortunately the board of the Centro Galego didn’t accept it and they have never bought the building. Now, 20 years later the Centro Galego de Bruselas has gone bankrupt. They don’t have the building anymore. Now the building would have been worth at least 3 million or 4 million euros, maybe double.
Mapamundi Música: Oh, my god! Peter Van Rompaey: There are many stories. Once with did a concert with Roma musicians and we managed to have the Romani singer from Romania Nicolae Guță. I don’t know if you know the record “La grande voix tsigane de Roumanie”.
This is the album mentioned by Peter. You might like to listen to it while you continue reading the interview.
Peter Van Rompaey: He is a hero for the Romani people in Romania. In our hall, half of the audience were Roma living in Brussels. It was crazy. In a certain moment they started to give him money and he was almost not singing anymore, but always saying “this song is for you, and this is for you” and he got his pocket full of money. But the president of Centro Galego got very angry that we did such things: “We are not a place for Gypsies”…When we left and started Muziekpublique, we had created an association, that was called La Tentation, in order to have government grants to support the cultural activities. We changed the name La Tentation into Muziekpublique. As we had left the building, we needed a new name. Brussels has two official languages. How can you be working with traditional music and be open to everyone and not like the persons who speak the other language? By having a name with the two official languages – Dutch and French – we made a statement of openness, tolerance for the others. However, there is more in the name: of course, “Muziek”, that is music, that was logical, and “publique”, to work with the audience, music of the people. We wanted to make contact between the audience and the music. For us, they are not separated worlds like in most of the concert places, the theatres, where you have artists on the stage with a huge distance with the audience. You come to the concert, you go out and do not get to talk, meet the artists… We want to create links between them… Muziekpublique is music of the people, for the people and with the people. That was the idea. In addition, “publique” means public, something for everyone.
The first years we travelled around Brussels. Next to the concerts, we continued the music school, where you have the smallest gap between the musicians and the audience who become musicians themselves. We grew little by little, first slowly. At the beginning, it was very hard. I think we wanted to stop every two months, because it was so much work every time. We were organizing like every week at least one concert, sometimes two. We had to use gym halls where we had to put up the stage ourselves, install the lights, do everything ourselves. It was so heavy, physically exhausting… Sometimes you think “Why are we doing this, it is crazy”. And after a while we had some fixed partners, halls where we could go. After three years we found a very nice hall in the centre of Brussels, which would be given to us by the city of Brussels. We had a press conference where the city council announced it, etc… But then, which is a typical Brussels thing, the region of Brussels with other political parties in it, decided to break the decision of the Brussels’ city council. So we were still homeless… Our dream of a place where we could have the concerts, the music classes, the rehearsals,… together, fell apart.
Luckily, one year later we found an empty theatre in the African neighbourhood in Brussels, Matonge, which is also the name of a neighbourhood in Kinshasa. Belgian has a diaspora from Congo, as it was a Belgian colony, a dark page of our Belgian history. The renovation of the Molière theatre was a neighbourhood project of the city of Ixelles (other part of Brussels), to restore the neighbourhood. So, thanks to that project and thanks to the city of Ixelles, we finally found our concert hall, where we still are situated.
It was really a big push. Having a fixed place, is much easier for the communication. We are easier identified as Muziekpublique at that place. Before, when were travelling between halls, people often thought it was a program of that hall… It was very difficult to communicate and get known. Sometimes, we couldn’t find a free hall to organize our concerts. That’s the reason that in our second year, a small festival that was born. As we had no concert halls, we decided to go into peoples houses. “Living Room Music” is a festival in 10 living rooms in one neighbourhood. People discover one Brussels’ neighbourhood and can see three concerts of different artists in different living rooms.
Mapamundi Música: In houses? Peter Van Rompaey: Yes. It has become a classic in the Muziekpublique program. Every year we go to another neighbourhood in Brussels. It is very nice. It is again linked to the meaning of our name. We tell the people of who live in the house “This day you are the organizer, you are the hall, you present the artists, you welcome them”. Ok, we have volunteers doing the ticketing, etc. It is not that they are all on themselves. But, they also have to keep in mind the timing of the concert and… This small scale festival creates relationships with the owners and the neighbourhood. Afterwards, we have a party together with all the owners and the volunteers. That’s the place where to owners get to see the other artists, who played at another house. There, the musicians play together in a jam session. For us, Living Room Music is a way to connect with a new audience.
Traditional music represents the 99% of the music of the world, although we only get 1% of attention on the radio or in press in general. However, there is so much diversity in the world… Still it is only that 1% what people get to know. Often they do not know traditional music or have bad ideas about it… We try, with those concerts, to attract people who wouldn’t go to hear traditional music. Because they are curious to discover the apartments in the neighbourhood or discover a new neighbourhood. Sometimes the owners get in contact with music they wouldn’t listen to. In our program, we often try to find new ways of getting another audience.
Mapamundi Música: How did you manage this in the legal side? In Spain, everything is so bureaucratic, and you have to guarantee there is an emergency exit and these kind of things. It is no easy to make that in Spain. Did you have to face any difficulty? Peter Van Rompaey: Not really. In Belgium, per meter of exit, you can have one hundred people. Of course, you need an emergency exit. As the concerts are for 30 or 40 people, they don’t make a big problem of it. One year, we had a problem with our ticketing system. We always work with three languages, Flemish, French and English. That year, our registration system didn’t take into account the subscription for the Flemish and for the English pages, because of a bug with the website. Before we go to visit the apartment and we estimate for instance that there is place for 30 people. For every concert we give 5 tickets to the owners to invite their neighbours. Because, if the neighbours hear there is music it can be disturb them. That’s why we encourage the owners to invite them. They also make connections; start to know each other better… So, for an appartement of 30 places, there should be 25 tickets. At that time our ticketing system didn’t count the registrations in Dutch and English. So, we were really overbooked. Everybody was packed in the apartments. It was really too much. I remember one person in the public asking for the emergency exit. One of the musicians opened the window behind him, which was on the second floor, and said “It is here, madam”. At the end, the concerts went well. We did not need an emergency exit.
In the first years of Living Room Music, you could go to one concert. After a few years, we have decided that you have to choose three concerts, all of different styles, so, for instance, someone who likes flamenco has to take two others, that could be a Syrian musician or Belgian traditional music, or African… Therefore, the audience has to choose two other concerts they normally wouldn’t go to. In this way, we push the audience to discover. We oblige the audience to be curious and see other things.
We always try to find ways that people go to concerts they normally wouldn’t go to, by combining artists from different cultures, doing a double or triple concerts. For instance, the theme would be violin, but different styles of violin. Maybe you like Balkan music and you would go to hear a Balkan violin player, but you’ll find on the same concert night a solo violin player from Tajikistan or someone from Norway playing hardanger fiddle. We often try to do this. We also do free noon concerts with solo artists, where we put all the audience on the stage around the artist. There we have another audience. People that are older and wouldn’t go out at night, still come to those kinds of concerts. When it is holiday, there are a lot of families coming to that type of concerts.
As I told you, when we had finally managed to find the hall in Matonge, it gave us a lot of opportunities. The hall has great acoustics. It sounds good, it is not difficult to amplify. One day we started recording. We thought “Muziekpublique is now existing for 5 years. We will make a compilation of local artists that we think they are worth to be known. Sometimes they have good recordings, sometimes they don’t.”
When we started, there were still a lot of world music or traditional music concerts in the cultural centers in Belgium. But often it was imported music for me. For instance, you saw the artists who were popular in World Music Chats Europe or Songlines brought to make a tour in the cultural centers. That is very nice but I did not see them develop artists or picking out emerging artists that deserve to be known. In the city of Brussels, there is such a large community of artists from everywhere… Sometimes you have artists that are better than those who come on tour. They might your neighbours, but sometimes you don’t know it and you only see an old man or the lady who is cleaning buildings but in fact he or she is an important artist. That’s why we wanted to work with artists from Brussels or from Belgium, that we think are worth to be known. And we try to get them known outside of Belgium. For the migrant communities is important to see that their heroes are also known outside of their own communities. Sometimes they are stars in their own community. It’s important in Belgium but also in other cities in Europe that people with migrant background can think “In my new city they like the artists of my own community”. It is important, it makes you feel that you, as a newcomer in the country, are also accepted.
The first artist we recorded an album with was Malick Pathe Sow, a Senegalese Fulani (English) or Peul (French) musician. He plays hoddu, what is called djeli ngoni in Mali. It is a small lute, like the one that Bassekou Kouyate plays. At that moment Malick was my teacher of guitar of African Senegalese style. During the classes we discussed lot and I felt his love for the more traditional Fulani music. At that time, he was playing a lot of mbalax music, a mixture of pop, rock and traditional. He was doing that because he didn’t dare to play his traditional music. Malick had made some CDs with quite success before. He had played with Baaba Maal. But he was afraid to do the more traditional things, because he thought he would have more success with mbalax. He was one of the artists we wanted to put in a compilation for the 5 years of Muziekpublique. The recording was done by a musician, Emre Gültekin, who is a baglama player and a sound technician. Malick played one song with his band, and we asked them to play more traditional. It was a difficult process because the musicians were so used to the previous things… They recorded such a nice song and they played another one and at the end we didn’t do the compilation, we made a complete album with Malick Pathe Sow. The album was a lot of work, because Malick himself wasa ready to play more acoustic, more into his roots, although it is not 100% traditional because he plays his own compositions. Not all the musicians were Fulani, something that happens when you live abroad: you don’t find enough musicians from your own community. The other musicians were Bao Sissoko, a Mandinka kora player from Senegal who is not Peul but as he had played with Fulani musicians such as Baaba Maal, het felt the music they were going to record. Another came was from Guinea Konacry, playing balafon and guitar, the percussionist was from Togo… They were used to play the more commercial mbalax and we had to ask the percussionist not to put the accents with cymbals. We wanted to hear the calabash. The recording of our first album ‘Maayo Men’ took a long time, but thanks to the vision of Malick and Emre, it turned out to be a beauty.
This is the album Peter is talking about:
Peter Van Rompaey: We did not have the intention to become a record label, because we already had enough work organizing the concerts and running the music school. We tried to find another label to edit it. We had other good musicians in mind we wanted to record and proposed to be a sublabel of another record label that would do all typical label work, printing, distributing, dealing with author rights… We almost made an agreement with Home Records, but at the end we did not agree. They wanted us to have the artists recorded in their studio with their sound engineer and we wanted to continue with Emre Gültekin as sound engineer in our hall in order to be able to follow up the recording process. As we did not find another record label, we finally became one ourselves.Initially we didn’t want to do the bookings or the management of the bands either, but all the people that we found wanted Malick to make again the more commercial mbalax. So, at the end we though that if we left him to another agent, in two weeks he would be playing mbalax again and we didn’t want that. At the end we started doing it ourselves and since then we have a record label and do the management and booking of the artists on our label.
Mapamundi Música: So, why were you working as a freelance in economy? Did you study economics? Peter Van Rompaey: I studied Germanic languages. I started to write for a students’ newspaper, a very good one, almost like a professional newspaper. Every week some of our articles got into the national newspapers. Some of the news topics we found or wrote about, they took it over and it went to the national newspapers. I was the coordinator of that students’ newspaper for one year. Afterwards I tried to find a fixed place in a newspaper. I almost got to be hired in one of the two major Flemish newspapers, but at the end they took over someone else from another newspaper, and I felt really depressed, because my dream had felt apart.
I worked a freelance journalist tackling many topics. I wrote a lot for the economic pages of one of our major Flemish newspapers. I did not write about the hard economic subjects such as the stock exchange, but I wrote about weapon exports industry, pollution by the industry and how to clean it, about people having debts… Topics that were still economics but with a social character. Subjects that went a bit broader than hard economics. How Eastern Europe changed from communist system to capitalism. I wrote about the case of Slovakia going from state market economy to free market economy. At that time I used to go to Slovakia very often for a social Gypsy project. When the state companies were privatised the Slovaks received bonds or actions of the big state companies, but after a very short time all the bonds were already owned by very few people, often linked to the government. I wrote about that kind of subjects. I put a lot of time in each of the articles, doing a lot of research and interviews. I liked it a lot but I had to stop because I didn’t earn enough to do it properly. If I wanted to make a decent living, I would have to do a lot of shit articles, go to press conferences that were not interesting and quicly write an article to earn my money. I did not want to do that kind of journalism and I had to find to do something else.
Mapamundi Música: So with Muziekpublique you organize concerts, you are a label, you make management and booking and you have the music school. You also organize festivals, like the one in the living rooms and like Hide&Seek Festival. And about the school, you started when you were at La Tentation? Why? Peter Van Rompaey: One of the reasons comes back all the time. There are some sorts of musics that are not well known and, what is the best way to understand them ? I’ll give an example: kora music. When you learn kora music yourself, you have learnt to play a basic song, like Jarabi, you are in a concert and Toumani Diabate plays Jarabi and you will understand much more what he is doing and you will listen differently. So, always the ideas about educating the public so they can understand what they are listening to, is one of the things.
This is Toumani Diabate playing Jarabi, the piece mentioned by Peter.
Peter Van Rompaey: A second reason is that the market for the concerts of these musicians is so small that they have to find other ways of earning their living. One of the ways is teaching. We offer them the possibility to make part of their living with the teaching.The third reason is that we want to form new musicians because the tradition can’t get lost. We live in different contexts than you in Spain. You are maybe able to keep more of the rural society with some traditional ways of transmitting the music as it used to be done before in some communities. But we in the city are in a different situation. We have lost that way of living and transmitting music. That’s why we have to find other ways to make the music continue and live on.
Those are the main three reasons. And it is also a way to create connections between the artists and the audience, “Muziek” and “publique”.
I experienced it myself when I was student of Malick Pathe Sow. Even though I didn’t learn to play very well because of my limited talents, it was an incredible experience to have a master musician as a teacher, who also tells you all the stories of his country and his tradition. It was magical. I would advise anyone to study, once in their lives, with some master who is very rooted in the tradition and wants to share his passion about it. It is an incredible experience to listen to the master or to talk a lot with him or her. You do not only learn to play but get lessons in history, live, philosophy… Those moments are magical. That is why we are privileged in our world, because we have those contacts with the musicians and we can learn a lot from them. In general in culture and traditional music, we do not earn a lot of money but the artists pay us with their culture, their experiences… We are very privileged in a way.
Mapamundi Música: Was it easy to find students? What is the profile of the students? Peter Van Rompaey: Students are mainly adults. We started with 8 or 9 lessons and now we have 50 classes. It has evolved enormously. We don’t have a lot of children, because we are not specialized on that. Since this year, we are more and more together with schools.
We started mainly with adults. Some people have stopped classe because they though it was easy, because it is world music. People that want to travel with their instrument and that think that in one year of lessons they can travel and play in the streets. That is the extreme example. But most of the students are music lovers. Sometimes they have music education, sometimes they don’t. The ones who have, maybe they want to broaden up their horizons. Some are ambitious and want to become professional musicians or they already are, and some are amateurs. Some of the students just come for the atmosphere. That is not so nice for the teachers when they see these students are not advancing enough.
The profile of age can be from 16 to 80 maybe. Almost all ages, except very young children. It is quite diverse, but it depends on which class it is. So let’s say, diatonic accordion is less diverse or will be another profile that qanun. For qanun they can be more Moroccan people and for diatonic accordion they are more Belgians. In our ideal world there would be a Moroccan playing diatonic accordion or a Portuguese playing qanun, but it is their choice.
Mapamundi Música: So you have 50 classes. Peter Van Rompaey: Yes. There are some dance classes but most of them are instrument classes: from bagpipe to ud. We have also ensemble classes, where students get the chance to play together and make bands.
Mapamundi Música: So you have a lot of teachers. What have been the main challengers of working with them as teachers? Were they all already trained as teachers or did some of them start to be teachers in Muziekpublique? Peter Van Rompaey: Most of them started to be teachers in Muziekpublique. It is out strength but also our weakness: we are not imposing them a method. So about the balafon teacher, in West Africa they don’t teach. You are just sitting there with one of the older people and you do what they do. Our balafon teacher makes a compromise between teaching in Africa and teaching for Europeans. It is difficult to explain but it is not like a method with notes and so.
Others are stricter, with notes and everything written down… It is a little bit free and when we see it is not going well we try to help them. As I said, it is also our weakness that we give them a lot of liberty on how to approach it.
Mapamundi Música: I think it is not easy to give lessons of a skill like that, because in their communities those are learn intergenerationally, you learn in the ambient where it is happening, so, how do they deal with this, do they need support, do they ask to the other teachers how do they do it, how can they assess the development of the students? You mentioned they want the student to learn, sometimes they are not fast enough, and they can get frustrated, so there must be a way of evaluating the progress of the students? Peter Van Rompaey: We don’t have an exam but once in the year most of the students play for an audience. We have like a students festival for two days and they have to play a the Moliere theatre, where is Muziekpublique, on the big stage, to be seen by the audience. That is the exam. There is some goal, because you have to play.
But sometimes it doesn’t work and we try to help the teacher but sometimes at the end we have to say “Sorry, it will never work” and we stop the class.
Mapamundi Música: Do you need each teacher to have a minimum number of students? Peter Van Rompaey: We need at least 3 or 4. It can happen, exceptionally at the beginning, when the class is starting, to start with 1 or 2 and then it grows, but we use to start with 3 or 4 minimum.
Mapamundi Música: So you must have at least 200 students. Peter Van Rompaey: We have 650. Some teachers have 4 or 5, others have 20.
Mapamundi Música: How do you manage all this in the financial side? You make a lot of things so at the end, some amount from this, form that and from the other… keeps the structure alive. How many people are you working there and how do you support it economically? Peter Van Rompaey: We are 9 people now. When we started, we were 0 paid. We’ve done two years with all volunteers. But now we are 9 people, equivalent to 7 and a half full time for technics (sound and light), accountancy, production, communication in French and Dutch, the music school, the volunteer coordination, the label and the bookings,…
And how do we pay it? We have grants from the two communities, the French and the Flemish. It more or less pays the employees. The rest, we pay with the tickets sales or the drinks at the bar or all the other incomes. Grants are like 35 to 40% of the income, and the rest is 60%, that is our own revenue.
Mapamundi Música: Which is the total budget for one year? Peter Van Rompaey: Around one million or one million two hundred thousand. It is difficult to say with covid. The last turnover I have is around one million, before covid. The first year it was about one hundred thousand, but many artists supported us, playing for free.
Mapamundi Música: And since you started working with these kinds of music, not only since Muziekpublique, what do you feel that is the evolution of the public? Sometimes, I think that many of us feel that world music has been getting weaker, at least in Europe. What you have been doing must have supported the creation of new public, of giving more knowledge to the big and making them appreciated more these musics. How has been this evolution? Peter Van Rompaey: Until now (the last year it was different -Covid-) we have been growing every year. More students,… Everything has grown. On Muziekpublique level, it was going very. But in a broader sense, I am sure that world music is losing strength in general. It is very hard to convince people… let’s say, decision makers, the national radio… to show them there is really an audience, with also young people. For them, the young people should be listening to either urban music, hip hop, rap,… But I can show you, when we have a jam session, it is all young people having fun, having as much or even more fun as people doing hip hop… We don’t find a real way to convince of our reality in fact. It is a neverending battle to get into the broader national media.
Mapamundi Música: You have public radio. Peter Van Rompaey: We have some exceptions, like Didier Melon, with his daily show ‘Le Monde est un Village’ on La Première (French speaking national radio). And we still have radio programs on the national classical radio. For us it is a gift that Didier Melon is still there. We touch wood to keep him, because we are so lucky that he still has his program every day of the week, and he is also thinking about the musicians and supporting them… He has an exceptional personality, who is not afraid to go against the ideas of some of his superiors. On the Flemish radio it is worse. They are really looking down on traditional music.
Mapamundi Música: And in these radios, they are supported with public money, aren’t they? Peter Van Rompaey: They are supported with public money but in a way they think very commercial. They interpret their public function in their own way. But we think that radio has a mission to also play other music than the popular music, or classical or jazz. At the moment, jazz is highly regarded, it got some standing that the traditional music don’t have. It is difficult to explain why. The radio directors have the idea that when you put traditional music on the radio, people won’t listen any more.
We’ve had so many discussions with, we have gone so many times to the radio to complain and to suggest them to find other ways… For instance, we have a radio station which main objective is to give news items. We told them to link music to it when they dig deeper into a subject, for instance about what has happened in Kabul in Summer of 2021, “Why don’t you play some Afghan music? You have music to illustrate the news from all over the world, but you play Radiohead or Lady Gaga… Why don’t you try to illustrate it?”. They don’t care.
Mapamundi Música: What are you doing now and what is the future? Peter Van Rompaey: We are still trying new ways to bring new audience. This Summer, and the next years, we are doing the “Firefly sessions”. In Belgium you can only see the fireflies during three weeks. We go to into the woods in Brussels, we do a walk, it takes around one hour. One of the musicians, Raphael De Cock, who is Flemish and is one of the singers of Voxtra and Toasaves, is not only musician but also a scientist specialized in fireflies. He is the guide. We do into the wood to see the fireflies and he explains about it and about nature until we reach a small lake. There we invite other musicians to play a small concert acoustically. Often they do something together with Raphael. They play or sing one or two songs and then the fireflies arrive and we go back to the woods with all the fireflies. That is really magical experience for the people. It is a way also to have people discovering traditional music but in another setting. Sometime they know a little about nature in Brussels, but they don’t know about fireflies in Brussels. We continue the Hide & Seek Festival, this year it as the 6th edition. It has the same philosophy. By choosing special places in Brussels, sometimes unknown places where you can’t go often and doing concerts there, you attract another audience that wants to see those places and they see a concert of traditional music. For me, it is a way of programming artists that would attract 50 people in the hall. In the context of the Hide & Seek Festival, these concerts will sell out. The audience shows up thanks to the magical setting. With the Hide & Seek Festival we combine the promotion of Brussels and the discovery of new places with the promotion of music.
Of course, we continue the line of our actual work. More and more we try to make connections with schools, with younger kids, because we are aware that they are the future of our society and of traditional music. It is very important. We didn’t do it before because there were other organizations specialized on that but some of them stopped working so we decided now to, little by little, develop this aspect.
For the label, we have just released a new album by Tamala, a trio with two West African musicians, Bao Sissoko, who was already in the album by Malick Pathe Sow, kora player, Mola Syla, who is a singer, and Walter Vandenabeele, Belgium violin player. It is their second record. And for the next year we are planning the release of a group called Toasaves, that means in the dialect of Antwerp something like home port, the port where you feel at home. It is all about the songs of Wannes Van de Velde, his traditional songs, but with the spirit of opening up to all the influences you get into a port. You start from the Flemish tradition but it is often linked to melodies you get from other countries that come with the sailors to the port. It can be combined with an Afghan traditional song or with something from Creta… It is a very exciting project.
And we will do a new album by Refa, that is the new version of Refugees for Refugees. They changed the name because the musicians do not want to keep the label of refugees. They want to be seen first of all as humans or musicians, and leave behind that they were refugees, or are refugees. We are preparing a new album with the band which has evolved a lot. They have done great things together lately but they haven’t done any recordings and we have no way to show it. We are also preparing an album with the Syrian band, Jawa, the last breaths of Aleppo. The rich musical Sufi tradition has been transmitted orally in Aleppo for decades. Jawa’s mission is to preserve this heritage, which has been threatened by the Syrian war. The Sufi masters, who kept the secrets of this musical tradition, are gradually disappearing from the scene, threatening to lose a treasure of songs forever. As guardians of this rich cultural heritage, Jawa revives the music and does so in a contemporary way. Las Lloronas are working on a second album. We will probably release others.
These are Refa (formerly known as Refugees for Refugees):
Mapamundi Música: Do you want to share anything else? Peter Van Rompaey: We are working now with a large Congolese project. We have decided to do more about Congolese music, because we are situated in the African neighbourhood. Congo had the statute of a Belgian colony. We should be proud of Congolese rumba as Belgians as well. We have the Congolese tradition and we have big masters of the Congolese rumba, so we are working now with a great friend who is Klay Mawungu, who is like a passionate person about Congolese rumba, he also sings not professionally. We are trying to do things together, we are hosting a large band with Congolese musicians from Brussels and from Paris. The band is called MRCI!, that is like merci, thank you in French, and also Mythique Rumba Congolese International. We are trying to restore the spirit of the old rumba. And with Klay we are also developing projects of teaching the History of Congolese rumba, but with a live band. So they will play the different styles, how they evolved and the links to our past. It is linked to the dark pages of Belgian history, that we had those colonies, the crimes our country did, the reactions of the Congolese, which songs they created to protest… So it is at the same time a music and history lesson and a concert.
These are the Mythique Rumba Congolese International band:
Peter Van Rompaey: Many things are going on, some of them might not happen… That is also part of the story: sometimes you try out things and sometimes they don’t work out well.
We are also dreaming, for a long time already, of an online music school. If it will happen, you will find out in the next years on https://www.muziekpublique.be
Do you have a call of interest for our community that you want to share? Let me know asap.
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. This place is for sharing useful dates and I don’t charge for including news here ?
European Folk Network face to face meeting: Budapest, 17th and 18th of November. Taking place from tomorrow and the registration is closed.
MOST Music Balkan Explained above.
PIN Conference, in Skopje, 25-27th November. The registration is right now open here and I don’t know when is the deadline.
MusicConnect Italy, in Pistoia, Italy, 2nd-5th December.
“All about the Italian world music scene professionals meet-up and showcase festival”. The participation as a delegate is open now, but only for Italians. There is a bunch of international guests but it seems there is no way to register now if you are not an Italian. More info, here.
Rio Music Market, Rio de Janeiro, Brazil. 6th-9th December
“The Rio Music Market (RMK) is an annual music conference that brings together a large number of professionals in lectures, discussions, panels, showcases, pitchings, mentorships and speed meetings. […] For the 2021 edition, we will invite companies and professionals from around the world to participate in activities with themes of relevance to the entrepreneurial market: digital marketing, market numbers, new tools, copyright, social media, blockchain, big data and artificial intelligence are among the topics.”. The registration is open. More info, here.
Folk Alliance International annual conference. Hybrid event, with the in-person portion being held at the Westin Crown Center Hotel in Kansas City, Missouri, USA. 23rd-27th February.
“The Folk Alliance International Conference, presented by Folk Alliance International, is the world’s largest gathering of the folk music industry and community (crossing a diverse array of genres including Appalachian, Americana, Blues, Bluegrass, Celtic, Cajun, Global Roots, Hip-Hop, Old-Time, Singer-Songwriter, Spoken Word, Traditional, Zydeco, and various fusions).” More info, here. Registration is open, both for the in person and for the only online categories, here.
MEET ME AT…
PIN International Music Conference, Skopje, North Makedonia, November 26th and 27th.
According to the website, “PIN is the first and only international music conference and showcase festival in Macedonia. […] Our goal is to enrich the local music sector by bringing the diversity of best practices, up-to-date knowledge and people who will be part of this development in Macedonia and the Balkan region.”
Lisbon, Portugal, for the second concert of the series of Músicas Escondidas at the Museum of Orient. 10th December: Egschiglen
The first concert of this series two times postponed was on October 15th. It was by the Nouruz Ensemble and it was an outstanding performance in a venue full at the 100%.
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.
Brief news from the media, chats and sister projects: TWMC Hall of Fame! ? DEADLINE COMING SOON!
Flash news: announcement of the collaboration between Medigrecian and Mapamundi Música.
Talk with Ivana Maraš, from ESTAM World Music Festival.
Open Calls and Professional Events ? Program for the European Folk Network meeting (partly) announced!
Meet me at…
How are you? I hope well!
Some of the people from the global community working with world musics are already in Porto for WOMEX. I will travel tomorrow. Here in Europe it seems the world has opened again but I think it is not totally like that yet. For instance, I miss many of the usual attendants who came from Asia.
Anyway, the permanent results of the pandemic will become visible with some more time. Here in Spain I think it has accelerated some trends and I feel we have lost some relevant spots for the visibility of the musics we work with. For instance, Pirineos Sur hasn’t happened in 2020, neither in 2021 and in the website it is announced as cancelled, without date for 2022. I had a concert with Monsieur Doumani in 2020 there and I think we lost the chance. I don’t believe that the people with power in the institution take responsibility for the commitment to the artists programmed. I hope I am wrong. Another of the referential festivals in Spain, Etnosur, is still going on, but the city council fired in May the team that created the festival and that has been producing it for 24 years. The program of 2021 has been local and regional. It used to host international artists and premier own productions. The old team is trying to rebuild the idea with another name and in another location. I wish them luck, for them and for all of us.
Nevertheless, our community is defined by resilience and initiative. I keep discovering exciting proposals, some of which I talk about below, such as the PIN professional meeting in Skopje, or the addition of a discussion day at the Todo Mundo festival, about which you have more info below.
I hope you find this content interesting.
Thank you very much for your attention. As always, if you have any news of interest for our community, let me know.
I had the luck to attend the festival and to participate in the round table that took place on September 25th. It was the first time that the festival included a round table and, according to Marija Vitas, it will most likely be kept on the programme for future editions and I think this is a very good news as it is a new opportunity to interchange ideas and meet colleagues, specially interesting when it happens in peripheral areas.
The topic of the conference (and the focus of the festival) was women in music. My colleagues in the session of the morning were Ivana Maraš (read her interview below), Iva Nenić (ethnomusichologist and scholar), Sofia Labropoulou (composer and qanunist) and Svetlana Spajić (singer and researcher) and we were moderated by Marija Vitas and joined for some time by Bojan Djordjevic (director of the festival and journalist in Radio Beograda). The conversation was recorded by Radio Beograda and I have to say that it was really interesting. In the afternoon there was another discussion session, with Sotiris Bekas, Julijana Baštić, Rok Košir and Giuseppe Bortone.
In the artistic side of the program, I want to highlight the Serbian artist settled in Austria Jelena Popržan (in the picture, by Juan Antonio Vázquez). Her solo concert was a wonderful and indescribable madness. She has an amazing talent full of originality.
BRIEF NEWS FROM THE MEDIA, CHARTS AND SISTER PROJECTS
DEADLINE COMING SOON! Transglobal World Music Chart (TWMC) call for proposals for the Hall of Fame is open until October 31st. Check this web to learn more and to send your proposal.
Mundofonías: our monthly favourites for September are the albums:Petrona Martínez’s Ancestras, Guy Buttery, Mohd. Amjad Khan & Mudassir Khan’s One morning In Gurgaon and Abdelli’s Songs of exile.
A PINCH OF SPACE FOR SOME THINGS OF MINE THAT MIGHT INTEREST YOU
Announcing the new collaboration:
With the objective to design and make available a versatile offer of high artistry of Greek music, incorporating in addition to the concerts, also activities that allow the public to participate actively in this cultural legacy, Alkis Zoploglou’s Medigrecian and Mapamundi Música have started a new collaboration. Read the full story on my website.
Learn more about the first proposals we are offering with this collaboration:
AND NOW THE FLOOR IS FOR: IVANA MARAŠ, DIRECTOR OF ESTAM WORLD MUSIC FESTIVAL
I met Ivana at the round table in Todo Mundo. She is the director at Student Cultural Center Kragujevac, focused on the cooperation with young, talented people, as well as on creating conditions that allow them to express and achieve their creative goals and to make their work recognizable to a wider audience. Ivana launched the World Music Festival – ESTAM, that aims to present current events from the domestic, regional and world world music scene.
Click the logo to visit its Facebook page before reading the interview.
Mapamundi Música: How did the festival start? Who and why started it? Ivana Maraš: Estam world music festival started four years ago as a need to promote this genre in our city and district. We have had world music concerts in a music program at our cultural center for years. So, we wanted to start to promote the musicians and program from the world and local scene through the festival, build the audience and present quality and the most significant artist of this genre. We live in a big city, university town in central Serbia, and we feel there is a need for this kind of festival.
MM: What do you search for in an artist when you program? IM: We search for quality and actuality in our program, searching for world musicians with a strong artistic signature and attractive musical tradition. But also we try to obtain a young audience with something close to their affinities but not giving up on our goals and concept.
MM: Which are the global objectives of your festival? IM: We would like to be recognized as one of the significant music festivals in Central Serbia, want to impose quality and be a part of the world music festival network in the region, to improve the status of world music and their artists, and bring their work closer to the wider audience.
MM: What are the most complicated or difficult issues to deal with in your festival (specifically in yours)? IM: The most complicated issues are the support of local authorities, financial and logistic support, and how to promote our work in a society which has a big problem with the media (in our town there are almost no shows anymore about culture and there is a lack of professionals in the media in this field), but we are trying to use regional media as much as posible.
MM: Which are currently the main challenges for this kind of cultural proposal like yours (in general, not exclusively in yours)? IM: The answer follows the previous one, state and local cultural authorities don’t recognize the significance of this genre and do not give deserved status to world music and its authors.
MM: In one sentence, summarize the reason/s to go to your festival. IM: For these four years every participant, performers as well as the audience, left the festival full of impressions, first one because of the audience reaction and energy, and second one because of the strong music experience.
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. This place is for sharing useful dates and I don’t charge for including news here ?
European Folk Network face to face meeting: Budapest, 17th and 18th of November
After the meeting in Brussels in November 2019, the EFN calls again for a face-to-face meeting. It will be held in Budapest, at the Hungarian Heritage House. The program of talks will include:
Raisa Siivola & Maria Silvennoinen (from Jazz Finland) on Green Nordic Touring and Promotion;
Tom Besford (from English Folk Expo) on Reaching Audiences both In-Person and Online;
András Lelkes (of Hangveto, Hungary) on A Bridge For Balkan Music;
Miklos Both (Hungary) on Folk Music Education for Future Generations;
and more TBA;
plus DISCUSSION sessions on subjects chosen by members including The Future Work of EFN and Folk Music and Commercialisation and more TBA; plus the EGM for Elections to the Board.
More info in the next section. The registration is right now open here and I don’t know when is the deadline.
Proposals of participants for the think tanks of MusicAIRE
Open until 4 November COB. Call for networks. This is important:
“Inova+ and the European Music Council (EMC) have launched the new European project MusicAIRE. The consortium will develop grants to support the music ecosystem to emerge from the COVID-19 crisis in a green, digital and just and resilient way. […] In-depth interviews conducted with music networks will complete the needs analysis of the European music life. […] The think-tanks will identify what kind of support the music sector needs in the areas of green, digital and just and resilient recovery. The findings of the think-tanks will form the basis of the “call for grants” to be published in the frame of MusicAIRE in January 2022.” Read it completehere.
MEET ME AT…
WOMEX, Porto, Portugal, 27th-31st October.
European Folk Network in person meeting, November 17th and 18th (aforementioned)
PIN International Music Conference, Skopje, North Makedonia, November 26th and 27th.
I learnt about this conference after their invitation for Hudaki Village Band. They will perform there and I will be present as a delegate.
According to the website, “PIN is the first and only international music conference and showcase festival in Macedonia. […] Our goal is to enrich the local music sector by bringing the diversity of best practices, up-to-date knowledge and people who will be part of this development in Macedonia and the Balkan region.”
Lisbon, Portugal, for the second concert of the series of Músicas Escondidas at the Museum of Orient. 10th December: Egschiglen
The first concert of this series two times postponed was on October 15th. It was by the Nouruz Ensemble and it was an outstanding performance in a venue full at the 100%.
Brief news from the media, chats and sister projects: launch of TWMC Hall of Fame! ?And the best of the season 2020-2021. And much more.
Flash news from my artists.
Talk with Stephanie Schumann, from Delicious Tunes?.
Open Calls and Professional Events ? Dates for the European Folk Network meeting announced!
Meet me at…
Hello, how are you? I hope well!
.
I’m in a pretty good mood. I just bought the flights for a concert that would have been in April 2020 and is finally coming back in October 2021. It is a cycle of three concerts, called Músicas Escondidas (hidden musics, here you’ll find the info about the first concert) with the concept of the music of the Silk Road, at the Museum of Orient in Lisbon.
I came back from Cologne last Sunday, from the Migrants Music Manifesto meeting and at the end of August I was in Kavala, Greece, for the Cosmopolis Festival. So I feel that things are more or less coming back to normality.
This very afternoon I found out that one of Madrid’s main cultural centres, the Conde Duque, today recovers its usual capacity, 100%. Masks are still obligatory, but it is a very significant step. In Spain, after a somewhat slow start, vaccination soon accelerated and now 76% of the population is fully vaccinated. I hope you’ll enjoy this edition, that features Delicious Tunes through an interview with Stephanie Schumann as well as some more news and usual sections. NOTE: don’t miss the news from Transglobal World Music Chart and from the European Folk Network!!!
Thank you very much for your attention. As always, if you have any news of interest for our community, let me know.
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.
Araceli Tzigane | info@mundimapa.com | +34 676 30 28 82 Subscription is available here.
I had the luck to attend the event from day 14th, when I was able to experience the workshop Krätzjer and Kölsche Songs with Schängs Schmölzje & Humba e.V., with the band and the songs that are very often sung by the public in the Humba parties, what is a landmark on the popular culture of the city. That day and until Thursday there were many other workshops, of which I attended Rebal Alkhodari’s about songs from the Middle East.
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 Muziekpublique, who will be our protagonist in the next edition, Graciela Murga, from ENCC, the moderator and presenter of the event Sarah Bergh, Patrick Duval from Rocher de Palmer and Birgit Ellinghaus from alba Kultur, the general director of the project MMM.
One of the round tables was about the networks, which corresponds to the picture in the middle. In the photo we have, from left to right, Gabriel Riquelme, from Club Bahnhof Ehrenfeld, Sonja Heimann, from the World Music Forum Netherlands, the moderator Simone Dudt, from the European Music Council, David Francis, from the European Folk Network, Pierre-Henri Frappat, from Zone Franche and Peter Van Rompaey, now as member of the board of the Belgian World Music Network.
It was so great to meet friends from other countries again! in the third picture, Husniddin Ato, cultural activist and photographer, takes a picture of the artist Astare after the interview I made with her for the archive of recordings of the MMM, that will be available online in a near future. I will be on the lookout to share these materials when they are made public.
BRIEF NEWS FROM THE MEDIA, CHARTS AND SISTER PROJECTS
This time I bring this section up because there is one news item from Transglobal World Music Chart that I want to highlight in particular: the launch of the Hall of Fame!
Transglobal World Music Chart (TWMC) launches the virtual Hall of Fame. The proposal of inductees for 2021 is open. Check this web to learn more and to send your proposal.
TWMC has released the list of the best of the season 2020-2021. Check the complete list here. Find here the Best of each of the categories:
BEST ALBUM: Ballaké Sissoko · Djourou · Nø Førmat!
BEST LABEL: Buda Musique
BEST OF SUB-SAHARAN AFRICA: Ballaké Sissoko · Djourou · Nø Førmat!
BEST OF NORTH AFRICA & MIDDLE EAST: Antonis Antoniou · Kkismettin · Ajabu!
BEST OF EUROPE: Kapela ze Wsi Warszawa / Warsaw Village Band · Uwodzenie / Waterduction · Karrot Kommando
BEST OF NORTH & CENTRAL AMERICA: Omar Sosa · An East African Journey · Otá
BEST TRANSREGIONAL ALBUM: Mulatu Astatke & Black Jesus Experience · To Know Without Knowing · Agogo
BEST OF ASIA (CENTRAL & EAST) & PACIFIC: Khusugtun · Jangar · Buda Musique
BEST COMPILATION: V.A. · Zanzibara 10: First Modern, Taarab Vibes from Mombasa & Tanga, 1970-1990 · Buda Musique
BEST OF SOUTH AMERICA: Mateus Aleluia · Olorum · Sesc
Mundofonías: our monthly favourites for September are the albums: The lost maestros collection, vol. I (V.A.), Boubacar «Badian» Diabaté’s Mande guitar: African guitar series, volume I, and Changüí: The sound of Guantánamo (V.A.)
And there are also fresh news from the colleagues of the World Music Charts Europe! They will launch the compilation double album “The Great Tunes from the World Music Charts Europe” next Friday, 24th of September, with the label CPL-Music. Great news, Milan Tesař and team of the WMCE!
A PINCH OF SPACE FOR SOME THINGS OF MINE THAT MIGHT INTEREST YOU
From the end of April to beginning/mid of May, Rodopi Ensemble, the masters of the Thracian Greek music will be touring in Switzerland and countries around and we have dates available. Click the picture to see a video ? and ask me if you are interested in booking them. Remember!
Hudaki Village Band will perform at WOMEX on Saturday at 21:45 at the Coliseu! If you can’t attend, anyway click on the link to watch them live and let me know if you need them!
I have more proposals, all of them are outstanding. Check my catalogue. And I will send news separately about other dates, i.e. with Monsieur Doumani in January and others. Vigüela will launch their 9th album in January and I can tell you in advance that there is nothing like it!
AND NOW THE FLOOR IS FOR: STEPHANIE SCHUMANN, DIRECTOR OF DELICIOUS TUNES
Stephanie Schumann is another of the colleagues with whom I have been in regular contact during these past months, in relation to Agima.
Stephanie, together with her colleague Julia Kastl, work with their company Delicious Tunes mostly with African artists, on booking and also on everything that goes into career development, including the recording side and all the communication.
I thank Stephanie for her kind welcome to the proposal of this little interchange of ideas!
Click the logo to get a taste of their work from their website before reading the interview:
Mapamundi Música: Which is your background, what made you become an agent for world music artists?
Stephanie Schumann: My background is the fashion and beauty industry – the love for this incredible beautiful music and the great diversity made me start working in the music industry and I started off as an agent first teaching the business to myself.
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?
SS: Organisation skills and I am a good networker. My ability to adapt fast in case of changes.
Apart from that or those skills, which other do you think are essential to succeed in this field of work?
You have to be consistent and to have the patience to build an artist over a long term period. Also it is important to be reliable and honest.
MM: Any particular advice for a fellow newcomer or someone who wants to get started in this field?
SS: Be reliable and consistent if you want to be taken serious and walk a long way.
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?
SS: Check the agency first – are they operating in your fields and do they fit to your style and genre. It is also good to see their location. Please send professional well prepared materials, otherwise the agent cannot get an idea of the artist.
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?
SS: I think it makes sense yes if you want to professionalize your way of working and also if you want to reach out to new territories.
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 requiere us. Something seems to be wrong, what is it?
SS: I guess there are more artists than agents and it is not easy to find dedicated people to do the job and build an agency where for a long time. In the beginning it is very hard to earn decent money for your work and costs. It is mostly people who are very passionate and dedicated but only a few manage to survive and to do a professional job. It needs many years to grow with the artist and to make sure you stay in a long term relationship when they become more successful. The % when you book a 1000€ show or a 10000€ show are the same and the amount of work and time you have are most probably the same, but you cannot survive from the small percentage of 1000€ and you need to work 10 times more and put 10 times more time. This often does not make sense business wise.
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?
SS: Yes and no – I have to say in Germany we got considered in the Corona funds and it helped to survive and invest further as we not only do bookings.
How could we explain briefly which is the value we, the agents, provide to the value chain?
SS: We make sure the promoter gets a good quality act and that all is running smoothly towards a concert production, that the band arrives in time and in good shape. For the artists we make sure they get good job and gig opportunities and they get paid and have all they need to deliver a high class concert. In general for both sides there is a lot of work done before in the background, which is not visible but without it many concerts would fail or become a disaster as certain things are not realistic and need to be considered even before you agree to a booking.
MM: 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.
SS: It adds to a colourful world and enriches cultural exchange which is essential for an understanding and more peaceful togetherness on this planet. Cultural diversity is richness and alters the living standards in our society.
MM: This question is specific for you, as you work mainly with African artists. What are the biggest differences or complications when you work with African artists? I think maybe the visas, or also the cost of the flights, even the political uncertainty in some countries, would you highlight anything? If so, how do you deal with that?
SS: Yes it is definitely more challenging and a bigger workload to organize visas for artists living on the African continent. Even African musicians living in Europe with an African passport are more work intense than European passport holders. My attitude is : “NO” is not possible for me. It adds a lot of pressure and stress to my agenda to get everything done we need but in the end it has always worked out. I personally love the music from the continent and I find great pleasure in bringing it to the world. I just wish there was more support and funding opportunities for these artists and people like us working with them. It is not easy to build an act from Africa for overseas tours as in Africa different music genres are popular but European media and promoters have a special idea of how Africa must sound and ignore some trends from the continent. The thinking is still a bit too ancient and old fashioned to my taste.
MM: Is there anything else you want to share or disseminate?
SS: I want to encourage anyone working in funding institutions – let us get more in dialog and have conversations and exchange about funding projects and what is truly needed for the artists, their managers and agents.
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. This place is for sharing useful dates and I don’t charge for including news here ?
This year I will miss this date but it is always a great occasion to network and to discover interesting artists. They got to develope on site events in 2020 and this year it will be almost as usually.
European Folk Network face to face meeting: Budapest, 17th and 18th of November
After the meeting in Brussels in November 2019, the EFN calls again for a face-to-face meeting. It will be held in Budapest, at the Hungarian Heritage House. The program will be announced soon. Check the website by clicking on the logo.
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.
Feel free to check the little interview that was published in October 2019 with him, here.
I can’t help that when I think of Belgrade this song automatically comes to mind. Sorry, I am not their manager!
Lisbon, Portugal, for the first concert of the series of Músicas Escondidas at the Museum of Orient. 15th October.
WOMEX, Porto, Portugal, 27th-31st October.
European Folk Network in person meeting, November 17th and 18th (aforementioned).
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.
It will come very soon: Migrants Music Manifesto conference in Cologne ?
Showcase and expo applications are open: International Music Expo (IMX) digital edition ? From China to the world
Talk with Eduardo Quezada from Emprende Musica LATAM ?
Brief news from the media, charts and sister projects ?
Open calls and professional events ?
Meet me at… ?
Call for members from the European Folk Network ?
How are you? I hope well!
In this meantime, some more festivals have been cancelled, others events are still going on. Some parts of the world are on fire, others have been destroyed by floods or by recurring earthquakes, and we are all very scared about the situation in Afghanistan. Sometimes it makes you want to go into the bush and cut yourself off from the world so as not to hear about so much suffering. But it would be too selfish for someone like me who, after all, can decide most of what concerns me.
My Vigüela are right now in France, performing 10 concerts in little and mainly open air venues. I have a concert by Albaluna in FolkPlasencia, Cáceres, next Friday, and I will travel to Greece on day 25th for the Cosmopolis Festival in Kavala. It will be my first international trip since January 2020. I hope to be able to complete a flight with a stopover, after such a long time without practising! ?
New connections continue to be created, chances to reflect, and I hope that the initiatives I share with you here will be as interesting to you as they are to me.
Thank you very much for your attention. As always, if you have any news of interest for our community, let me know.
Araceli Tzigane | Mapamundi Música
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.
MIGRANTS MUSIC MANIFESTO, COLOGNE, SEPTEMBER 13-19
The Migrants Music Manifesto (MMM) event seems to me to be of such depth that it deserves its own space in this newsletter. I think the best way to present it is through its own presentation, which you have on the website (that is in German but you can use the automatic translator inside and it works quite well):
“When it comes to cultural identity and diversity politics, stakeholders and opinion leaders in Germany often seem to lack the right words and understandable language. The Anglicisms of the moment are awareness, empowerment, diversity management, urban citizenship, outreach projects, communities, blackfacing, critical whiteness and many more. They mark the field of definition, which in Germany is mainly determined by the performing arts, theater and dance, literature, cinema and museums. It’s amazing how little these arguments have resonated in music so far, even though it is the largest cultural sector.
The project “Musical Manifesto of Migrants”, funded by Creative Europe, will address these issues in various ways in a project week in Cologne in September 2021, consistently from the perspective of the actors of the superdiverse global music ecosystem -local (terms used interchangeably: world music, intecultural music, cross-cultural music, global pop, progressive customs that include all conceivable varieties of local musical traditions around the world).”
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As you know, I am in Spain and the situation here, as far as these issues are concerned, is much more backward. And I think the same happens in many other countries. That is why I believe that what happens in Cologne during those days can be very important. I will try to capture the maximum value of all the knowledge and reflection that will take place there, also to share it.
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The MMM includes debates, workshops and concerts and a group of 28 musicians will become the MMM Project Orchestra, that “will be dedicated to contemporary music from other perspectives than the European one. The 28 members of the orchestra are young, talented musicians as well as award-winning master musicians with many years of playing experience and international experience, who all understand their artistic work explicitly as part of the current contemporary music creation of European metropolises. These musicians with roots in diverse non-Western musical cultures will present a joint concert programme with new compositions by Bassem Hawar, Hindol Deb, Rebal Alkhodari and Kyriakos Kalaitzidis.” .
MMM is organised by alba Kultur, directed by Birgit Ellinghaus (in the picture, by Johan Morin, from alba Kultur website). By the way, she gave us some very interesting insights in February 2020, in a short interview which you can find here.
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Apart from this specific event in Cologne, the MMM, a consortium of several European organizations is working from 2020 to 2022:
alba KULTUR (DE)
Muziekpublique (BE)
Musiques de Nuit diffusion / Rocher de Palmer (FR)
ENCC – European Network of Cultural Centers (BE)
Associazione Abusuan – Intercultural Centre of Abusuan (IT)
ARI Institute – Joint Research Unit 5319 Passages CNRS – EHESS (FR)
The sponsors of the several parts of the project are Creative Europe Programm, Ministerium für Kultur und Wissenschaft des Landes Nordrheir-Westfalen, LAG Soziokultur NRW, Stadt Köln – Kulturamt, Landesmusikakademie NRW Heek, Institut für Europäische Musikethnologie – Uni Köln and Institut für Kunst und Materielle Kultur – TU Dortmund.
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SCHEDULE AND TICKETS FOR MIGRANTS MUSIC MANIFESTO (CLICK THE LINKS FOR THE COMPLETE PROGRAM OF EACH SECTION):
CHINA: INTERNATIONAL MUSIC EXPO (IMX), DIGITAL EDITION, 11-31 OCTOBER
It was a wonderful coincidence that I was contacted this morning by Jane Polubotko, the International Marketing Manager of Kanjian, to tell me about the IMX, just in time to include their fall in this August’s edition. This event is organised by Kanjian and IMCO.
I think China could be an interesting market for the music we work with in this global community, but, well, what could China not be an interesting market for, with the magnitude it has and how it is transforming itself? The fact is that their presence in the fairs organized in the West has not been very extensive so far, and it seemed very difficult to me to generate connections in the country, so I found this initiative very interesting. I hope you find it interesting too!
The website is in English and is very easy to navigate to find the information you need, so I invite you to visit it and here is a brief summary.
IMX, in this online edition, includes:
The conferences Music Ally China Digital Summit, three days for talking about topics for the Chinese music industry (7-9 September, in Chinese) and the IMX Sessions, with a series of panels, that will take place from 11 to 31 of October, at the same time as the showcases and the expo.
The showcases (pre-recorded): IMX Main Stage, with free application for any artist, and the IMX Primetime, with cost. Check the details here.
The expo: “The IMX 2021 Expo runs for a first time and is supported by a number of GOs, NGOs, for-profit and not-for-profit organizations from around the world. The event will be streamed online for free across all major platforms internationally and in China.” There are 3 Expo Packages, with a cost from 49 dollars. Check the details here.
You can watch the showcases and talks of the edition of 2020 in their Youtube channel.
I will attend and submit some applications for my artists too!
AND NOW THE FLOOR IS FOR: EDUARDO QUEZADA, DIRECTOR OF EMPRENDE MUSICA LATAM… AND MUCH MORE
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 believe that his work has two main lines that clearly converge and feed each other: one oriented towards the professional education of artists and other agents in the world of music and the other, in relation to creating and strengthening collaborative networks.
I am very grateful to Eduardo for this brief exchange of ideas, which is only a first impression of what this man has to contribute to the world. Without further ado, let us begin.
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Mapamundi Música: In this time we have been suffering, our community or our industry, if it can be called that way, has made a strong inner reflection which I believe will help us move forward in many ways. For example, international dialogue has been strengthened through online access to events, as the costs are lower for the attendees than in face-to-face events. I think networking and communitary support has also taken a step forward. In parallel, there are some social and political events taking place in Latin America right now that contribute more to the uncertainty. I have to tell you that I have never managed to send an artist of mine to Latin America beyond a couple of concerts in Brazil and I have never been in Latin America at all. I also want to tell you that Transglobal World Music Chart, the network of international disseminators of which I am one of the founders, does not receive much material from Latin America, despite the fact that us the three administrators speak Spanish. All this is to say that I feel that Latin America has some particularities which may be making the market (understood more as a set of agents, intangible goods and structures than as a concept of economic transaction) difficult to access and also less known towards Europe than we might wish. What do you think about this, you, as you are a key person inside that market and with direct contact with the community?
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Eduardo Quezada: I believe that the hyper connectivity that we live in today, caused by technological developments, greatly favours the generation of international networks and the building of relationships at a distance, to a certain extent, the pandemic has contributed to accelerate certain processes that have allowed us to connect even more through technological tools and communications, such as the different social networks, etc. I also believe that these phenomena have contributed to the “democratisation” of knowledge in certain areas, which helps people to be more critical (in some cases) and to leave their place of comfort.In relation to the difficulty of sending artists to Latin America from other regions of the world or vice versa, I believe that the difficulty in accessing Latin American markets can be produced by different factors, mainly linked to language, politics, economics or culture (topics that are too extensive to develop in this opportunity). In my opinion, one of the main barriers to penetration and access to Latin America, is not knowing the territory and the markets and industries that inhabit it (which are many and behave very differently), and also, as you mention, the political uncertainties in several Latin American countries, contribute greatly to making it more difficult to enter or leave our countries, this may be due to visa processes and their high costs, among other determining factors.
Undoubtedly we still have some barriers and challenges to overcome that allow us to move forward in a better way. This is why it is important to generate instances of knowledge, information and exchanges that allow us to know and understand each other. We have seen this more frequently in recent years through the creation of different Music Fairs and Markets such as MAPA and BIME, Circulart, IMESUR, among many others, focused on generating instances of business and knowledge between Europe and Latin America and in which I recommend participating frequently.
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– ABOUT EMPRENDE MÚSICA LATAM –
MM: As I said, I have never been to Latin America, my contact with Latin American people has been mainly at international events in Europe and of course through the Internet. But I have an impression, please tell me if I’m on the right track. Here in Spain and I think in a good part of Europe, many artists maintain the idea that they only have to dedicate themselves to their music. It seems to be changing, I have to admit that, but there is a fairly widespread idea that marketing, communication, customer service and so on, are not their responsibility. My impression is that there in Latin America they are aware that this part of the work is also their responsibility, although they would like to be able to delegate it if possible. Is that the case?
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EQ: We are well aware that the global music industry has changed enormously over the last 20 years, due to technological change and advances, to a large extent, among other influential factors, such as the pandemic for example, which has accelerated some technological processes and phenomena, among others. This has meant, today more than ever, that artists have to take on different roles or become even more involved in the administrative, organisational and commercial processes of their musical projects.
In post-pandemic times, I believe that the music community in much of Latin America (musicians, agents, etc.) and the world have realised this and have begun to change their habits. It is because of these phenomena that a great number of international initiatives of meetings, markets and training instances have arisen, focused on covering different needs that have arisen and evidenced by the aforementioned.
I personally believe that it is very positive that the artist, in addition to carrying out the creative and compositional processes very well, has knowledge on administrative and organisational issues or in other areas, which allow him to have a broader view of the commercial area, better directing his musical project and managing to maintain a professional team that accompanies him in his growth and allows him to develop the artistic process in a better way.
MM: This question is closely linked to the previous one: How is your training offer received by the artistic community and is its usefulness well understood?
EQ: Since we launched Emprende Musical LATAM at the beginning of 2020 until today, we have had a great reception and interest from the Latin American community, we believe that this is because the valuable content we have created and offered, have managed to solve, to some extent, the needs and doubts of the different agents who have participated in our courses, seminars and meetings. although we still see resistance to understand the usefulness of some knowledge or areas of the industry from some sectors of musicians, but that has been decreasing over time.
MM: From the time you launched Emprende Música LATAM until you managed to make it financially sustainable, what was the process like? Was there already a demand or did you have to bring the need to light?
EQ: Emprende Música LATAM (EML), born in 2020, mainly as a result of the difficulties generated by the pandemic in our industry, we try to provide different solutions through access to valuable content by professionals in the field of music from different parts of Latin America. EML arises as an opportunity to provide knowledge and tools towards the professionalization and improvement of conditions of our musical community that are part of different Latin American countries, and also, we try to make known different markets of countries not so well known, such as Paraguay, Bolivia, Guatemala, among others, in order to generate spaces for knowledge, reflection and connection between the different participating agents.
In this process of creation and implementation of the platform, we realised that there was not a very developed demand, we realised that the existing training projects were quite local and developed very similar topics, mainly focused on digital marketing and / or copyright. From EML we try to give a broader and deeper look at the music industry and the different markets, understanding it from a specific territory and the processes and agents that determine it, developing topics ranging from the cultural policies of each of the participating countries to understanding the ecosystem of the industry and making a deep x-ray in each of the countries that make up the region. We do all of this through the participation of leading professionals and experts in different areas, of different nationalities, from both the private and public sectors, in order to obtain quality information from the first source.
Since we started EML we have managed to have interesting Latin American seminars, workshops, training programmes and our most emblematic project which is the Latin American Music Industry Meeting LATMUS, which I will tell you more about later.
– ABOUT Encuentro LATMUS –
MM: The third edition of the Encuentro LATMUS took place earlier this year, in May-June. It has been an open-access event with workshops and conversations with professionals from a wide range of backgrounds. How was the result?
EQ: The LATMUS Meeting (Latin American Music Industry Meeting) was created with the intention of giving access to privileged information, first hand, to the Latin American music community, the event has been completely free access for people, in order to democratize access to information and reduce knowledge gaps.
Through workshops, talks and conferences we have had the opportunity to share knowledge and reflections with representatives of Ministries of Culture from different countries such as Mexico, Colombia, Chile, Panama, Costa Rica, Paraguay, Guatemala, among others, We have debated and understood issues related to the importance of correctly implementing cultural policies in each country (mainly in the field of music) and what tools the ministries have at their disposal to support the music sector. Important international organisations, guilds and federations have participated, explaining to us in a better way what their role is within the industry and the music market and how it affects us, we have talked about important issues such as associativity and its importance for the growth of our sector. We can conclude that these have been extensive days of reflection and learning.
We can say that in 3 editions of the LATMUS Meeting, where we have had many representatives of ministries of culture, private sectors of the music industry, among others. We have contributed to raise awareness and reflect on different issues that are necessary for the growth of our sector, achieving a much broader picture of what is happening in Latin America.
In general conclusions we can say that the music industry must be built by all of us, and knowledge is a fundamental part of doing things in the right way and building stronger foundations.
If you want to know more about the Latin American music industry and markets and its actors, we invite you to follow our youtube channel at Encuentro LATMUS or at www.encuentrolatmus.com.
– ABOUT Red Iberfest –
MM: I haven’t found much information about Red Iberfest. I think it’s because it’s quite recent, right? Can you explain briefly what it is and what it does (or what are the ideas to do when the pandemic is over, as it might have affected your plans)? Who are the current members? .
EQ: Red Iberfest is an Iberoamerican Network of Festivals, Theatres and Cultural Agents from different parts of Iberoamerica. We are a group of people with a common goal, to generate international channels at Latin American and Ibero-American level, to facilitate the international circulation of artistic content. We do this by obtaining valuable information from the different countries involved to facilitate circulation. Since 2017 we have created different circuits of tours, where we have simultaneously taken artists from different countries in different regions of Latin America and the world. This is because we have managed to bring together festivals, theatres, clubs, communications agencies and other agents in the music industry value chain.
Due to the effects caused by the pandemic, we have seen a reduction in our activities and live concert circuits in recent years, but we have continued to make progress in the generation of networks and knowledge through our Encuentro LATMUS. We are also reactivating and preparing some projects of intercontinental exchanges with Asia and Europe that we have been advancing at the foot of the pandemics and we hope to start from the second half of 2022.
BRIEF NEWS FROM THE MEDIA, CHARTS AND SISTER PROJECTS
About Mundofonías, we are on holidays! Our monthly favourites for Augustare the same as for July, 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)
Do you have a call of interest for our community that you want to share? Let me know asap
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 Summer rate, until August 27th
Right now we are 483 delegates registered for the 2021 edition. Many people may be waiting to see how the pandemic data evolves.
In parallel, Nod Knowles, administrator of the European Folk Network, will lead a networking session. And as you know, Mapamundi Música has the honour of presenting Hudaki Village Band. See you there!
Creative Europe (Already present in the previous edition of the newsletter)
Some of the calls are close to the deadline. For instance, the networks one. This document is a very good summary.
International Music Expo (IMX) (NEW)
As mentioned above, this fair organised by the Chinese organizations International Music Collaboration Organization (IMCO) and Kanjian Music, will take place from 11 to 31 of October.
Final applications for showcase (for free) and for IMX Primetime (with cost) close on September 8, 2021. Expo applications close on September 8, too. The price of the Standard registration is 49$ until day August 22 and 59$ from then to September 8.
For applications and more details, visit their website.
Arts Midwest Online Conference (Already present in the previous edition of the newsletter, some news added now)
And note that AGIMA will have some relevant presence. Don’t miss their newsletter, for which you can register for free here at the bottom of the page, to be updated!
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.
About this you have more information above and I invite you again to visit the website of Migrants Music Manifesto event in alba Kultur’s website. It is in German but for sure the automatic translation will allow you to understand most of it.
Another date that thrills me very much. This festival is organised by my much admired Bojan Djordjevic, who is producer and manager of bands and member of the World Music Association Serbia and also radio journalist and member of the World Music Charts Europe.
Feel free to check the little interview that was published in October 2019 with him, here.
WOMEX, Porto, Portugal (27-31 October)
European Folk Network in person meeting, November. And call for new members.
Given the impossibility of holding a face-to-face meeting in 2020 and most of 2021, last spring the European Folk Network held a series of three online conferences called Spring Forward. This autumn, circumstances permitting, we will meet again in person, almost two years after the first face-to-face meeting in Brussels in 2019. More details about dates and place will be published by the official channels of the EFN.
Some moths ago I joined the board and I feel that we are on a fruitful path. If you are not a member yet, I invite you to visit the website to learn more. Membership fees are very affordable and we are constantly reflecting and working to bring value to the community.
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.
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… ?
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.
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.
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
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.
? The website of the CTMD is a jewel. Take a look and don’t miss the Archive highlights.
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?
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.
? You have the already published editions of the Beat of the Boroughs in this Youtube list
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.
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)
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.
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.
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met Sonja Heimann at WOMEX 2015, in Budapest. The World Music Forum Netherlands was planning a very ambitious project, the European World Music Monitor.
Sonja Heimann: World Music Forum NL was actually born in the summer of 2006 as a grass-roots – non governmental organisation because there was no actual organisation in the area of ‘world music’ in the Netherlands. Everyone was working on its own without any kind network or collaboration. A strong need was felt to join forces and strengthen the sector making world music visible amongst other genres like pop, classical, jazz, and contemporary music. Moreover there was an urge for acknowledgement, sence of pride and advocacy. At the time we formulated concrete goals:
SH: Gradually over the years we have managed to get acknowledgement and support from two Dutch rights organisations: Buma Cultuur and Sena Performers.
Visa for Music, call for proposals open. This festival and professional market will take place in Rabat from 16th to 19th of November. Application form, here. “The festival’s stage features emerging artists from the African and Middle Eastern music scene and renowned artists for the enjoyment of our passionate audiences.” “This call is addressed to artists/groups, of all musical styles, valuing the music of Morocco, Africa, the Middle East and the World.” Application open until April 30th.
Mobility grants to book Spanish artists, by Acción Cultural Española. The dates and conditions for this grants have been dramatically enhanced. The official information is here.
My travel plans are still fairly quiet but I will have the pleasure of returning to Zurich for the Mediterranean Music Festival, run by the fabulous Alkis Zopoglou, on 15 May, where I will be with Vigüela and also dancing jota, fandango and seguidilla with folk dance teacher Miguel Ángel Montesinos, director of the Caldo de Pésoles school. If you are interested in the traditional dances of Spain, he has an impressive online school, but for now, only in Spanish.
I have a more serious picture of Eric but I found this one on his Facebook profile and I loved it. He gave me permission to use it.
WOMEX, call for proposals open. DEADLINE NEXT FRIDAY! The expo will take place in Lisbon, Portugal, from 19 and 23 of October. The call is open until Friday 18th March, for conferences, showcase, club summit and films. The submission site is 
Mundial Montréal. Deadline for the call for artists extended until April 1st. The 12th edition will take place in Montréal, Canada, from 15th to 18th of November. The submission form is 
Hello, how are you? I hope well! I am well. We got to complete the series of 3 concerts at the Museu de Oriente in Lisbon without further postponements (and with the intention of repeating it), with the concert by the Afghan master Daud Khan on 4th of February, Vigüela is presenting the new album on the stages (by the way, you can listen to it 
It is impossible to look at her face and not feel overwhelming sympathy. She is Sabina Schebrak, founder & owner at CultureWorks, an essential figure in the European music landscape.
MOST Open Call for Urban Projects. 
Hello, how are you? I hope well! Happy 2022! I am well. The tour 
Mapamundi Música: If there is anything else you want to explain, please proceed. 
Another heavyweight figure, another high-octane questionnaire. Dušan Svíba appears in this magazine in two roles: as an agent for world music artists, with his agency 
Mapamundi Música: 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? 
Here you are:
Mapamundi Música: 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? 
Apply for Folk Spot Denmark 2022. 
I have also missed some people, some who have not come because of the situation of still some uncertainty related to the international travels and others, for a different reason. For example, Leo Ličof, creator of the Okarina festival in Bled, Slovenia. He was our protagonist in 
I met Peter Van Rompaey more than 10 years ago, in Bergen, Norway, at the beginning of a short trip to a fiord before the Førdefestivalen. Yes, it sounds really chic. After then, we have met in several places, as he is a regular on the traditional musics scene and very multifaceted.
MusicConnect Italy, in Pistoia, Italy, 2nd-5th December. 
Rio Music Market, Rio de Janeiro, Brazil. 6th-9th December
I had the luck to attend the festival and to participate in the round table that took place on September 25th. It was the first time that the festival included a round table and, according to Marija Vitas, it will most likely be kept on the programme for future editions and I think this is a very good news as it is a new opportunity to interchange ideas and meet colleagues, specially interesting when it happens in peripheral areas.
I met Ivana at the round table in Todo Mundo. She is the director at 
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.
MM – Any particular advice for a fellow newcomer or someone who wants to get started in this field?
Afro Pepites arts market opens the call for artists until 31st of September (Already present in the previous edition of the newsletter)