Magazine #35 May’21 – in depth with Belgian World Music Network, Ken Day (D Tours), plans and +

Magazine #35 May’21 – in depth with Belgian World Music Network, Ken Day (D Tours), plans and +

Summary ?

  • Next Thursday, Conference on Digital Transformation and Resilience in Culture (event in Spanish)
  • In depth with the Belgian World Music Association, Piet Maris as spokesperson. Their showcase is next Sunday!
  • In depth with Ken Day, from D Tours, about being an independent agent 
  • Brief news from the media, charts and sister projects
  • Open calls and professional events. Premio Andrea Parodi deadline coming soon, job opportunity in Mundial Montreal (a new one), 3rd conference of the European Folk Network + Afro Pepites open call

How are you? I hope well. I have a variety of emotions today.

I heard this morning about the death of Franco Battiato, the Italian artist who, at least for my generation in Spain, is a reference. From him I first heard concepts such as “dervish tourneur” or “kathakali” and he made me imagine what kind of Balkan music was played on Radio Tirana or played at the summer parties in Ireland.

If you don’t know what I’m talking about, you can listen to the English version of the song I Want to See you as a Dancer, here. This song, sung in Spanish, was on the Spanish public television very often (there was no private television at that time) and on all the radio stations too. I think all Spaniards between 40 and 70 years old can sing it for you. With this song, Battiato planted in the fertile soil of my mind the seed of imagination and curiosity to discover what all those wonders he was telling about would be like. The song is a masterful hymn to the cultural diversity of the peoples of the world. The news of his passing has brought back so many memories.

Apart from that, I am happy to share the very interesting reflections that these people below have so kindly given me and next Thursday I will share an experience of my own at the cultural managers’ conference in Madrid, which I am very excited about. You have more information below.

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.

CONFERENCE ON DIGITAL TRANSFORMATION AND RESILIENCE IN CULTURE (event in Spanish)

Next Thursday May 20th I will participate in the Conference on Digital Transformation and Resilience in Culture organized by Agetec, the association of cultural managers of Madrid, of which I am part of the board.

This conference will be done in person and streamed in real time. We will speak in Spanish. If you want to access, register for free, here.

I will talk in the round table about “Experiences of adaptation to the new cultural environment”, about the experience of ConcierTajo, the artistic event that Mapamundi Música designed and developed with the band Vigüela, specifically for the online environment, for the International Labour Organization, Office for Spain. If you want to know what was it about, check this post in English.

You can attend in person (with health measures, of course, and there are still a few places left) or in real time online. Check the complete program and register for free, here.

IN DEPTH WITH THE BELGIAN WORLD MUSIC ASSOCIATION, PIET MARIS AS SPOKESPERSON

Next Sunday, May 23th, it will take place the Belgian World Music Night ? This is a link to the event in Facebook. You can attend it online, from 19:30 CET. The artists that will perform are Kaito Winse, Ana Diaz, Azmari and Les Sheiks Shikhats & B’net Chaabi. The DJs that were selected by the jury are Rrita Jashari and Global Riddims.

This year, I have had the honour to be the international jury, and it made me pay special attention to the organization too: this showcase is organized by the Belgian World Music Network, about which I talked with Piet Maris.

It seems that little by little we are getting organised in this community of the world musics, which for now is still very fragmented. That’s why I think that the example of this organisation, which was born in a country that I always think is very advanced in everything that has to do with our musics, is very interesting and it’s worth going deeper into how and why it started and how they organise themselves.

Piet Maris, who is a member of the Network, as well as a musician himself (in the bands Jaune Toujours, Mec Yek and 3’Ain) and a member of the collective of musicians Choux de Bruxelles, answers my questions on behalf of the Network. On the board are more organisations of old friends whom I will have the pleasure to greet, such as Muziekpublique (hello, Peter!) or Fragan (hello, Frédérique!).

This interview is interesting for anybody that, like me, had an associative spirit. And now I am involved with a bunch of colleagues in the development of AGIMA – Association of Global Independent Music Agents, it is twice as interesting.

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☝️ An aside: if you want to learn more about AGIMA, visit the website and sign up for the news. 
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But now, let’s dive into the conversation with Piet Maris. For a better understanding, check the page History from the Network’s website.
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Mapamundi Música: Back to the beginning, on the website you say “In 2012 it became clear that a federation needed to be founded.” Why was it clear? Which was the vision for that federation at that time?

Piet Maris / Belgian World Music Network: We observed with various players in the field (musicians, collectives, agents, promotors, journalists) that world music was being pushed away in our media, more and more, in favour of mainstream musical programming.

At the same time, we felt little organised as a sector for the genre: everyone was a bit isolated in organising activities. So the aim was to bring the sector together and put world music (back) on the agenda.

The first 2 years, the network was organising and active only at the Dutch-Speaking side of the country, but fell silent somehow. Things were not organised in a structural way at at that time. The organisation was still a de facto association, in which dynamics depended mostly on the initiative of a few people.

A few years later, out of the same frustration, a new media campaign was launched towards the Dutch-speaking National Radio, demanding to pay more attention to specific musical genres and world music in particular. In 2017 then, we decided with some key players to take on the network in a broader, more serious set-up, stretching it to the other side of the country as well – to the French-speaking side. From then on we started organising and communicating in and towards the two languages, Dutch and French, seeking to represent the sector for the whole of Belgium.

MM: How did you translate that into more concrete objectives, how did you set the main lines of activity to develop? 

PM: As concrete objectives, we formulated:
– Creating more opportunities, both nationally and internationally, for world music production in Belgium
– Promoting cooperation and reflection in the sector
– Creating more attention for world music in the media, in education and in politics
– Positively portraying the social diversity through music
– Asking attention for the situation of the artists (correct salaries, statute, …)

And to be able to organise all that and guarantee continuity, we “professionalised” the network, making it a “vzw/asbl”, a non-profit association, with a board.

MM: After meetings on a regular basis, the non-profit association was officially established in 2019. So they were 7 years of work to give shape to the network. Why was it so long? Which were the most complicated issues to agree on?  

PM: Cfr. here above: it’s not that we disagreed, but the network activity fell silent for some time. It was only after picking the network up again in 2017 again in a structural way and on a national level, that things indeed got more serious.

MM: You have at least 3 and at most 11 directors in the board of directors. The rules for the elections and re-elections periods are clearly set. And you have 51 active members (organizations) and 30 associate members (individuals). It seems there are a lot of voices and also, in the field in which we operate, there is a very great diversity in all senses of the word. What is the decision-making process like?

PM: Decision-making within the network is based on consensus, themes and goals being initiated by the members of the board. But the sector is also widely consulted to determine whether objectives are correct or should be added, as we’ll do at the upcoming on-line meeting on Friday 21 May, not coincidentally on the World Day for Cultural Diversity.

MM: How do you organise the work? Do you have thematic working groups, with volunteers, or in other ways?

PM: Up till now, the work has been done by the active board members. For one theme, “World Music, what’s in a Name?” (reflection on the term World Music, whether it should be kept or replaced as a term in general but also as part of the network’s name), a working group has been formed with extra players from the sector. On a longer term, on some of our objectives, we want to organise more working groups like this one.

MM: Do you have any secretarial or administrative staff? 

PM: For more than 4 years, we ran everything on a voluntary basis with our board, without a real secretarial or administrative staff. But very recently, we recruited an administrative support: Hélène Spitaels is now working for the BWMN, on a part time basis, since end of March 21.

MM: Which have been the main challenges during this time?

PM: You mean the last Corona-year? The main challenge has been to guarantee continuity, keeping together the network and the sector; but also organising our activities: scheduling, postponing, rescheduling… The showcases for 2020 which were due for May 20 but have been postponed twice and in the end have been broadcasted in February 21. The meeting, each year normally in May, has been split up in several digital meetings in May, November and December 21, converted in days with digital workshops, presentations, webinars and virtual meetings…

MM: Now, 9 years later, we are in an extraordinarily complicated moment, because of the pandemic, but leaving aside what the last year has been like, how do you assess the achievements of the Network?

PM: Well, at least, we still exist, that’s already an achievement 🙂 No, seriously, I think the achievement standing out the most in everyone’s perception is the fact that we manage to organise our national meeting and showcase night on a yearly basis, for the fourth time now (consecutively since 2018). The Belgian World Music Meeting and Night really do mean a significant impulse for the sector. On a less notable level: we represent the sector on various levels of consultation, in different councils at both sides of the country and even towards the national media. Then again, the latter results in a yearly collaboration with the Dutch speaking National VRT Radio 1 on the broadcast for “Reis Rond de Wereld” (Travel around the World) and different world music radio sessions, on the occasion of the Belgian World Music Meeting and the World Day for Cultural Diversity (21st of May) as in a yearly collaboration with the French speaking National RTBF Radio La Première, on a more diverse programming on that very 21st of May, with extra help and attention from La Première’s world music program Le Monde Est Un Village – program which supports the whole sector (us included) significantly throughout the year.

MM: If you want to announce anything or add any relevant insight, this is the moment. 

PM: Check out the showcases on the 23rd of May and to get in the mood, check out the BWMN Spotify-playlists! If you’re curious about what is happening in Belgium on the level of world music production, those playlists offer already a pretty good idea.
· Bel Mundo: Music from the Belgian World #2 = playlist which has been playing in the Brussels Metro on the 8th of February, all day, on the occasion of the opening of the Belgian Music Week and the broadcasting of the showcases 2020 that same day (the list also includes the names of the longlist for the 2020 showcase selection).
· Belgian World Music Network Longlist 2021 = playlist with the names on the longlist for showcase selection 2021.

Credits:

 

IN DEPTH WITH KEN DAY, FROM D TOURS

I have already mentioned AGIMA above. The portrait of Ken Day, here below, is from the video welcoming to the AGIMA Showcase Festival, available here. By the way, that video and all the others for that showcase have been edited by Feliks Volož (Juliana’s son).

I met Ken Day many years ago in Varna, Bulgaria, at the Without Borders meeting, which takes place some years and is organised by Yasen Kazandjiev. Ken is the director of the Urkult Festival, which we talked about in this previous edition. Ken is the founder of AGIMA, he started it when it didn’t even have a name. As with Juliana Volož, who shared her thoughts with us in the edition before this one, I have been in regular contact with Ken during this last fateful year. And now I talk to him from the point of view of an agent for world music artists with his brand D Tours. I think his multifaceted experience is of great interest. I hope you enjoy it.

 

Mapamundi Música – Which is your background, what made you become an agent for world music artists? 

Ken Day – My background in music goes way back. I have had musician friends since the 1960s. My interests first were in jazz and blues. In the 1970s I worked for a while at Creative Music Studio near Woodstock, New York, a music school focused on improvisation. I was hired as an administrative assistant working with booking musicians affiliated with the school. When I arrived, we added so-called “world music” to the curriculum. I worked with these musicians in finding them jobs outside of the school. It was here I met many, many musicians from all over the world, like Don Cherry, Nana Vasconcelos, Trilok Gurtu, The Konte Family, etc.  Too many to name. Many connections were made there that lasted, some even to this day. That’s how I became an agent! No formal training or schooling… just enthusiasm and contacts.

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? 

KD – My connections have been most important to me as an agent. And my years as a tour manager for many, many artists such as Youssou Ndour, Abdulla Ibrahim, Mandingo Griot Society, etc. On the road training! Can’t beat it.

MM – Apart from that or those skills, which other do you think are essential to succeed in this field of work? 

KD – What you need is enthusiasm and patience attention to details, and persistency!

MM – Any particular advice for a fellow newcomer or someone who wants to get started in this field?

KD – Advice to newcomers: Keep your enthusiasm and hopefully have a proper job alongside of your booking agent work. It’s tough in the start. The money is not good, especially these days. But persist and keep trying and choose your artists carefully.

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?

KD – Advice to artists: be prepared to do a lot yourself. Make sure that you have good promo materials, proper live videos, photos, bios, etc. And a burning desire to succeed and don’t give up! Use all your social networking skills… Think modern… Think creatively and don’t give up!

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? 

KD – It does make sense to try and find an agent, when the artist has the basics of great music, good promotion, enthusiasm, and willingness to put in the work. I have long term relationships with many artists, such as Kroke, Cristina Branco, Hoven Droven, Ellika Solo Rafael, the late Cesaria Evora and others.

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?

KD – The main problem I think is that there are many, many artists. Too many for all to make a living. And only a very few truly magical artists. That’s what I look for… the artist that really stands out. The potential “headline act” … not just a festival filler. And there are not enough venues or festivals.

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. 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 i think this has been your experience in Sweden. With this in mind, I have several questions:

o    We are required by the artists but, at the same time, it seems we are a bit invisible. Do you feel that?

KD – I also think that the small agents… the “lone wolves” and micro businesses have been ignored by the cultural mainstream and institutions in general. This is one of the main reasons to start AGIMA… so that we can become more visible as a group and have out voices heard. As a group we are so much stronger that each on their own.

o    How could we explain briefly which is the value we, the agents, provide to the value chain? 

KD – We independent agents are a vital link between the artist and the presenters. We are so important in this infrastructure.

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. 

KD – I think you should book musicians from around the world to reflect the global world we live in. It’s also a way for people who have become displaced because of war, poverty, or naturel disasters, and who have been forced to relocated and start new lives in unfamiliar surroundings to keep a connection with “home”. And also a way for curious people to be influenced by new music, new culture…. We are all in this together!

Credits:

  • Portrait, from the video of AGIMA’s website, as mentioned above.

 

BRIEF NEWS FROM THE MEDIA, CHARTS AND SISTER PROJECTS

Do you have a call of interest for our community that you want to share? Let me know asap

OPEN CALLS AND PROFESSIONAL EVENTS

  • European Folk Network

Wednesday, June 9th. It will take place the third session of the European Folk Network virtual meeting, “Spring Forward #3”. You can register for the third edition, here. 

  • Mundial Montreal – job opportunity for communications and marketing coordinator! 

In the previous edition of this newsletter, the announced opportunity was for event producer. So note that this is a new one. It was announced to be open until day 14th but it seems to be still open, check here. And their last post in Facebook is this opportunity. Besides, that, artist submissions period will be open soon. 

  • Afro Pepites arts market opens the call for artists until 31st of September

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.

  • Premio (Award) Andrea Parodi – open call for artists until May 31st

The winners of the edition of 2020, that has been postponed until the last weekend, are announced here. Maria Mazzotta has been awarded with the International Critic Award. My partner Juan Antonio Vázquez has been part of the jury, together with Sergio Albertoni, Andrew Cronshaw, Petr Dorůžka, Edyta Łubińska and Piotr Pucyło.

This Award is announced as “the only European contest for World Music artists”, it is addressed to artists coming from all over the world. The registration is free, and the deadline is 31st May 2021. The finals will be held in autumn in Cagliari (Sardinia). Applications must be sent through the format found online on www.fondazioneandreaparodi.it. The prize for the Winner includes concerts and performances in some of the partner music festivals in their 2022 editions, not forgetting the very same Premio Andrea Parodi 2022. In addition to the aforementioned, the winners will be entitled to a € 2,500 scholarship. Whereas the winner of the Critics’ Awards will have a professional videoclip of their competition song produced, offered by the Andrea Parodi Foundation. This is the Facebook cover for the edition of the last weekend (2020’s postponed to 2021):

 

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. 

 

 

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