{"id":3737,"date":"2025-01-20T23:24:38","date_gmt":"2025-01-20T22:24:38","guid":{"rendered":"https:\/\/www.mapamundimusica.com\/?p=3737"},"modified":"2025-01-20T23:40:44","modified_gmt":"2025-01-20T22:40:44","slug":"january-25-talk-with-miklos-both-folk_me-juan-antonio-vazquez-limur-amosi-just-a-label-ntwala-oh-yeah-many-new-calls-and-79","status":"publish","type":"post","link":"https:\/\/www.mapamundimusica.com\/en\/newsletter\/january-25-talk-with-miklos-both-folk_me-juan-antonio-vazquez-limur-amosi-just-a-label-ntwala-oh-yeah-many-new-calls-and-79\/","title":{"rendered":"January 25. Talk with Mikl\u00f3s Both (Folk_ME), Juan Antonio V\u00e1zquez (LIM\u00faR), A’mosi Just a Label (Ntwala Oh Yeah!), many new calls and + #79"},"content":{"rendered":"

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Summary\u00a0\ud83d\udc47<\/strong><\/span>\u00a0<\/span><\/h2>\n
\ud83d\udd38<\/span><\/span>Editorial<\/h6>\n
\ud83d\udd38<\/span><\/span>Learning traditional music: Folk_ME with Mikl\u00f3s Both<\/h6>\n
\ud83d\udd38<\/span><\/span>LIM\u00faR, the Iberian roots music chart, turns one year old. Juan Antonio V\u00e1zquez shares some insights<\/h6>\n
\ud83d\udd38<\/span><\/span>A new edition of Ntwala Oh Yeah!, with A’mosi Just a Label<\/h6>\n
\ud83d\udd38<\/span><\/span>Brief news from the media, charts and sister projects<\/h6>\n
\ud83d\udd38<\/span><\/span>Open calls: WOMEX, Premio Andrea Parodi, World Music Showcase in Sofia, Mercat de M\u00fasica Viva de Vic, Fira Mediterr\u00e0nia de Manresa, So Alive Music Conference, Circulart<\/h6>\n
\ud83d\udd38<\/span><\/span>Meet me at\u00a0\u2708\ufe0f\u00a0 Line up of\u00a0Flanders Folk Music Awards and Belgian Worldwide Music Night, announced<\/h6>\n

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\u27a1\ufe0f This is the link for subscription<\/a><\/h3>\n
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Hello, <\/strong>how are you? <\/strong>I hope well! I am very well, after some time without flights, but the activity will be hectic again very soon.<\/p>\n

I already shared this picture with Mikl\u00f3s Both in a previoys edition.\u00a0We made it in Kaustinen on the occasion of the annual conference of the European Folk Network. In this edition of the newsletter, here below, Mikl\u00f3s shares some insights about a project that I find really exciting: Folk_ME.<\/p>\n

It is conected to an issue that is in my mind very often: the learning of the traditional music. I dedicated\u00a0the\u00a0edition of August 2024<\/a>\u00a0to this topic. There,\u00a0Marie Devlieger, coordinator of the academy and Peter Van Rompaey, artistic director of Muziekpublique told us about their educational offer.\u00a0I shared some insights about the experience of Antonio Mir\u00f3n in rural areas of Almer\u00eda province (Andaluc\u00eda) and I mentioned the Escuela de M\u00fasica Creativa from Madrid. Three different initiatives oriented to teaching traditional musics.<\/p>\n

I am writting this editorial on Sunday night. This morning I learnt about the international conference “Le Musiche Tradizionali in Conservatorio” (Traditional Music in Conservatory), that will take place on 24 and 25 of January\u00a0at the MARCA Museum, Catanzaro. You can check the details,\u00a0here<\/a>.<\/p>\n

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

“Together, we\u2019ll explore the impact of native languages and the dominance of English on:<\/em><\/p>\n

\ud83c\udfb6Musical identities
\n\ud83d\udcdaRepertoire choices
\n\ud83c\udfbcMusic teaching and learning
\n\ud83c\udf0dThe state of musical traditions and Indigenous forms<\/strong><\/em>”\u00a0<\/em><\/p>\n

It is meaningful for me that they pay attention to specifically these topics.<\/p>\n

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

Yesterday I attended the concert by\u00a0Asm\u00e2a Hamzaoui & Bnat Timbouktou in the\u00a0Limo concerts series<\/a>. There, I was told about a musician from Sardinia who had been learning to play the zambomba with the videos I made with Juan Antonio Torres from Vig\u00fcela six years ago for the Youtube channel of the Association of Dissemination of the Styles. The play list of 13 videos is\u00a0here<\/a>. Juan Antonio has been teaching traditional music for many years, developing his own methodology.<\/p>\n

Where am I trying to go with all this? I don’t think it will lead anywhere beyond reflecting on all the different ways this topic can be approached.\u00a0I’m glad to see activities related to the teaching of traditional music, and I believe we need to keep exploring ways to approach it.\u00a0This is one of the topics I address further down.<\/p>\n

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

Remember: if you have any news of interest for our community, let me know. Thank you very much for your attention.
\n<\/strong>Araceli Tzigane | Mapamundi M\u00fasica\u00a0|\u00a0+34 676\u00a030 28 82\u00a0<\/strong><\/h4>\n
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Folk_ME<\/span><\/strong><\/h1>\n\n\n\n
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Let me invite you to play this in the background, if you can. Or listen to it first and then keep reading, if you can’t. I’m the second type. Good music captivates me too much for me to focus on what I’m reading.<\/span><\/p>\n

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According to\u00a0the website<\/a>, “Folk_ME’s platform is a versatile online teaching toolkit designed primarily for teachers and their students.”\u00a0It is a project led by Mikl\u00f3s Both, whom I first heard about in connection with the\u00a0Polyphony Project<\/a>. Piotr Piszczatowski, Polish percussionist who works with Janusz Prusinowski,\u00a0told me about this. It is superb; check it out.<\/span><\/strong><\/span><\/p>\n

In November 2021, Mikl\u00f3s became the director of the Hagyom\u00e1nyok H\u00e1za (Hungarian Heritage House). On the day he took office, I was there for the annual conference of the European Folk Network. This picture of us together is from the 2024 annual conference in Kaustinen. Mikl\u00f3s\u00a0is also a composer, performer, folklorist, singer, guitarist, actor, and vitar violin (a mix of guitar and violin)\u00a0player.<\/span><\/p>\n

Following a similar model to Polyphony, with an added educational layer, Folk_ME is fascinating not only for those interested in improving their performance of traditional Hungarian music but also for anyone who appreciates good music. This is how\u00a0Mikl\u00f3s explains Folk_ME:<\/span><\/p>\n

“The Folk_ME platform currently offers 134 recorded pieces,\u00a0each structured according to the Folk_ME methodology,\u00a0focusing on education and cultural heritage preservation. The\u00a0website is designed as a versatile toolkit for musicians,\u00a0educators, and enthusiasts, providing a deep dive into traditional folk music through various interactive features:<\/span><\/em><\/span><\/p>\n

\ud83d\udd381. Video Clips:\u00a0<\/strong>Each piece has a main video showing the\u00a0performance. Detailed information accompanies the video,\u00a0including the song’s origin, performers, and lyrics, to\u00a0contextualize the piece culturally and geographically.<\/span><\/em><\/span><\/p>\n

\ud83d\udd382. Tracks:\u00a0<\/strong>The multi-track player allows users to isolate or\u00a0combine individual instrumental and vocal parts. This\u00a0feature helps users analyze the music layer by layer and\u00a0study each instrument’s role.<\/span><\/em><\/span><\/p>\n

\ud83d\udd383. Parts:<\/strong>\u00a0Individual performances of each musician are\u00a0recorded separately, with a focus on their hands and\u00a0instruments. Videos can be slowed to 0.75x or 0.5x speed\u00a0for detailed study without losing quality. This is ideal for\u00a0musicians learning the techniques.<\/span><\/em><\/span><\/p>\n

\ud83d\udd384. Sources:<\/strong>\u00a0Archival recordings spanning the past century are\u00a0included to explore the rich diversity of folk music traditions and their historical evolution.<\/span><\/em><\/span><\/p>\n

Additionally, the site supports searches by instrument, musical\u00a0dialect, or genre, making it easy to explore the content based on\u00a0specific interests. This combination of educational and analytical\u00a0tools fosters both learning and appreciation of folk music in an\u00a0engaging and innovative way.”<\/em><\/span><\/p>\n

As I mentioned above, one of the topics that frequently occupies my mind is the transmission of traditional music, and I find this project fascinating. I asked Mikl\u00f3s a few more questions, and I\u2019m sharing his answers below. My thanks go to Linda Diligens from the Hagyom\u00e1nyok H\u00e1za for her support in the coordination.<\/strong><\/span><\/p>\n

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Araceli Tzigane:\u00a0How has it been the traditional music teached in the tradition? In Spain the way of learning before the massive exodus from the village to the cities was very different from the way after that. Indeed I think there was a cut in the transmision, and the learning of traditional music was substituted by learning other things (let’s say that the people started to learn a kind of recreated folk music from the concepts of academic music). At the same time (years 50s-60s of XX century) in Spain there was an explicit movement from the Regime, of folklorization of traditional music and dance, where many things were rejected and other things were standardized. At that time, they were created the folkloric groups that are still alive, mainly in villages and in little towns. So we have these folkloric groups on one side and the urban-recreated-folk on the other side, and so far these are the main ways to learn something that some people call tradition.\u00a0<\/strong><\/span><\/p>\n

Mikl\u00f3s Both:<\/strong>\u00a0In Hungary, the transmission of traditional music historically took place within rural communities through oral tradition. This meant that children and young people naturally absorbed the repertoire of songs, dances, instrumental techniques, and performance styles by observing and participating in community events such as festivals, weddings, religious ceremonies, and work-related gatherings. This process was deeply embedded in the everyday life of these communities, where music and dance were inseparable from social functions and communal identity.<\/p>\n

Learning occurred primarily through observation and imitation. Young people would listen to older generations, watch their performances, and gradually internalize the repertoire and techniques. Certain skills, particularly in instrumental music, were often developed autonomously, with talented individuals experimenting and refining their abilities based on the examples they had seen and heard. However, intentional teaching also played a role: experienced musicians, such as fiddlers or bagpipers, often felt a moral obligation to pass on their knowledge to the next generation. In some regions, there was even a belief that a musician could not die without transmitting their craft to a successor\u2014a powerful illustration of the cultural and ethical weight placed on preserving heritage.<\/p>\n

The shift from rural to urban living in the 20th century disrupted this organic process. As traditional communities fragmented, the natural settings for transmission\u2014village gatherings and communal festivities\u2014diminished, and with them, the immersive environment where traditions thrived. In response, the preservation and teaching of folk music became more formalized, particularly through the establishment of institutions and movements such as the dance house (\u201ct\u00e1nch\u00e1z\u201d) revival of the 1970s. These initiatives aimed to recreate the communal and participatory nature of traditional music within an urban context while also incorporating structured teaching methods to ensure the transmission of knowledge.<\/p>\n

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

AT:\u00a0Which are the future plans of the project Folk_ME?<\/strong><\/p>\n

MB:\u00a0<\/strong>The Folk_ME program is preparing for a significant expansion with two major initiatives launching in April. These additions aim to enhance the platform\u2019s offerings and further its mission of making traditional culture accessible to diverse audiences, including teachers, students, and enthusiasts.<\/p>\n

The first initiative focuses on urban Gypsy music traditions, particularly Hungarian “v\u00e1rosi cig\u00e1nyzene.” This module will digitize and present this rich musical heritage, highlighting its historical roots, characteristic instruments (such as violin, cimbalom, and clarinet), and distinctive performance techniques. Through interactive tools, users will explore orchestration and stylistic nuances, preserving and educating about this vibrant tradition.<\/p>\n

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

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

AT:\u00a0And which are your future plans? Because you made the Polyphony Project before, which is absolutely fantastic, and Folk_ME after. Do you have any other ideas like these for the future?\u00a0<\/strong><\/p>\n

MB:\u00a0<\/strong>My future plans are closely tied to the further development and expansion of the Folk_ME and Polyphony Project platforms. Both initiatives have immense potential for growth, as demonstrated by the upcoming modules on urban Gypsy music traditions and traditional handicrafts. These new directions not only broaden the scope of the projects but also require significant time and expertise to fully realize.<\/p>\n

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

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

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

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THE LIM\u00faR, THE IBERIAN ROOTS MUSIC CHART, TURNS ONE YEAR OLD<\/span><\/strong><\/h1>\n
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Recently, LIM\u00faR announced its first annual chart, following four quarterly lists produced throughout 2024. I am part of the panel, but, as I did with Transglobal World Music Chart,\u00a0I have not voted during the time when I had an album from my own label in the list of candidates. This was the case with Vig\u00fcela\u2019s album We. Even so, it reached the number one spot. Honestly, I consider it well-deserved. However, the focus of this article is not that, but rather to celebrate LIM\u00faR’s first anniversary. Congratulations! And we\u2019ll do so with a few words from Juan Antonio V\u00e1zquez, its driving force and the coordinator of a team of nearly 30 jurors. You can find more details on the\u00a0website<\/a>\u00a0and social media (Facebook<\/a>\u00a0and\u00a0Instagram<\/a>).<\/span><\/strong><\/span><\/p>\n

Without further ado, here are the statements from Juan Antonio.<\/span><\/p>\n<\/div>\n

Araceli Tzigane: Please, make a short introduction of LIM\u00faR. What is it, who is part of it, what do you do, and why did you start it?<\/strong><\/span><\/p>\n

Juan Antonio V\u00e1zquez:\u00a0<\/strong>LIM\u00faR stands for Lista Ib\u00e9rica de M\u00fasicas de Ra\u00edz (Spanish) \/ Raiz (Portuguese), or Iberian Roots Music Chart, a chart that highlights recently released albums of roots music either made in Iberian countries, by artists of Iberian origin anywhere in the world, or based on Iberian musical roots, no matter the origin or the place of residence of the artists. In fact, we’ve already included in our chart musicians from other origins (Sahrawi, Brazilian, Cape Verdean, Moroccan, Italian, Senegalese…) living in Iberian countries. Similarly, we could also have, for instance, a Portuguese artist creating Indian music or a Japanese artist residing in Germany making flamenco. In other words, we understand the concept of “Iberian” in the broadest and most inclusive sense possible. This inclusivity also extends to the approach to roots music, ranging from strictly traditional to the most diverse experiments.<\/p>\n

We also want to highlight the variety of Iberian cultures, languages, and musical expressions, which demonstrate a much richer diversity than what might be expected if we only look at administrative borders. In that sense, we advocate for Iberian diversity, ensuring complete equality and non-discrimination. This is reflected in the fact that the name of the chart is displayed in every Iberian language that has a standardized linguistic form established by a recognized institution, such as the various language academies and their equivalents. Therefore, the full name of LIM\u00faR appears in Spanish (Castilian), Portuguese, Galician, Catalan-Valencian, Basque, Asturian, Aragonese and Mirandese, as well as in English. We are still missing Aranese, for which we do not yet have a verified translation. Similarly, we aspire to have the website’s introductory texts in all these languages, and we welcome any possible collaboration in translating them into these languages.<\/p>\n

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

To launch this initiative, I invited a series of recognized journalists and disseminators of these musical genres, initially from Iberian countries. Over time, the invitation extended to participants from other countries. Currently, the panel includes members from Argentina, Puerto Rico, Poland, Brazil, Mexico, Greece, and Serbia, among others, with plans to incorporate new panelists from different regions in the future. We are fortunate to have journalists working for major media outlets, such as newspapers like El Pa\u00eds or El Mundo; national radio stations in Portugal, Spain, Poland or Serbia; university radio stations in Mexico, Spain, Puerto Rico, Brazil or Portugal; specialized web-based stations and more. But most importantly, they are specialists with extensive knowledge and broad perspectives.<\/p>\n

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

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

AT:\u00a0Which are the objectives?<\/strong><\/p>\n

JAV:<\/strong>\u00a0The primary objective of LIM\u00faR is to act as a platform that amplifies the visibility of Iberian roots music, both within Iberian countries and internationally.<\/p>\n

In the Iberian context, these styles are often underappreciated, except for a few better-known genres like flamenco or fado. Even within these better-known genres, there are many artists with very interesting yet underexposed proposals. Additionally, root music from different territories within Iberian countries often does not transcend local boundaries due to linguistic and cultural divides. LIM\u00faR aims to foster mutual understanding and exchange across these diverse traditions.<\/p>\n

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

AT:\u00a0After one year, what are the insights you have about the development of the production of this kind of music?<\/strong><\/p>\n

JAV:\u00a0<\/strong>All the objectives are currently in progress, with very promising outcomes. The response and impact have been overwhelmingly positive, but I hope it will gain even more recognition, especially after the publication of the first annual chart, corresponding to the year 2024.<\/p>\n

The initiative has been warmly received by those in the roots music sector, particularly by the artists and groups who have been recognized through LIM\u00faR. Many of them have become ambassadors for the project, proudly showcasing the recognition they\u2019ve received, which in turn helps spread awareness about LIM\u00faR\u2019s work.<\/p>\n

Ultimately, LIM\u00faR has brought joy to talented artists and contributed to the growing recognition and dissemination of its mission. This shared enthusiasm continues to expand LIM\u00faR\u2019s influence and reputation.<\/p>\n

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THE THIRD EDITION OF NTWALA OH YEAH! WILL TAKE PLACE IN JUNE IN MALANJE<\/span><\/strong><\/h1>\n
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In\u00a0the March 2023 edition of this newsletter<\/a>, I talked about the first open call of Ntwala Oh Yeah! Festival. The artist\u00a0A’mosi Just A Label contacted me about it and told me about this new initiative in Angola, a multidisciplinary and international gathering of artists.<\/span><\/strong><\/span>The event took place already for two times and now, KONONO SOUL ARTS, the organization of A’mosi, announces the NTWALA OH YEAH! Malanje Edition 2025. It is\u00a0scheduled for June 24-29.<\/span><\/p>\n

According to their press release,<\/span><\/p>\n

\u00a0“NTWALA OH YEAH! It is an itinerant meeting between the performing arts, Music, Dance, Literature, Visual Arts, and Spoken Word. Plus, Book Launches, Talks, Workshops, Networking and Tourism. The 2025 edition in Malanje \u2013 Angola, it\u2019s a camping edition with ecological footprint.\u00a0The aim of the festival is to promote and highlight emerging artists, offering them a platform to present themselves.”<\/em>\u00a0You can\u00a0read the full press release,\u00a0here<\/a>. And I really recommend it to understand it better.<\/strong><\/span>The call for proposals is\u00a0this form<\/a>. It is open until February 15th. And you can check the social media,\u00a0here<\/a>.<\/span><\/p>\n

After these two previous years, I made a couple of questions to A’mosi. Check the answers here below.<\/span><\/p>\n

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Araceli Tzigane: Which where the biggest challenges in the previous editions?\u00a0<\/strong><\/span><\/p>\n

A’mosi Just a Label<\/strong>:\u00a0The biggest challenge in producing Ntwala Oh Yeah! is first the people, including myself! Then the institutions in Angola.\u00a0Me, because i dared to think about holding a festival of international standard in Angola! Even though I was aware that the Angolan people understand that art is just entertainment, hype, etc. And yet, I insisted on proposing this festival model to the people.<\/p>\n

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

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

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

Araceli Tzigane: Who participated in the previous edition?<\/strong><\/span><\/p>\n

AJL:\u00a0<\/strong>These artists participated: Marina Queiroz Miranda (Brazil); Clington experiment (Angola\/Portugal); Zadio (Angola\/United Kingdom); Yoleni (Angola\/France); VI-CI (Luanda\/Angola), Rainy Mar (Luanda\/Angola); Kark Sumba (Luanda\/Angola); Uncle Jay (Luanda\/Angola); Santimant Mwiny (Luanda\/Angola); Jorge Pimentel (Benguela\/Angola); Ismael Farinha (Luanda\/Angola) and Roberto Leal (Angola\/Brazil).
\n5 for exhibitions:\u00a0Ely Ingl\u00eas (Luanda\/Angola); Gato Preto (Luanda\/Angola); Eltina Gaspar (Luanda\/Angola); Nefwani J\u00fanior (Luanda\/Angola); Parasol (Luanda\/Angola).
\n2 selecta artists: Wilmara Maravilha (Luanda\/Angola) and Mara Baoba (Luanda\/Angola).<\/span><\/p>\n

I really wish much success to A’mosi and the team for the 2025 edition and I hope they can fulfil their aims!\u00a0<\/strong><\/span><\/p>\n

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BRIEF NEWS FROM THE MEDIA, CHARTS AND SISTER PROJECTS\u00a0<\/span><\/strong><\/span><\/h1>\n
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\ud83d\udd38#1\u00a0for\u00a0Transglobal World Music Chart in January of\u00a02025<\/a>\u00a0is:\u00a0Mari Boine’s\u00a0Alva<\/em><\/span><\/p>\n

And the results of the Festival Awards 2024 have been announced. Check them\u00a0here<\/a>.<\/p>\n<\/div>\n

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\ud83d\udd38Mundofon\u00edas<\/a>: the three favourite of the month are\u00a0\u00a0JB Moundele’s\u00a0Racines<\/em>, Mel\u00f3n Jim\u00e9nez & Lara Wong’s\u00a0 \u2013\u00a0Confluencias\u00a0<\/em>and\u00a0Beno\u00eet LeBlanc’s,\u00a0M\u00f4 kouzin, m\u00f4 kouzinn<\/em><\/span><\/div>\n
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\ud83d\udd38LIM\u00faR<\/a>\u00a0(Iberian Roots Music Chart), annual results of 2024<\/a><\/p>\n

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Check the results in the link. In this collage Juan Antonio managed to put the top 25.\u00a0<\/span><\/p>\n

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Do you have a call of interest for our community that you want to share? Let me know asap<\/strong><\/h3>\n
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OPEN CALLS\u00a0<\/strong><\/h1>\n

This section is open for news. It is free of charge. You can let me know if you have any open call\u00a0of relevance to the community.<\/p>\n

NEW CALLS IN THE NEWSLETTER:<\/strong><\/h4>\n
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\ud83d\udd38WOMEX<\/a><\/strong>
\nThis year WOMEX will take place in Tampere (like in 2019), Finland, 22 – 26 October 2025.<\/p>\n

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

The deadline for sending the proposals is Friday, 28 February 2025. The application must be done in this website:\u00a0https:\/\/www.womex-apply.com\/<\/a><\/p>\n

The submission fee (payable by Paypal) is:
\n\u00b7 20 January – 07 February: Early Bird Rate, 15 \u20ac
\n\u00b7 08 February – 28 February: Late Rate, 25 \u20ac<\/p>\n

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\ud83d\udd38Premio Andrea Parodi<\/a><\/strong>
\nThe 18th edition of the competition has been launched, with the final rounds scheduled from October 9 to 11, 2025, in Cagliari. The call for applications is now open, with free registration available until May 9, 2025, through the official website\u00a0www.fondazioneandreaparodi.it<\/a>.<\/p>\n

The winner and several finalists will receive significant prizes, including opportunities to perform at major Italian music festivals.<\/p>\n

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\ud83d\udd38World Music Showcase in Sofia<\/a><\/strong>
\n“The call for applications for the international showcase for emerging artists in world music is open from January 05th to February 16th, 2025. Each accepted application will be evaluated by a 5-member international jury. 12 participants will be selected to participate in the showcase program in Sofia. The official artist selection will be announced on March 17, 2025.<\/em><\/p>\n

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

To be elegible, the artists have to fulfill some conditions. Check them in the\u00a0official website<\/a>.<\/p>\n

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\ud83d\udd38Mercat de M\u00fasica Viva de Vic<\/a><\/strong>
\nThe 37th edition will take place from 17 to 21 of September in Vic, Catalonia. The call for applications expires on 31st of March.\u00a0Proposals can be submitted for all musical styles and genres, with the exception of classical music.
\nCheck the conditions for the participations,\u00a0here<\/a>. Application,\u00a0here<\/a>.
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THESE CALLS WERE IN THE NEWSLETTER IN THE PREVIOUS EDITION:<\/strong><\/p>\n

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\ud83d\udd39Fira Mediterr\u00e0nia de Manresa\u00a0<\/strong><\/span><\/p>\n

<\/strong>The 28th edition of the Fira Mediterr\u00e0nia will take place in Manresa\u00a0from 9 to 12 October 2025.<\/p>\n<\/div>\n<\/div>\n

\ud83d\udd38Who is it for?\u00a0<\/strong>
\n“Music, performing or street art, folk culture and association-related proposals that are based on traditional roots as a driver of creativity and speak to us in the present.”<\/em>
\nNote also that:
\n“The programme of Fira Mediterr\u00e0nia is divided into three main itineraries:<\/em><\/p>\n