How has world music evolved and what impact is it having on our understanding of cultural diversity? Tom McCabe explores.
Since the heady days of the world music ?wave? lapping the shores of the mighty west in the mid 1980s, spearheaded by the likes of legends such as Peter Gabriel and Paul Simon, the groundswell of change has had a profound effect on the musical landscape and the music business as a whole. Prior to this period, traditional folk music, both national and international, had its dedicated albeit small audiences and supportive specialist radio and print media outposts for both previewing and reviewing. There was a constant struggle to get the word out about new artists and these less-than-static, evolving traditions but the advent of this new world music order encouraged a feast of all things international. Traditional folk venues and folk arts programming began venturing outside the box. Bulgarian female vocal choir arrangements and German-Arabesque sounds of Dissidenten, for example, were built into programming schemes along with the more pure traditional folk music concerts and events. Media and advertising incorporated a more international and world feel. World and folk music artists, making the covers of Time and Newsweek, were now considered a part of contemporary popular culture.
A new sound
These ?new? world sounds were no longer just available to limited audiences or via less mainstream sources such as academic field recordings, the British Library or Library of Congress archives. This all had an obvious and beneficial effect on interest and consequently attendance for the more pure traditional forms. Bringing the music into wider public view, brought about an increased level of exposure and ultimately bigger business both to the performing arts and the recording industry as a whole.
There is an ongoing debate within the industry with regard to the inclusion of traditional folk or ?roots? music under the moniker of world music. Some disagree with purists who choose to differentiate the fusion of western with non-western from the purer folk traditions. Another school of thought argues against pigeonholing music at all: good music is good music. Tell that to the record stores.
Artist management
Whether we like it or not, business is about selling. A successful business is predicated on its revenues offsetting its expenses. This may be rather straightforward and understandable stuff and the selling of world music has the same aim, but the process can be unique in many ways. The artist?s musical achievements, artistry and relevance to a potential audience must be identified, relevance to an audience established, and budgets laid out.
Were it not for the generous support of Arts Councils, the British Council, state departments everywhere and commercial sponsorship, many an international artist would not reach an audience outside its own country. Many issues confront potential promoters; there are legal ramifications regarding short-term work for foreign artists, which may limit successful delivery to an audience. Depending on the political climate, or possibly visa rules and regulations, there may also be a need for relationship building at government level. These are just some of the not always surmountable steps in the process of touring a world music artist.
Cultural marketing
World music by definition has not only increased the accessibility of diverse cultures to new audiences, it has also served to identify and support the notion of cultural community. When music falls within a specific cultural context, its focus can reveal how music is created and used to inspire religious feeling, ritual, celebration, games and politics. It can stimulate memories and emotions, and ultimately create community. This is where it gets interesting and creative from a marketing point of view. In the early days, folk arts and world music promoters needed to be creative within marketing and promotion. Most likely promoters were from outside the cultural communities being presented and to reach their targeted audiences they often relied on the research and bridge building (including language skills) of folklorists and sociologists conducting fieldwork within these communities.
These mergers between academic researchers and concert promoters were often celebrated affairs, which in the early days could bring together sizeable audiences with stellar artists as well as adding a new dimension to academic field studies. In some cases, folklorist doctoral dissertations were born with exhilarating academic references to areas such as ?public sector programming?. But most importantly, the response to this widely growing interest in the music also served the increasing need for greater cultural understanding. This was identified especially within primary and secondary schools, which developed or brought in artist-in-education programmes. Combined with higher media visibility and greater access, this has led to a greater understanding of culture, lifestyle and heritage. World music concerts and educational programmes such as these have also helped over the years to serve the wider role of dispelling racial prejudice and negative cultural stereotyping.
Strengthening culture
Arts Council England (ACE) recently published ?Focus on Cultural Diversity: The Arts in England?, described as ?its first survey into attendance, participation and attitudes to the arts amongst its culturally diverse population?. This actually sounds slightly dated in scope and purpose relative to the UK?s promotion of international music over the past twenty years. The survey in essence reinforces in a very positive way ACE?s policy of making cultural diversity a key component within its overall function as a funding body. It demonstrates that England is a vastly more culturally diverse country than is widely appreciated. Targeting audiences and selling tickets or recordings of culturally diverse music artists is undeniably good for business. However, it also serves to preserve this nation?s diverse cultural heritage by building and strengthening an infrastructure of support and identifying and documenting under-served world, folk and traditional artists and arts ? and their audiences.
Tom McCabe is a freelance arts consultant working in the UK and the US.
t: 07930 346846; e: tecabe@aol.com