World music has become a fundamental part of arts programming in recent years, yet opinions vary as to what it actually means in terms of artistic content and purpose, notes Sean Rourke.
To some, world music means traditional music from any indigenous culture. To others it is the successful fusion of two or more cultures: many of today?s leading artists have created a compelling and contemporary hybrid style. It is a matter of personal taste whether it works or not. By implication, world music absorbs all genres and in addition to folk and traditional forms, it crosses into the worlds of jazz and blues (both rich sources of world music roots), dance forms (tango, samba, flamenco), all popular styles and contemporary classical music (in the works of Cage, Reich and Ligeti, for example). Not surprisingly, as an inclusive genre in its own right, it has a large and dedicated audience. The inherent unification it offers artistic programming is being recognised by most artistic directors and our concert hall and festival diaries brim with international world musicians.
The motivations behind this, I believe, are threefold:
? To celebrate genuine talent.
? To develop new audiences, by nourishing cultural linkage between musical styles and heritage (and associated arts forms).
? To generate revenue ? seeking higher box office returns as well as the validity of cultural diversity in relation to regional grant funding and sponsorship criteria.
World music does not yet market itself consistently ? perhaps due to its very inclusiveness. Its success relies on the vision of artistic leaders to get the context right for each performance, whether that is working with educational partners, responding to cultural calendar issues, building clear artistic strands between events or bringing together sympathetic performers with strong programming ideas. The WOMEX conference that took place in Seville last October demonstrated the level of importance to which this programming and its associated cultural heritage is regarded both internationally and within Spain. Over 2,000 delegates from the Americas, Europe, Asia and Africa attended, and all the major Spanish cultural regions exhibited to reinforce their respective associations with the arts. Interestingly, all Scandinavian countries were also exhibiting, represented through their respective government-funded cultural agencies. The Sage Gateshead is bidding to host the 2005 conference and its team was there in force with Arts Council England support. I hope that if it is successful we, as a nation, will be enlightened enough to really make the most of the creative impact such an event will bring.
For my part, I am interpolating world music as a key element at the Arts for Life Festival (Ross Theatre) during the Edinburgh Fringe Festival and investigating its potential to develop new programming initiatives for the Rotherham Arts Festival. With the considerable support now being given by broadcasters, particularly the BBC, and the appearance of a wealth of new niche magazines, the future looks bright. We are also fortunate that this new industry is young enough to want to celebrate real music and not cynically exploit it.
Sean Rourke is a Director of Business of Culture. t: 020 7224 5680/07802 442019; e: sean@businessofculture.com