{"id":3997,"date":"2026-07-30T23:41:19","date_gmt":"2026-07-30T21:41:19","guid":{"rendered":"https:\/\/www.mapamundimusica.com\/?p=3997"},"modified":"2026-07-30T23:54:45","modified_gmt":"2026-07-30T21:54:45","slug":"july-26-identity-displacement-and-endangered-languages-conversacion-with-cesar-olivares-capibara-music-and-97","status":"publish","type":"post","link":"https:\/\/www.mapamundimusica.com\/en\/newsletter\/july-26-identity-displacement-and-endangered-languages-conversacion-with-cesar-olivares-capibara-music-and-97\/","title":{"rendered":"July \u201926 \u2014 Identity, Displacement and Endangered Languages, conversacion with C\u00e9sar Olivares (Capibara Music) and + (#97)"},"content":{"rendered":"

<\/p>\n

This month\ud83d\udc47<\/strong><\/h2>\n

\u25fb\ufe0f<\/span><\/span>Editorial<\/span>
\n\u00a0 \u00a0 \ud83d\udd38Exporting Music in Minority Languages<\/span><\/p>\n

\u25fb\ufe0f<\/span><\/span>Songs in Motion: Stella Papalamprou on Identity, Displacement and Endangered Languages<\/span><\/p>\n

\u25fb\ufe0f<\/span><\/span>Interview with C\u00e9sar Olivares, Capibara Music<\/span><\/p>\n

\u25fb\ufe0f<\/span><\/span>Brief news from the media, charts and sister projects<\/span><\/p>\n

\u25fb\ufe0f<\/span><\/span>Open calls and professional events:<\/span>
\n\u00a0 \u00a0 \ud83d\udd38Global Toronto<\/span>
\n\u00a0 \u00a0 \ud83d\udd38Afro Pepites<\/span><\/p>\n

\u25fb\ufe0f<\/span><\/span>Meet me at\u00a0\u2708\ufe0f<\/span><\/p>\n

\n

\u27a1\ufe0f This is the subscription link<\/a><\/h4>\n

Hello, <\/strong>how are you?\u00a0<\/strong><\/p>\n

I\u2019m doing well. I\u2019m writing this from home, with August about to begin\u2014a month when many people will be on holiday. I won\u2019t, actually. I won\u2019t have to travel by plane, but the next few months will be hectic. In August, Vig\u00fcela will be recording their eleventh album. Stella Papalamprou will release her debut recording in September. Hudaki Village Band have their new album ready, and we need to start making some noise about it. Ali Do\u011fan G\u00f6n\u00fclta\u015f will also release his third album next autumn. There will be many opportunities to introduce more people to the wonderful art of all these musicians.<\/p>\n

In the photo, I am with Ali Do\u011fan G\u00f6n\u00fclta\u015f in Arles on 13 July, the evening before the workshop he led there over the following three days and his concert on Friday the 17th, which sold out. We also sold a great many records. It was a beautiful event, held in the remarkable setting of the Alyscamps necropolis.<\/p>\n

Before all that, however, I was in Sofia, as I mentioned previously, for the A to JazZ World Music Showcase and jazz festival. There, I had the opportunity to take part in a panel entitled \u201cExporting Music in Minority Languages in Europe\u201d. This is an area I work with every day through Ali Do\u011fan G\u00f6n\u00fclta\u015f, whose mother tongue is Zazak\u00ee, Stella Papalamprou, whose debut album is entirely in Pontic Greek, and Xabi Aburruzaga, whose songs are in Basque. I have summarised my presentation below.<\/p>\n

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Exporting Music in Minority Languages: Breaking the Visibility Barrier<\/strong><\/h3>\n
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\u201cThe death of a language inevitably leads to the disappearance of various forms of intangible cultural heritage such as performing arts, social practices, rituals and festive events, traditional crafts and the priceless legacy of the community\u2019s oral traditions and expressions, such as poetry and jokes, proverbs and legends.\u201d\u00a0<\/span><\/em><\/span>Preface of the\u00a0Atlas of the World\u2019s Languages in Danger<\/a>, Irina Bokova, Director-General of UNESCO at the time of publication<\/span><\/p>\n

\n

Before the event, I asked Ali, Stella and Xabi what singing in their own languages means to them. You can read their answers\u00a0here<\/a>\u00a0and download my presentation,\u00a0here<\/a>.<\/p>\n

At A to JazZ, I presented the talk \u201cExporting Music in Minority Languages in Europe: Breaking the Visibility Barrier\u201d, a reflection on the difficulties faced by music performed in languages with little presence on the international circuit.<\/p>\n

The starting point of my presentation\u00a0was an apparently simple question: is language really the barrier?<\/p>\n

Not all languages described as minority or minoritised are in the same situation. Some examples: Basque (Euskara) benefits from significant institutional and community support; Wolof is a major language in its territory of origin but becomes minoritised within the European diaspora; Zazak\u00ee, meanwhile, is vulnerable, politicised and frequently overlooked, even within the Kurdish context itself. Speaking of \u201cminority languages\u201d as though they all represented the same condition prevents us from understanding the different power relations that determine their visibility.<\/p>\n

However, when music performed in these languages attempts to circulate internationally, the market tends to react in much the same way: it is considered difficult, overly specific, local, risky or suitable only for a niche audience. The barrier is not merely linguistic.<\/p>\n

Listeners of K-pop do not need to speak Korean in order to connect with the songs. Music is not a comprehension test or a reading exercise: it is voice, rhythm, sound, body, emotion and atmosphere. The real difference lies in exposure, repetition and the desire that the market manages to create around particular kinds of music. Some languages are presented again and again as global, while others are confined to the local sphere before audiences have even had the opportunity to hear them.<\/p>\n

<\/p>\n

To illustrate these different realities, I drew on the work of three artists. In the music of Ali Do\u011fan G\u00f6n\u00fclta\u015f, Zazak\u00ee is not a decorative element or an added colour: it is the ground from which his work grows. In contexts where language and literature have been suppressed, songs preserve words, memories, rhythms and ways of telling stories that institutions have failed to protect. Some languages do not travel through institutions: they travel through songs.<\/p>\n

\n

<\/p>\n

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\u201cIn a non-state, whose language and literature are suppressed, everything is sung to be remembered and saved.\u201d<\/span>\u00a0<\/em>Eleni Ziliaskopoulou, M.A., Planet Radio 90,6.<\/p>\n

 <\/p>\n

 <\/p>\n

\n

Stella Papalamprou represents a different situation through Pontic Greek. Her music keeps alive the voices, stories and experiences of people who lost their homeland but not their identity. Here, the risk is not only silence or complete disappearance, but that the language may survive mainly as a beautiful relic: sung, remembered and performed, but used less and less as a living language.<\/p>\n

The third example was Xabi Aburruzaga and Basque, a language with a much stronger local structure whose music nevertheless continues to face limited international familiarity. Institutional support can strengthen a language without automatically making the international market perceive its music as exportable.<\/p>\n

The central conclusion of the presentation was that the barrier is not comprehension, but circulation. What matters is which music is programmed, promoted, playlisted, reviewed and repeated until it becomes familiar. Many successful songs circulate worldwide without most listeners understanding their lyrics. The problem is not that certain languages cannot be universal, but that the market has not yet learnt \u2014or has not wished to learn\u2014 to hear them in that way.<\/p>\n

\n
Remember: if you have any news of interest for our community, let me know. Thank you very much for your attention.<\/h5>\n
Araceli Tzigane | Mapamundi M\u00fasica\u00a0|\u00a0+34 676\u00a030 28 82<\/h5>\n
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INTERVIEW WITH STELLA PAPALAMPROU:<\/span><\/strong>
\nSongs in Motion: Stella Papalamprou on Identity, Displacement and Endangered Languages<\/span><\/strong><\/h3>\n
Interview for the European Folk Network<\/span><\/strong><\/h5>\n
\n

~~~~<\/span><\/em><\/strong><\/p>\n

“When you lose your land, your home, and your graves, language and song become the only homeland you can carry with you.”\u00a0<\/em>Stella Papalamprou<\/span><\/p>\n

~~~~<\/em><\/strong><\/span><\/p>\n


\nSometimes different paths lead to similar reflections. Or rather, different experiences offer us diverse perspectives on the same subject. Minority languages, migration and their impact on music also feature in this interview I conducted with Stella Papalamprou, which you can read in the July newsletter of the European Folk Network. You can find it\u00a0here<\/a><\/strong>.<\/span><\/p>\n<\/div>\n<\/div>\n

\n

<\/p>\n

INTERVIEW WITH C\u00c9SAR OLIVARES, CAPIBARA MUSIC<\/span><\/strong><\/h3>\n
\n

The relationship between music and migration is a recurring subject in my work and reflections. At A to JazZ, I had the opportunity to meet C\u00e9sar Olivares. He had contacted me beforehand to remind me about Cholo Chicha\u2019s performance, and on 3 July we were able to spend a few minutes together after the round of speed meetings with the artists so that he could tell me about Capibara Music.<\/span><\/p>\n

As I was a member of the jury for the A to JazZ\u00a0showcase, I was already familiar with Cholo Chicha and was looking forward to seeing them live. Their full concert is available on video, and I have included it below in case you would like to listen to it while reading the interview.<\/p>\n

I discovered C\u00e9sar\u2019s initiative at a very early stage, and I hope it thrives and that I will be able to share more news about them here in the future. In the meantime, let us hear from C\u00e9sar himself about Capibara Music.<\/p>\n<\/div>\n

\n\n\n\n
\n

The A to JazZ showcases were recorded on video, with excellent sound and picture quality. In addition to Cholo Chicha\u2019s performance, you can watch the others on the festival\u2019s YouTube channel: <\/span>https:\/\/www.youtube.com\/@atojazzfestival<\/a><\/p>\n

\"\"<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n

Araceli Tzigane: Capibara is the initiative you were telling me about.<\/strong><\/span><\/strong><\/b>
\nC\u00e9sar Olivares:<\/strong>\u00a0Capibara Music, exactly.<\/span><\/p>\n

AT: It is an association devoted to mapping Latin American artists who are based in Spain.<\/strong><\/span><\/p>\n

CO:<\/strong>\u00a0Yes. We work mainly with migrant musicians \u2014almost all of them are migrants\u2014 and with Latin American roots music, regardless of genre. For example, we work with world music, folk music, quite a lot of traditional music and jazz as well. Through different tools, such as booking, production, internationalisation and professional support, we help them and work with them in those areas.<\/span><\/p>\n

The association is new: we have been operating for less than six months. We are at an initial stage of consolidating our message, recruiting members, establishing partnerships and, above all, making ourselves known. That is why initiatives such as this interview are extremely valuable to me.<\/p>\n

Capibara Music grew out of my own experience. I have lived in Spain since 2020; it was the second time I had come to Spain. Because of issues with permits and documentation, I had no job and was not allowed to work, so I took up the violin again. I play the violin and began performing in the street. A friend and I played tangos, sambas and boleros. During those conversations in the street, we talked about the lack of initiatives that could help or bring some order to the scattered Latin American diaspora in Spain. There are some very high-quality musicians, but they do not have access to the same spaces and face many more barriers to entry.<\/p>\n

In Catalonia, there is also a language barrier. For us Spanish speakers, it is easy to overcome, but it remains a barrier, alongside the bureaucratic one. In those conversations, we would say that something had to be done: at the very least, we needed to create a legal framework that would allow us to issue invoices, register professionally and, ultimately, become professionals and make a living from this. Not become millionaires, but simply make a living from it. That is why it takes the form of an association: if the aim were simply to make money, I would set up a company.<\/p>\n

At Capibara, we work in three areas. The first is circulation. We have an internal roster of around seven bands and are seeking funding to develop an annual professional support programme focused on internationalisation and circulation.<\/p>\n

The second area is production. Two other members have recently joined who have contacts and somewhat greater financial resources. This may allow us to invest in bringing artists over on tour, securing dates in Spain or working through the networks of contacts that we gradually build.<\/p>\n

The third area, which is very important to me, is training, education and research: being able to publish, conduct research and provide training. I am a teacher and several of the musicians are too, either out of necessity or because they enjoy it. That is where this other dimension of sharing knowledge comes in. Broadly speaking, that is what we do with Capibara or, more accurately, what we want to develop from now on.<\/p>\n

AT: Before the interview, we were talking and I was saying that it seems as though there are hardly any musicians from Latin America in Madrid. There are some Cuban musicians who regularly perform at certain clubs, but there must be many more whom I do not know and have no idea where to find.<\/strong><\/span><\/p>\n

Sometimes we see posters for Latin American artists coming to perform at a nightclub \u2014I mean posters pasted up in the street. I imagine there is a circuit within those communities that they know and use to communicate with one another, but which is completely unfamiliar to those of us who have spent many years producing world music programmes. What is happening?<\/strong><\/span><\/p>\n

CO:\u00a0<\/strong>Life itself and its problems. Migration is often forced or takes place because there are not enough opportunities in people\u2019s countries of origin. When you arrive in a new place, it is already difficult to establish yourself professionally and deal with bureaucratic matters, so many other things fall by the wayside. Some communities are also very closed.<\/span><\/p>\n

We Latin Americans share a language and tend to gather among ourselves, but we are scattered and disorganised. What you find is a great deal of musical quality, but also considerable dispersion, little professionalisation and limited access to something as important as visibility.<\/p>\n

Part of our work involves mapping each person\u2019s situation. Through making music, for example, I was taken in by the Argentine community: I play a great deal of Argentine folk music and, through that, I also got to know that community. Through the band I work with, I met the Peruvian community, while I am Chilean. That is how we gradually come together and discover that, in fact, we are all looking for something similar.<\/p>\n

The problem is that we do not have the tools that exist in other countries, as they do here in Europe, because in Latin America, culture often does not receive the institutional support it deserves. Culture tends to come into conflict with institutions, so the two do not usually work as allies, as they do elsewhere.<\/p>\n

The Argentine community is very large in Europe and especially in Spain. There are also many high-quality artists and very active communities from Colombia, Peru, Chile and Argentina.<\/p>\n

Juan Antonio V\u00e1zquez: These communities you describe seem like somewhat separate islands. Is there any point or scene where they come together? Or does it work in such a way that someone might know the music circulating, for example, in the Ecuadorian or Venezuelan communities, but not know what the Argentines are doing?<\/strong><\/span><\/p>\n

CO:\u00a0<\/strong>Yes, although there is a common thread. In Argentina, people talk about pe\u00f1as, places where folk music is played. In Chile, they are also called pe\u00f1as and there are jam sessions as well. In Barcelona, where I live, these kinds of gatherings are becoming somewhat more structured. They are really occasions for people to come together because they miss their homeland, and there are things we will not compromise on, such as food and music. We will preserve them wherever we are.<\/span><\/p>\n

Each community has its own celebrations. The Bolivian and Ecuadorian communities are among those I have found most difficult to get to know from the inside. Bolivia, in particular, has a very strong tradition and a great determination to preserve it. It is not so much that they do not allow anyone else in, but rather the idea that they are the ones who play that music. That is also respected and understood.<\/p>\n

Folk music has that positive side, but also that difficulty: it is often not very permeable because the aim is to preserve it. To find out what they are playing and where they meet, you have to look for those gatherings, those pe\u00f1as or what might they be called in Spain?<\/p>\n

AT: A ronda, going on a\u00a0ronda<\/em>.<\/strong><\/span><\/p>\n

CO:\u00a0<\/strong>With food, drink, family, friends and the guitar playing afterwards.<\/span><\/p>\n

AT: It would be a\u00a0ronda\u00a0<\/em>in central Spain.<\/strong><\/span><\/p>\n

CO:<\/strong>\u00a0In any case, folk music performed by new generations is undergoing a revival and, in many cases, is strongly influenced by jazz. Afro-Peruvian jazz, with all the rhythmic mixing it incorporates \u2014the festejo, the cueca and other rhythms\u2014 is producing some very good musicians and bands, for example.<\/span><\/p>\n\n\n\n
\n

Later in the interview, C\u00e9sar mentions this Barcelona-based duo, M\u00fasicas Migrantes. In the video, they are joined by a double bass player. If you feel like listening to something calmer than Cholo Chicha, or simply enjoy Ibero-American song, make sure you give it a listen:<\/p>\n

\"\"<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

AT: All of this seems to be somewhat underground, that is, outside the institutions. I imagine these communities do not have a particularly close relationship with the embassies of their countries of origin in Spain either.<\/strong><\/span><\/div>\n
\n

CO:<\/strong>\u00a0There may be a relationship when it is politically convenient for the embassies or in connection with very specific celebrations, but there are no dedicated support schemes or, if they exist, they are very small. Chile has quite a few support schemes and Argentina also offers some, but everything varies depending on the political orientation of the government. For some political groups, culture is not a priority. In addition, people living abroad often left for a reason and simply may not receive support.<\/span><\/p>\n

AT: Of course. That is what I imagined.<\/strong><\/span><\/p>\n

CO:<\/strong>\u00a0Sometimes we remain underground because there is no other option and, at other times, because focusing exclusively on Latin American roots music is also a political choice. One of our aims is to open up spaces. We know that we will remain on the margins; we do not mind and we do not feel uncomfortable there. But we want to create spaces so that we have a voice, prevent music from other places from being folklorised or exoticised and ensure that, when institutions talk about migrant inclusion or diversity, it is we or associations of this kind who have the ability to make decisions and contribute programming proposals and ideas. So that, once again, it is not other cultures speaking for ours.<\/span><\/p>\n

AT: With this access to the communities, are you as an association managing to reach specific individuals? It seems very important to me to gain access to the right channel, which is sometimes a particular person who opens the way so that everyone else hears about something. Is that what is happening?<\/strong><\/span><\/p>\n

CO:<\/strong>\u00a0Yes, for example, through opportunities such as this one, which allow us to get to know you and come into contact with more people from other countries. Few people are devoted to doing what we do because it is extremely arduous work and often goes unseen.<\/span><\/p>\n

Sometimes you work with bands that do not know what entering the music industry means or do not want to enter it. They may also see figures such as the booker or producer as someone who only wants to make money from them. However, little by little, they realise that these kinds of professionals are necessary to open up spaces, speak to the right people, position what they are doing and even help empower them.<\/p>\n

Implicitly, we also do empowerment work with the musicians because they feel that they are no longer in their own land and may feel somewhat displaced. We are \u201cwalking on eggshells\u201d, as we say in Chile: moving forward step by step, trying not to bother anyone. But there comes a point when we understand that we are not bothering anyone: we are simply making an existing reality visible. As one journalist said, Spain has never been and will never be white. It is a mixture, a country that has been mixing for centuries, and that reality cannot be ignored. When inclusion truly happens, with a voice and a vote, we will be there because we will already have done this groundwork.<\/p>\n

AT: Would you like to add anything else?<\/strong><\/span><\/p>\n

CO:\u00a0<\/strong>Above all, people should look us up at capibaramusic.com and on Instagram to discover our roster. We work mainly with world music, jazz and folk music. There are some excellent projects. We are working with bands and artists such as Calle Mambo, Kumbia Boruka, La Dame Blanche and Cholo Chicha.<\/span><\/p>\n

There is also a duo called M\u00fasicas Migrantes, which reappraises Argentine folk music through acoustic guitars and vocal interplay. They are very good. So, yes: follow us.<\/p>\n<\/div>\n

Thank you, C\u00e9sar!<\/strong>
\n\u27a1\ufe0f\u00a0And you can follow Capibara Music\u00a0on Instagram<\/a><\/strong><\/h4>\n
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<\/span><\/p>\n

BRIEF NEWS FROM THE MEDIA, CHARTS AND <\/span><\/strong>SISTER PROJECTS\u00a0<\/span><\/strong><\/h3>\n
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\ud83d\udd38#1\u00a0for\u00a0Transglobal World Music Chart in July of\u00a02026<\/a>\u00a0has been: Fatoumata Diawara’s\u00a0Massa\u00a0<\/em>(N\u00f8 F\u00f8rmat!)<\/span><\/p>\n

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\ud83d\udd38Beyond the Spotlight – a new editorial in partnership between WOMEX and TWMC<\/strong>.
\nFrom the website of WOMEX: “We have been working on a new regular feature for Backstage – Beyond the Spotlight. In partnership with Transglobal World Music Charts, this section will highlight scenes, labels and projects that might not get as much attention as they deserve, shining a light on exciting sounds from around the world<\/em>.”\u00a0<\/span><\/p>\n

Learn more and read the first issue, about Buh Records,\u00a0here<\/a><\/strong>.<\/span><\/p>\n

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\ud83d\udd38Mundofon\u00edas<\/a>: the\u00a0favourites of July\u00a0<\/strong>have been\u00a0Ra\u00fal Cantizano & Sebasti\u00e1n Cruz’s\u00a0Inmediato<\/em>\u00a0(Lovemonk), Remon Nakanishi’s\u00a0Yoakegarasu no wataru made \/ Till the ravens rise at dawn<\/em>\u00a0(Doyasa!) and\u00a0Nubras Ensemble’s\u00a0Nubras\u00a0<\/em><\/span>(Liburia)<\/span>
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OPEN CALLS & PROFESSIONAL EVENTS<\/strong><\/h3>\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

THESE\u00a0CALLS ARE NEW\u00a0IN THE NEWSLETTER<\/span><\/strong><\/p>\n

\ud83d\udd38Global Toronto 2026\u00a0<\/strong><\/span>
\n\u25fb\ufe0fApplication deadline: Wednesday, August 12, 2026 at 11:59 PM EDT<\/strong>
\n\u25fb\ufe0fWhen and where?\u00a0<\/strong>November 8\u201311, 2026, in Toronto
\n\u25fb\ufe0fWhat is it? “<\/strong>Global Toronto is for artists and music sector professionals looking for opportunities to present new work, discover artists, build professional knowledge, and develop industry relationships.” Read more,\u00a0on the official website<\/a>.
\n\u25fb\ufe0fWho can apply?\u00a0<\/strong>From the\u00a0application form<\/a>:
\n\u00b7 Musicians from around Canada who play with global music traditions in innovative ways, with particular emphasis on platforming artists who explore and experiment with underrepresented genres, instruments, and artistic approaches.
\n\u00b7 Immigrant and newcomer artists who have established careers in their countries of origin but who are seeking to build a network in the Canadian music industry.\u00a0 –>\u00a0<\/em>It appears to be aimed mainly at artists based in Canada, but the application form includes \u201cOutside of Canada\u201d as an option in response to the question \u201cWhere are you currently based?\u201d<\/strong>
\n\u00b7 SWM Incubator Alumni
\n\u00b7 Artists who are actively working on their project to move beyond their local scene, with clear goals of growth and \u201cvisibility\u201d.<\/em><\/p>\n

THIS CALL WAS ALREADY INCLUDED IN THE PREVIOUS MONTH<\/span><\/p>\n

\ud83d\udd38Afro Pepites Show #16<\/span>
\nOpen to artists from Africa, the Caribbean, South America or any other artists inspired by Africa. Free for artists & labels from Africa and Southern America.\u00a0A membership fee of \u20ac20 for other cases.\u00a0<\/strong><\/p>\n

Applications are open until 30 September 2026. According to their call: “At a time when many talented creatives struggle to access communication and visibility tools, the Afro Pepites Show reaffirms its mission: to support, promote and give visibility to African, Afro-descendant and Afro-inspired artistic talents, regardless of their country of origin<\/em>.<\/p>\n

\u2728 Selected projects will benefit from:
\n1) Free and targeted visibility within our network
\n2) Exclusive promotion of your project
\n3) Privileged access to the\u00a0Motherland Show<\/a>\u00a0to expand your network, explore new opportunities and build your skills.<\/p>\n

Open to: Musicians, dancers, humorists, storytellers, poets, writers, painters, sculptors, street artists, stylists, photographers, film directors, and inventors (new).<\/p>\n

If you have any questions, please email: Mo.Show@lereveafricain.com” .<\/p>\n<\/div>\n

\n

MEET ME AT<\/strong><\/span><\/h3>\n
    \n
  • 4-5\u00a0September<\/strong>, Tavira (Portugal). Concert by\u00a0Ali Do\u011fan G\u00f6n\u00fclta\u015f at the Feira da Dieta Mediterr\u00e2nica. World premiere of the collaboration\u00a0between Ali’s trio with Mario Pousada.<\/span><\/li>\n
  • 25-26\u00a0September<\/strong>, Budapest.\u00a0Hungarian Heritage House Days<\/span><\/li>\n
  • 8-10\u00a0October<\/strong>, Bayonne (France). Workshops and concerts of Vig\u00fcela with Sara Cano at Haizebegi Festival.<\/span><\/li>\n<\/ul>\n
    <\/div>\n

    <\/p>","protected":false},"excerpt":{"rendered":"

    This month\ud83d\udc47 \u25fb\ufe0fEditorial \u00a0 \u00a0 \ud83d\udd38Exporting Music in Minority Languages \u25fb\ufe0fSongs in Motion: Stella Papalamprou on Identity, Displacement and Endangered Languages \u25fb\ufe0fInterview with C\u00e9sar Olivares, Capibara Music \u25fb\ufe0fBrief news from the media, charts and sister projects \u25fb\ufe0fOpen calls and professional events: \u00a0 \u00a0 \ud83d\udd38Global Toronto \u00a0 \u00a0 \ud83d\udd38Afro Pepites \u25fb\ufe0fMeet me at\u00a0\u2708\ufe0f \u27a1\ufe0f This is […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[],"class_list":["post-3997","post","type-post","status-publish","format-standard","hentry","category-newsletter"],"_links":{"self":[{"href":"https:\/\/www.mapamundimusica.com\/en\/wp-json\/wp\/v2\/posts\/3997","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mapamundimusica.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.mapamundimusica.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.mapamundimusica.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mapamundimusica.com\/en\/wp-json\/wp\/v2\/comments?post=3997"}],"version-history":[{"count":5,"href":"https:\/\/www.mapamundimusica.com\/en\/wp-json\/wp\/v2\/posts\/3997\/revisions"}],"predecessor-version":[{"id":4002,"href":"https:\/\/www.mapamundimusica.com\/en\/wp-json\/wp\/v2\/posts\/3997\/revisions\/4002"}],"wp:attachment":[{"href":"https:\/\/www.mapamundimusica.com\/en\/wp-json\/wp\/v2\/media?parent=3997"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.mapamundimusica.com\/en\/wp-json\/wp\/v2\/categories?post=3997"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.mapamundimusica.com\/en\/wp-json\/wp\/v2\/tags?post=3997"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}