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How are you? I hope well. I am not quite happy. My toilet has been flooded due to a breakdown, in a way that I thought that happened only in the films. I am soaked and I am waiting for the plumber… In the meantime, I got to close the water valve and I don’t have water in the house and, did you know? We are in the middle of a pandemic ?However, life goes on and during the rest of this month there are some exciting events to pay attention to and interesting colleagues to learn from.
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Do you want to share any useful experience you have had during this difficult time or another content relevant for our community of the global music?
Contact me. And if you find this interesting, share it with your friends. You can read the previous issues here. 
Thanks for your attention and remember that during the reading you can listen to some great music by our artists collaborators –>
Araceli Tzigane | info@mundimapa.com | +34 676 30 28 82
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BRIEFTLY, A RELEVANT DATE FOR OUR COMMUNITY
In the latest editions the rebirth of Babel Med, now Babel Music XP, have had some place. I am happy to remind you once more that the before-Babel will take place online on 26 and 27 of November and I will happy particitipate in a round table: New collaborations and solidarity for professionals relaunching their careers. It will be moderated by Ludovic Tomas and I will share the table with Birgit Ellinghaus, Umair Jaffar, Emad Mabrouk and Amobé Mévégué. What a pleasure.
By the way, if you want to learn more about me, check the interview that Erick van Monckhoven made me for his World Music Lab Italia. Remember I made an interview with him in this previous edition. I am pleased that he found my insights interesting and I opened totally.
And the interview announced in the previous edition, with Noam Vazana in her project Why Do it Yourself Music, is available here. We talked more than one hour and it was really fantastic! I felt such an easy communication with this wise lady!
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THE EXPERIENCE OF KAJSA BACOS FROM KULTURVERKET ONSJÖ (HALMSTAD, SWEDEN)
In the latest edition I asked if any of the readers would like to share their experiences of the last months in dealing with the pandemic and the activity of live music and Kajsa Bacos (her portrait is from her profile at Womex website), from Kulturverket Onsjö, in Halmstad, in the province of Halland replied with this experience:
“From April to August we closed down completely. We planned Summer concerts in July but when the rain poured down for 2 weeks we gave that up. We can seldom trust the weather, so it is difficult to plan outside concerts.
In September we started with concerts. We have a small place and 50-60 persona are the maximum. 45 feels full. So we decided to use our funding thus: Instead of one concert with 2 sets (1,5 hour), we had two concerts with one set (60 minutes). The musicians had an hour to rest and eat in between.
“It was a success. People who have been isolated for long, who can’t even go shopping, came.”
We told the audience that for the first concert only risk group persona were welcome. And only 15 people for each concert. That is 70 + or persons with an underlying condition. The response was big, so we ended up with two concerts for the risk group.It was a success. People who have been isolated for long, who can’t even go shopping, came. We can do this for our venue is not commercially driven, our funding pays for the music.
This way, we keep people happy, we use the funding that either could be paid without the musicians playing or we could pay it back to the government, the musicians are really happy to meet an audience, we show that we still do good work, and we keep our cooperations running, and our network intact. We can’t just give up while we wait for better times.
“We have to work, musicians have to play. People who come here are really good at keeping a social distance. We just have to learn to adjust. And continue.”
We have many times organized events for marginalized groups like children, immigrants etc. In Western Europe today we have more and more old people and because of the pandemic they are marginalized. We need to keep their spirits up also. They can’t see their families, go places, go to dinners. I planned carefully so they arrived in separate groups 10 minutes apart so there was no queue. They came in through one entrance and the musicians came in another. I desinfected all handles, put chairs 1,5 metres apart. And if I didn’t know somebody, I interviewed them on their lifestyle. If they had been at a social event recently they couldn’t come.
We have to work, musicians have to play. People who come here are really good at keeping a social distance. We just have to learn to adjust. And continue.
No musician has been indefinitely cancelled, we have just postponed ther concert. There is a life after corona.”
Thank you very much, Kajsa!!!
CURRENT AND FUTURE CHALLENGES FOR FESTIVALS
In this occasion, we have two interviews: about Kamičak Etno Festival, from Croatia (that continues the series of festivals included in project MOST) and about Hillside Festival, from Canada. I really hope they can retake their usual shape soon. To attend a concert or festival, gathering together with people you don’t know, but that are willing to share a emotional experience, is inimitable. It is a ritual, from the moment you chose the clothes you will wear. Or even from before. I am thanksful to Kajsa, Anđela and Samir and so many people that are keeping the flame alive in this time of added dificulties.
MINI INTERVIEW WITH ANĐELA GALIĆ FROM THE KAMIČAK ETHNO FESTIVAL (SINJ, CROATIA)
The third edition was planned to be held on days day 21 and 22 of August at the 18th century fortress of Sinj, in Croatia. This edition included concerts by Croatian, Argentine, Serbian, Macedonian, Bosnian and Irish artists, traditional crafts made by local producers and gastronomic local specialties. 
The edition of this year had to be cancelled and although some things will have to be rethought, the festival is included in MOST Project and planned to come back in 2021. Anđela Galić, organizer of the festival, shares their insights and vision.
Mapamundi Música – What do you search for in an artist when you program?
Anđela Galić – We are looking for creative, talented, individuals or groups whose music grows out of a certain musical tradition but at the same moment brings contemporary approach to its interpretation. Kind of music that brings interesting fusion of styles and stays in your ears for a long time.
MM – Which are the global objectives of your festival?
AG – We want to profile our Festival as one of the best world music festivals in Croatia, but also in the wider Balkan region. Our goal is to make Sinj (Croatia) and Kamičak Ethno Festival a recognizable festival gem where you can hear great performers from all around the world.
MM – What are the most complicated or difficult issues to deal with in your festival?
AG – The most complicated and difficult part is to provide enough funds, which implies constant engagement on the application of the festival to various funding tenders. Also the hard part is the fact that if you want to orginaze good festival you need a lot of planning and organization, which means involvement of many people, in our case volunteers, without whom the realization of the Festival would not be possible.
MM – Which are currently the main challenges for this kind of cultural proposals like yours?
AG – Due to the epidemiological situation it is difficult and uncertain to plan ahead. Anything that involves complex organization and engagement of international artists is considerably aggravated at the moment. The whole situation is extremely unpredictable for all involved in music industry and requires quick adaptation to new circumstances.
MM – In one sentence, summarize the reason/s to go to your festival.
AG – Excellent music in beautiful ambience of historic fortress at the top of the city with a view of the entire Cetina region, are just some of the reasons to visit Kamičak Ethno Festival. Plus, great fun is guaranteed.
MM – What has happened with the edition of 2020 in the current situation of the pandemic?
AG – Sure, except from canceling the last edition, we have to think about alternatives for next edition, so we are considering limiting the number of visitors or organizing festival only with local performers.
Credits:
- The portrait of Anđela is provided by herself.
- The logo is from their facebook site
- The aereal picture is from the website of the festival
- The picture of the concert is from the facebook site (concert by Patrick Walker Trio at the edition of 2019)
MINI INTERVIEW WITH SAMIR BAIJAL FROM THE HILLSIDE FESTIVAL (GUELPH, CANADA)
I am sure you will agree with me in the idea that it sounds like magic: to spend three days of Summer in an island in a lake in Canada, full of music, with a program in which diversity of culture, of musical heritage and style, of age, geography and influence is a guiding line. This is what the Hillside Festival state about itself on the website. It helds two editions, the Summer one and also another, in February.
This year the Winter edition was normal but the Summer one had to take an alternative shape: Homeside 2020. Samir Baijal, the artistic director, explains more about the festival in general and about this special edition too.
Mapamundi Música – What do you search for in an artist when you program?
Samir Baijal – Once I appreciate that they are a skilled and strong live artist, it is always about trying to picture them on one of our stages. We program all kinds of music and our audience is very open to new artists and form all around the world so I think of how they will respond. I look for performers who can have a strong connection to the audience and in most case willing to collaborate with other artists at the festival.
MM – What are the most complicated or difficult issues to deal with in your festival?
SB – Typically, it would be the weather gets harsh as we on an island outdoors.
MM – Which are currently the main challenges for this kind of cultural proposals like yours?
SB – Maintaining a festival that is non-commercial that has strong values and environmental/sustainable practices – hence also maintaining a unique identity in a very competitive market. But right now it is enduring the period of the pandemic when we are not able our regular event(s) and revenue is not possible.
MM – In one sentence, summarize the reason/s to go to your festival.
SB – A family friendly festival in a beautiful setting, that challenges the audience to check their tastes at the gate and with more than just music.
MM – What has happened with Hillside Festival 2020? I think you were able to make the February edition normally, but for the Summer edition, you reshaped it for an online format. How was it?
SB – We called it Hillside Homeside 2020. It went better than we expected, the event was completely free to view and what we noticed the most is how much the audience appreciated us offering this presentation. It felt very personal and I think that it was a sense of connection between our patrons and our festival during a very challenging and unprecedented time.
MM – How did you shape the experience of the attendants?
SB – This was to be our 37th year, so we had a series called 37 songs where 37 artists offered a personalized recording of a song and monologue/message to the Hillside viewer. There were virtual workshops on everything from yoga to cooking and also links to our craft and food vendors – we had some archival footage with current day interviews (called Now and Then). We used the same different stage template as if it were on site.
MM – How did you get their engagement?
SB – We had our mailing list, newsletter and media gave a lot of coverage that it was happening.
MM – Any positive insight of this reshaped edition, that you could even keep for future editions when the pandemic ended?
SB – I think we would put more attention on more specific archiving and look at showing these during the year.
Credits:
- The portrait of Samir is from his profile at Womex
- The logo is from their facebook site
- The aereal picture and the picture of the workshop are from the website of the festival
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NEWS FROM THE CHARTS AND SISTER PROJECTS
- In the previous edition I announced that Transglobal World Music Chart turned 5 years old. I am happy to announce now that the compilation album The Best of Transglobal World Music Chart 2020, will be released by ARC Music in January. Follow our Facebook and visit our website of News to be updated and learn more. And during the last weeks we have incorporated new panelists, from Brazil, UK, Cuba and India.
- About Mundofonías, our monthly favourites are the last albums by Niqolah Seeva, Kaito Winse and The Rheingans Sisters. For some weeks now the radio show is been broadcasted in Ràdio Túria, in L’Eliana, Valencia, Spain.
WHAT’S NEXT?
In spite of everything, we are still in the season of professional dates.
- Mundial Montreal. The professional’s platform will be working from tomorrow to day 28th. Yesterday I decided to sign up and the true is that I am quite excited!
- Before Babel Music XP. As announced above, it will take place on November 26-27. I a proudly included in the program. Remember that there is an interview with Olivier Rey from Babel Music XP, 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. And we lead also the Asociación para la Difusión de los Estilos.
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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This newsletter is open to sponsorship. Feel free to ask for details.
András Bethlendi – Méra World Music Festival is an international world music festival with an acknowledged focus on local music. Therefore, on one hand, we are looking for local artists who can play the traditional music from Transylvania or Romania, on the other hand, we are looking for artists from abroad who can play authentic folk music or music inspired from their local musical traditions.
MM – What are the most complicated or difficult issues to deal with in your festival?
MM – In one sentence, summarize the reason/s to go to your festival.
We made a contest of stories. The one that won is a portrait of Andrés José, a Colombian immigrant in Valencia, who ends up working as a delivery man on a bicycle to support his family (parents and two younger sisters). The first day he works on that, his little sister is very happy because he comes back home very early: his bicycle has been stolen. Juan Antonio Torres made it in shape of a romance with the zambomba. 
Of the repertoire for an event of two hours it was prefixed only the 4 first pieces and the very last one. Between that, that band sang about the topics that the public was asking, using the traditional styles (jota, several variants of fandango, seguidilla, son). For this, we prepared more than 100 new couplets organiced in the main topics of our nowadays and of the field of world of ILO. And the band decided the specific style to apply to those lyrics in that very moment.
MM: Despite the situation you have been able to do some nice things, haven’t you? Please, tell us what you’ve been doing during the pandemic.
Mapamundi Música: What has happened that made this rebirth possible? 
Mapamundi Música – What do you search in an artist when you create the programme? 
MM – What do you search in an artist when you create the programme? 
Since the very start of the festival, we have firmly believed that one of the bases of understanding and tolerating the social changes and geo-political events taking place in the world is a dialogue between generations. By means of the international language of music, the artistic productions of the young musicians building upon the heritage of their ancestors mediate ideas and notions which shared with the audience facilitate to understand the elements of contemporary world vision.
MM – In one sentence, summarise the reason/s to go to your festival. 
I have been in touch with Angie Lemon, first because of her work of publicist for ARC Music, as she has been working with their releases and I am, thanks of 
In the 
MR: Zeman Fest crew, consisted of musicians, is always looking for artists who can provide good musical experience as well as good show. Since the festival is happening in region which is at the border between different Balkan countries and culture, we are trying to provide different musical experience to the audience as well a positive cultural experience to the guest artists.
Davide Mancini is a music addict from a very young age. He has worked in radio, newspaper, played the guitar as a non-professional and finally became an agent, manager and festival organizer. He created an agency, Musicastrada, focused on world music and beyond, working in Italy and the rest of the world and since 2000 is the creator and artistic director of the Musicastrada Festival, the only itinerant event of world-global sound based in Tuscany.
This interview is with Ms. Yu Su-Ying, the artistic director (find her CV 
MM – What do you search in an artist when you create the programme? 
MM – What do you search in an artist when you create the programme? 
MM – I know that you work with the same strength and passion than when we met, around 11 or 12 years ago. And I think you feel that your kind of vision and what alba Kultur provides to the society is still as essential as it was at that moment and, probably, as it was when alba Kultur started. I think that 30 years ago, the world music was quite unknown for the public and for the cultural agents. Some years after, it became a boom about it. And in the last times it seems we are lossing spots for the visibility in the media and that some relevant agents, like big festivals, have been abandoning this kind of music and moving to more commercial programs. I have some questions about this:
Silk Road series of concerts in Museum of Orient, Lisbon. The true is that this was born as a attempt to extend alba Kultur’s program at the Iberian peninsule. It was not possible to do it like that because of the format (intensive program in some days vs. extended in some months) but that put the seed for another series with similar topic, to be hold in Lisbon with one concert in April, another in May and another in June.