Here we interview Gerald Seligman, former director of EMI Hemisphere, about North American presence at the planet's largest world music conference.
1. How many times have you attended WOMEX? In what capacity did you first attend WOMEX? Describe what it was like? What did you get out of it?
I’ve been a card-carrying WOMEXican since 1995, the second edition, in Brussels. I was running EMI Hemisphere from London, and had long been friends with Ben Mandelson, then the WOMEX Director who established a standard we’ve all been hard-pressed to maintain. The first time I met Ben was years before – 1987, ’88? He showed up an hour late for the only reason I found thoroughly excusable. A huge record chain was closing down and he entered my apartment, laden with Folkways LPs tucked under his arm, his fingertips stained UK gray.
For WOMEX Ben invited me to run a conference [panel]. I thought, Now, at last, was a chance to accomplish twin goals: finally meet many of the world music professionals whose work I’d admired for years and invite my hero Pierre Toureille, the man behind dozens of Ocora field recordings, to join me on the panel. Those LPs were an education back when information was so hard to come by. At that first WOMEX, it really was simply a glorious talk shop and artist showcase, with relatively little business being done outside of the brisk activity of concert bookers. Over the years it’s developed until, now, it’s a remarkably focused and business-laden event. But somehow it’s managed to retain its sense of good fun. I’ve been every year since minus one.
2. What is your role at WOMEX now? How does it feel to be on the organizing end now, after being a long-time attendee?
I am directing overall marketing and communications but with a special emphasis on developing new projects for WOMEX. These are the WOMEX Offspring, mostly. One of the things that would surprise an outsider, given the event, is how few people actually create WOMEX – 5 full-timers, along with an evolving group of interns. Add to that Herr Borkowsky, who divides his time among WOMEX, his Piranha label, and Piranha Events. This is one reason why we can’t take advantage of the many offers we receive to collaborate on projects and the many requests to help mount a WOMEX-type event in other parts of the world. The decision was taken to begin looking into these, and this has been a principal focus of my first year here.
3. How many North Americans attended WOMEX 2005? How many do you expect for 2006?
179 in 2005. We do expect more this year, since Sevilla in the month of October is such a divine destination.
4. But there has been a growth in North American attendance at WOMEX regardless of conference location. To what do you attribute that growth?
The fact that WOMEX really has become the principal professional trade fair/conference/showcase for world music means that anyone in the field who comes can do a vast amount of business for the coming year and catch up with old and new contacts. My own experience might speak to why this is so. As someone who only joined WOMEX recently, I can attest to the fact that there came a time in the mid-late ’90s when it became apparent that I couldn’t accomplish at MIDEM half of what I could get done at WOMEX so I eventually stopped even attending MIDEM. Then, when I returned to the States for five years to work independently, I still came to WOMEX since I could meet everyone I wanted to and could line up lots for new projects. Miraculous social event, business opportunity, great music – all good reasons to attend each year. I’d venture that my personal experience is typical of others in North America. WOMEX is the place to be for world music professionals.
The other factor is that the current European scene is thrilling just now. There are so many new artists with their feet in local traditions while, apparently, being complete iconoclastic when it comes to what’s done with those traditions. The place for labels and bookers to hear them is WOMEX.
5. What do you think North Americans get out of attending WOMEX in Europe?
Increasingly, we find that many European artists are applying for a WOMEX showcase specifically because they want to open up the North American market. They know many of the most prestigious North American bookers attend and doing a showcase in Europe is an economical way for them to try to break in. Plus, as I mentioned, everybody is there. A single trip – and what a bonus when it’s in a place like Sevilla – can get a lot of business in. And some nice tapas, too.
6. From your perspective, how would you describe the world music market in North America (you can break it down by USA/Canada/Mexico, if you like) as it compares to Europe. Are we behind Europe in a developmental sequence, or are North America and Europe not comparable because the circumstances are so different.
The mere fact of the price of touring an artist in a region as vast as North America means that only the most adventurous (read here: those willing to invest in breaking into the market at low cost) and most popular artists can afford it. In Europe, therefore, you tend to hear a lot more world music because the distances are so much shorter and the artists can play at many venues without breaking the bank to get to them. Also the summer festival circuit in Europe is so dense and so well run that the whole world music scene is a lot more accessible.
In both scenes, in Europe and in North America, a lot of great, new music is coming from second-generation musicians, people who were born locally but whose parents may have come from any of a number of immigrant communities. With a foot in each culture, some brilliant hybrids result.
7. Are there any plans to hold a WOMEX in North America?
This WOMEX Offspring project does present an opportunity to transfer the WOMEX model to an event in North America. But not the principal WOMEX itself. We are actively seeking local partners for new events. As Christoph writes in the introduction to this year’s guide:
“At WOMEX we are often approached to bring the event to territories outside Europe so that other regions can find the networking opportunities we all do here in Sevilla. Tempting as it is, the principal WOMEX must remain in Europe. Our intention has always been to keep registration fees and airfares low enough so that the majority of delegates could afford to attend without undue financial strain. That’s a simple enough point – and one that begged the question: why not transport the model elsewhere, if not the event itself? With this in mind, we co-produced our first event out of Europe for two years running, PORTO MUSICAL in Brazil. And there will be more.”
8. An American world music industry veteran once told me not to invite too many Americans to WOMEX because it would change the tone of the conference, with the Americans trying to take over. Has that happened at all?
Americans take over? It’s an odd question and, if it is an issue, I’m not aware of it. Then again, as a Yank who’s trying so hard to take over, perhaps I wouldn’t be. Also, unless I’m fooling myself, the take-over types are not in the world music community.
9. What is one thing you think the North American (or Canadian, USA, or Mexican) world music market has brought to the global world music community?
Of course the North Americans bring a huge market which helps offset the price (and distances) of travel. There is also an open-mindedness that is always refreshing. Other than that perhaps a non-North American is better placed to respond.
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