Where in the world is world music going? That’s one of the questions that cropped up again and again at the second edition of Mundial Montreal, the only conference/music showcase/schmooze-athon of its kind in North America.
Taking place over the week of Nov. 13–16, it brought together more than 170 professionals from the music industry — national and international buyers, programmers, labels and journalists — who also came to hear some of Canada’s best world music artists. More than 34 musical acts took part in the many showcases, open to the public, in 10 different venues across the city.
The focus of this year’s edition of Mundial Montreal was innovation and evolution, and it touched on everything from touring tactics to immigration policy. It was a very busy week, and I’m happy to report back on some of the ideas that emerged.
World music forum: innovation vs. tradition
The world music forum held on Nov. 14 explored how the crossing of diverse cultures is transforming both music and audiences. Because 25 years have passed since the term "world music" was created (for marketing purposes), it seemed a good moment to take world music’s pulse.
The starting point of this discussion was the term “world 2.0,” much bandied about these days, in reference to a riot of musical fusions and hybrids.
“[World 2.0] also suggests a digital aspect, an interconnected aspect as well as an internet dynamic,” said Guillaume Decouflet, of Toronto’s Valeo productions. Although it may seem aimed at younger audiences, world 2.0 isn't only a generational thing; it’s also become a kind of world music in its own right, more for the club than the concert halls.
The concept has created a kind of tension, though. There is indeed an audience for traditional music, and that audience enjoys closer-to-the-roots types of music. Some people attending the world music forum felt that world 2.0 acts run the danger of alienating those audiences. And vice versa, aficionados of what some also call “techno global” don’t necessarily appreciate the traditional world music concert setting. They consume music differently: they want to move, dance, party.
“It is becoming a challenge to program different music and bring in an audience who isn’t in its usual realm,” said Dan Seligman from Pop Montreal. That said, one of his objectives for Pop Montreal is opening people’s minds through eclectic world music programming.
One thing that everyone seemed to agree on is that DJs remixing traditional music have done a lot to open up new doors for traditional artists.
Expanding audiences through world 2.0
World music 2.0 is about fusion, and sometimes the collision of musical styles. Of course, there have long been cross-cultural music-makers mixing traditions and sounds, but it was a slower evolution. One of the reasons world music 2.0 is the talk of the town these days is in part because it is not only a musical reality; it’s also seen, by musicians and promoters, as a way of expanding audiences.
Violinist and singer Briga emphasized the importance for artists to build their own audience, not only through social media but also by essentially embracing the 2.0 idea of exchanging music with other artists and creating collaborations to reach out to the other artist’s audience.
Collaborating across genres has become the strategy to build audiences. According to Ann MacKeigan, CBC Music’s executive producer, “Crossing and collision is a great way of reaching out.” Echoing that notion was Dmitri Vietze, from Indianapolis-based marketing agency Rock Paper Scissors, also panel moderator, who talked about viewing the process as the “cross-pollination” of audiences.
Admittedly, the audience for world music is a moving target, even though most of the time it refers to people who want to be “outside mainstream,” as Jacob Edgar (Cumbancha) put it. He emphasized that presenters and promoters need to adapt constantly to technological changes as well as to musical innovations.
But not everyone was on board with social media being the only way to expand audiences. Some felt you can’t diminish the importance of meeting and cooperating with cultural communities, and of creating educational programs to build the audiences of tomorrow.
“The pivotal piece of info that came out of this conversation is that there is no one formula,” summarized Vietze.
And the music itself
Ultimately, the Mundial Montreal showcases were the best place to appreciate the connection between artists and audiences. What struck me, too, is that the reality of the 2.0 approach means there is an amazing diversity of styles and attitudes
There was Briga’s “turbo gypsy folk,” Mexican singer-songwriter Mamselle, Turkish psychedelia from Minor Empire, electronic/dance-inspired Dehli 2 Dublin and Eccodek, rapper Boogat and Kid Koala, as well as more straightforward traditional acts reflecting music from around the globe: Brazilian, African, Spanish, Latin, Eastern European, Chinese and so much more.
Ultimately, it became obvious that defining world music is essentially a preoccupation of the industry. As Edgar put it: “People don’t care about genre.” People care about music and how it touches them, how it reflects who they want to be. Still, you can’t get away from the fact that the music is presented in clubs and concerts and festivals, and how it is presented has much to do with the thinking of those in the industry.
So the last word goes to Vietze: “World music is not a genre, it’s a philosophy. It’s about looking at music through the lens of global culture.”
Related:
Mundial Montreal: a guide to a hyphen-nation of world styles