Share Your Ideas with globalFEST

GF-Finalist

Our adaptive challenge

Because the United States marketplace for international artists is complex, and operates in a unique space between the non-profit and commercial presenting spheres, globalFEST (gF) will support the development of sustainable touring careers for world music artists in the United States by developing this package of support services for them and the field.

Read more about the big thinking, deep questioning, and visions for the future in globalFEST’s project.

We ask the crowd:

  1. What are the most valuable services globalFEST can provide to the field beyond its annual flagship New York showcase/festival — which provides a career springboard for twelve artists from around the world — and its touring fund? Why these, and how can we make them sustainable?
  2. globalFEST manages a modest touring fund to which alumni artists can apply twice per year for funds related to an upcoming tour. What refinements or new strategies, if any, would you suggest to strengthen the impact of the program?

How will your responses help us move forward in tackling our adaptive challenge?

Answers to these questions, sourced from you — the very people who have a stake in globalFEST’s success — will inform our program development, fundraising, communications, and strategic direction. This framework for discussion will help us learn first hand about how we can be of best service to the field of world music and, by extension, the performing arts field.

Share your responses with us (or “up-vote” ideas you like) in the comments section below.

About
globalFEST's annual showcase/festival is a springboard for the careers of global music artists from the United States and abroad, and brings together 500 arts professionals for the annual Arts Presenters conference. globalFEST's touring fund has brought 50 artists to 30 new markets over two years.

  • Robert Simonds

    1. Two of the biggest challenges that international artists face in touring the U.S. involve navigating the complex and sometimes punitive procedures for obtaining visas and dealing with the U.S. tax system. There are a few ways that globalFest could try to help address issues related to these challenges. Some would be to simply contribute to awareness-raising strategies so that its various constituents (artists, presenters, and the public) are aware of the problems these requirements present, and know how to access existing resources that are available. Others would be taking a more activist role, such as establishing a lobbying arm to pressure U.S. government agencies to adopt policies that place more value on cultural exchange.

    2. The combined rosters of all of the (so far ten) globaFests read like a “Who’s Who” in world music. The Touring Fund could establish a page on the globalFest website that maintains a complete list of all of the globalFest alumns which provides up-to-date contact info and the artists’ current status (active or inactive, upcoming touring, recording activity, etc.). This way, even when it is not directly providing grants to a former globalFest artists for an upcoming tour, it can provide a valuable resource to presenters and fans to track these artists’ activities.

    • Meera Dugal

      The gF website has the potential to be an extremely useful resource for all things world music in the US. There should be a section for the news on past gF alumni, a section for news all world music artists should be aware of i.e. grant opportunities and festival deadlines, a section that explains all the visa complexities and maybe a map or directory of presenters that are open to being contacted by world music artists that gF supports (perhaps this section can be password protected or monitored in some way).

      I think the Rock, Paper, Scissors world music directory is also an AWESOME project and hopefully gF can have a way to direct artists to it and or incorporate it into the site as well.

  • Melissa Dibble

    While I don’t know much about touring artists, especially internationally, I encourage you to be in touch with the folks in Philadelphia at PennPAT (Pennsylvania Performing Artists on Tour). They have a wealth of experience implementing various programs and linking strategies, that while national, could spur ideas that could be useful to your international quest! http://www.PennPAT.org Katie West is a gem, so open and helpful with so much experience! Best wishes!

    • globalfest

      Thanks Melissa, and its a great idea to be closer in touch with Katie, whom we do know.
      Best,
      gF team

  • Michael Fenlason

    In the new century, it seems like GF could embrace more digital tools to enhance the profile and mission of the organization and crreate digital media opportunities with artists from around the world that are under represented in American music delivery systems. Presently in the music industry touring is the primary source of income for most artists. I would like to see GF, perhaps in partnership with NPR, work with Apple’s iTunes, Amazona and Google music to create opportunities for artist’s to be heard. What other digital options does GF have available? How can they be funded? Howe can they create income for the artists?

    • globalfest

      Hi Michael, and thanks so much for your thoughtful comments and great ideas on furthering gF’s mission via digital media alliances. Any chance you know anyone at the companies you suggest? Please stay in touch if you have further ideas about or raising funds or deepening partnerships and ways for us to create partnerships between the artists we work with and digital companies that are connected to music.

      Thank again
      gF team

    • Susan

      Hi Michael,
      It would be wonderful to hear the great music of gF and access it through some of the best known digital service providers worldwide. It would be great to hear music from the artists, not just live at a performance, but on an album that could be a calling card for gF and a terrific sampler of the many global musical styles represented via gF. For those who can’t make it to a concert, an album could introduce the mission as well as the music. Maybe a physical CD, maybe a download card, or maybe digital only. Just curious – how do you listen to music? What would you want represented on a gF album? Live or studio tracks? What would make a gF album most valuable to you? How much would you be willing to pay for a gF album, or indiviual track at iTunes or other online music provider? What format would best serve the gF mission?

      • Meera Dugal

        Hi Susan,

        I completely agree with your suggestion to extend the reach of the festival to those that can’t make it out to the concert. I think it would be great to introduce a live-stream to the flagship for starters but even have the touring fund grantees stream their shows so audiences can follow a band they love all across the country.

        I also think that gF compilation albums are a good idea. gF already creates playlists of each year’s artists but sharing the tracks of alumni artists through iTunes etc is another way to help the artist get exposure, revenue, and it’s an clean and organized way for presenters to listen to the roster of gF alumni. I think it would be best to have each artist’s best live track from the festival for the sake of consistency and for presenters to get a better sense of live performance.

        • globalfest

          Thanks for writing Meera. We too feel the need to reach out beyond the flagship event, and will research the possibilities that have been suggested to us here. We are in discussion to make a compilation album; ) and will keep you posted via our website, FB, twitter and enews on how that’s going. Ways of following gF artists’ careers, tours, new projects, etc are important- now we need to start thinking how we can accomplish this in meaningful ways.

  • Eric Booth

    One thing I have found consistently valuable for bookings for U.S. ensembles in the classical world (and perhaps this is true for international touring too) is the development of educational, and community engagement, programs that extend the range of what the ensemble can offer. The string quartet that can do engaging family concerts, that can light up a school, that can work with a community that doesn’t usually attend classical concerts, has a competitive advantage. And indeed, they do get hired more, and are more likely to be invited to return to a venue. AND, if they have the right feel for extending their work in ways that are authentic to their artistic identity, it invigorates them creativity. I wonder if gF could provide training that draws out these skills of engagement and education in ways specific to each artist/ensemble. I know from experience it is entirely possible to accomplish this, but it takes some time, and interest and care. It is hard for musical artists to develop these skills and offerings on their own.

    • Cj Kelley

      Eric – I think your ideas are right on.

      Interesting community engagement is enrichment for artist and audience.

      This is often what funders want to see in project proposals, and those who book venues can understand the promotional value.

      These beyond the box cultural activities are audience-builders.

      • Ariana Hellerman

        And I completely agree with this! It shouldn’t only be about presenting – it should also be about presenting and engaging. Doing this during globalFEST and creating a toolkit on how to do this would be fantastic!

        • globalfest

          Thanks Ariana, for your input on the importance of community engagement activities and the toolkit idea!
          Best
          The gF team

      • globalfest

        Thanks CJ, for keeping the conversation going.
        Any further ideas, please post!
        Best,
        The gF Team

    • globalfest

      Hi Eric and thanks so much for your comments about community engagement activities and the skills needed to do this well. We spend a great amount of time working directly with artists, and this is another area where we may be able to help. We may be back in touch to get deeper into the ideas you bring up.
      Best,
      The gF team

  • Laura Colby

    I second Robert Simonds’ suggestion of lobbying – but instead of reinventing the wheel, would like to propose that GlobalFest join the existing arts service organizations lobbying efforts to effect change in the visa (and taxation!) process. That committee includes Arts Presenters, Dance/USA, and the American Symphony Orchestra League, among others. As a back-up to their efforts, I think we all need to do everything we can to raise the awareness of the ticketbuyer what a mammoth challenge it is to bring these artists to our shores – and to rally them to let our government know it shouldn’t be so difficult.

    The current touring subsidy is a great start – I would only add: mo money, mo money, mo money! Perhaps make it super easy for ticket buyers to make a donation to the touring subsidy fund?

  • Tyxh

    GlobalFest originated as a world-music festival showcasing various styles/musicians/rhythms/instruments around the world, mostly emergent, not world-renowned (except within certain circles). That is what world music festivals throughout the country do. GlobalFest grew out of the very organizers that put these events together, sourcing and presenting, yet it does not show or reflect those connections, that network. There is little done to celebrate and strengthen the cross-pollination and mutual support entire community of common interest. It wouldn’t take a lot of new effort to highlight and amplify the network, and thereby the exposure and success of the artists. Just like “the best customer is the one you already have” when marketing a new product line, (as it takes little new effort and expense and they’re already favorable toward you), you can augment your offerings by better recognizing who’s already on your side… the other global music festivals, It’s a “gimme”.

    1. Using the past placement of your featured artists in other world music festivals, give acknowledgement and publicity to those events on your website. Most are annual, such as the California Worldfest (this coming weekend as it happens), where Martha Redbone is playing this year and many artists have performed in the past, like Les Yeux Noirs, who was the highlight of GlobalFest in the past (around 2004/5). Make sure the current and future festival dates are published. Help market these events and make yourselves more of a “go-to” place for world music event information. This makes for a more reciprocal exchange among the world music presentation and performance community and raises the awareness, excitement and success of all the stakeholders, including, most importantly, the attendees.

    2. Increasing publicity will facilitate bookings and arrangements, lessening some expenses, exposing in-place economical and expeditious routes/logistics and increasing incomes for the artist, presenter and venue… but at the same time, qualification for grant funding, matching funds, and other types of support funding is almost a-l-w-a-y-s strengthened when you’re able to demonstrate strong community integration and engagement. That regularly makes the difference between losing or winning a bid for funds. You could put a nice big red check-mark on that criterium for yourselves.

    • globalfest

      Thank you Tyxh for your comments. We have begun to create a network of all gF artists and their tour schedules so that presenters can see what they are doing, and fans know where they are playing. It’s a difficult task to try and stay on tope of so many artists but we are trying. We then include that info in our enewsletter (you can join on globalfest.org). Highlighting the festivals that present international music, and gF artists is a great idea. Thanks again for your ideas, please keep them coming.
      Best,
      gF team

  • Dmitri Vietze

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    The biggest challenge in presenting global music in America are financial barriers. There appears to be plenty of demand when well-selected concerts are offered for free or inexpensively. Americans seems to enjoy listening to these live performances. But they do not shell out money the way fans of pop music do. Even when musicians can pull together the funding or the beginnings of a tour, the vastness of physical space between (North) America’s population centers make the financial viability of more than a couple of weeks of touring next to impossible. The overhead of international travel and visas would be better offset with longer tours. globalFEST could team up with existing training and technical support organizations and agencies for concert presenting to identify, train, and groom people or organizations in “stepping stone” cities or towns to make longer global music tours more viable. Potential local partners could include existing presenters who could help develop a local fan base for global music, or global music enthusiasts who could be trained in presenting global music concerts suitable for their local market. Sustainability would be strengthened by leveraging globalFEST’s field expertise and network of presenters and agents, alongside working with existing (inter)national agencies or organizations charged with a similar mission. To further sustainability of this effort, veteran presenters who help train presenters in “new” markets could be offered better routing and block booking as well as presenting subsidies through the globalFEST touring fund. New presenters in turn would be expected to help train future presenters as well.

    <>

    The biggest challenge of the touring fund is simply that it is not big enough to have a significant impact. My recommendation is simply to continue to increase the fund. The globalFEST artist roster grows each year so more artists will be applying for the funds each year. And, if possible, it would have a greater impact to have an additional fund for artists who have not played at globalFEST yet, but are of high enough caliber to have done so. Additionally, greater amounts for each grant would extend each tour as well as give the fund the ability to support larger and more remote ensembles that would not be viable without this kind of support.

  • Ron Ozer

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    I agree with Dmitri that the fund needs to grow. I worry about the festival growing too much and needing bigger stages which I think is a mistake in general. So since I don’t want the main event to grow, then I think the way to grow the fund is to grow the brand. In a purely self serving way (as a producer at a small venue that books these bands when I can) let’s see a number of Globalfest branded events around the country each season, which shows that the touring fund is creating a steady stream of concerts that can be viewed all over, and not just in New York. Using your connections to block book artists or help a number of venues work to get the bands what they need, I guess maybe you do that? If not, see if you can, and ask for a support staff person to make that happen perhaps. Even hiring a professional grant-writer may be worth it – I know we have received some significant grants through a person n our board who knows how to do these things better than I (and more importantly has time, I have a day job!)

    globalFEST manages a modest touring fund to which alumni artists can apply twice per year for funds related to an upcoming tour. What refinements or new strategies, if any, would you suggest to strengthen the impact of the program?

    I think perhaps we need more input from an even wider variety of people in the process of finding artists. I would support more eclectic acts with EDM as part of the sound, and perhaps Indie rock, or classical hybrids from Europe. Outreach to China and Korea and Southeast asia more might be good as well, especially if we can involve national and local organizations of people looking for the cutting edge of music from their countries. Some of the acts can verge on parody when they seem to combine too much of a popular western sound with a clearly traditional base. I don’t want to name names, but there are maybe a few acts that come to mind.

  • Ariana Hellerman

    While globalFEST has proven that they have helped launch musicians into the US market, I think globalFEST can also focus on becoming a service organization for the field.

    Answers to the questions:

    1.
    Provide visa help services and/or professional development around these
    services in assisting artists from abroad and US presenters – this will
    encourage and enable more work from abroad to be seen in the US.

    Go beyond NY in publicizing performing artists. Keep track of ALL the places your artists tour in the US to so that the American field (and not just NYers) can track a band’s whereabouts.

    2.
    With so many opportunities for globalFEST artists to apply and a rather small applicant pool, this isn’t a competitive process (although I don’t see this necessarily
    as a bad thing.) globalFEST should decide what their priorities are –
    giving funds to as many artists as possible or making a large impact to a
    smaller number of bands. Personally, I’m more of a fan of the latter
    and think that more worthwhile partnerships/relationships can be made
    because of it. I have ideas on this front but think that the organization needs to decide their priorities first.

    • globalfest

      Thanks Ariana, for helping us through this shared idea process. We’ve been working to keep track of current and previous gF artists and its no small task. This may become a part of our website as that becomes a portal for artists, presenters and the field. Best, The gF team

  • Derek Becker

    1. I second Rob Simonds’s remarks regarding navigating the U.S. tax system. From my (agent’s) perspective, the most valuable additional service that globalFEST could provide would be to help international artists obtain a Central Withholding Agreement. Without a CWA, international artists are subject to a 30% FET / reduction in performance fees. Mercy!

    2. Hard costs for touring bands include transportation (rental vans/tour buses/flights), accommodations (hotels) and backline rental. Perhaps the globalFEST touring fund could work with an airline, van rental company, hotel and/or musical equipment backline company to sponsor a tour and provide cheap or free access to these things?

    • globalfest

      It’s great to get your perspective on this Derek as an agent that works with many international artists. Please keep ideas coming. Thanks so much.
      Best, gF team

  • Stephen Manuszak

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    Echoing several previous comments, I would love to see more emphasis on educational/residency work. gF could be a resource to help international artists craft workshops and residency formats that market well and also help artists understand the value of residency work in the U.S.

    On the presenter side, if part of the challenge is encouraging awareness of international artists, what about scholarships for presenters to attend gF? This could be especially helpful for presenters from smaller organizations or communities.

    Of course, visa and tax assistance would always be helpful – perhaps training or a professional walkthrough of the process could be wrapped into a fund to build future skills for artists? Or a “lawyer on call” to help with questions during the process?

    <>
    I would really love to see gF activities or partnerships that move beyond NYC and major cities. Perhaps a tiered touring fund that provides greater assistance for activities in smaller communities (e.g. outside a standard Metro Statistical Area)? Or partnerships with existing programs?

    • globalfest

      Thank you for taking the time to write us Stephen, Its great for us to see trends develop on this discussion board and really helpful. Weve been thinking a lot about broadening gFs reach outside of NY and have had some great discussions around that. Interesting the idea of a lawyer on call (we are able to offer free visa application svcs for gF artists through Tamizdat, artists pay processing fees) as well as inviting smaller/newer presenters to gF. Would love to know if you have further ideas. Thanks again. -The gF Team

  • Cathy Edwards

    globalFEST can add value for presenters and artists alike by creating several globalFest touring and residency partnerships for artists who perform at the January gF. Once gF happens in January, assess the possibilities and the sense of who gF can really help in a catalytic way. Identify three artists who will come back to the U.S. the following year for a “best practices” tour, complete with thoughtfully designed residency activities; a targeted reach into areas of the U.S. that are of particular interest either because of interesting artistic resonance for the artist, or conversely because geographically they lack access to or experience with the music being supported; a press and media strategy for these artists; and perhaps create an incentivizing fund for presenters who agree to keep the bands in town for a few days beyond the show in order to facilitate them meeting other artists, participating in community activities, really knowing where they are. This won’t replace an agent for the band, but would be a partnership designed to add value and create an excellent “gF”brand tour. The presenters and artists who participate in the tour can benefit from the gF brand, expertise and strategy, and deeper engagement. These tours can also serve as a model — strategies and tool kits and relationships that get built may be replicable.

    I think the touring fund is fabulous – just needs more money in order to really make an impact. I would say especially as gF grows and more artists are able to apply
    for the fund, the size of the fund really needs to increase.

    • globalfest

      Really helpful ideas that can be applied to the touring fund. Thanks so much Cathy, for taking the time.

    • Dmitri Vietze

      I love this idea!

  • Viviana Benitez

    1) Everyone i’ve met as a result of globalFEST is a gem! just so many smart resourceful and generous individuals. How can GF streamline a process to connect its growing network of supporters, fans, funders etc with the artists? It would be amazing to have a network of experts readily available to help artists build and think through a tour. GF could connect showcasing and touring fund artists with an annual volunteer team of: consultants, other artists and/or pro-bono experts in touring, entertainment law, marketing, media relations etc who are available to advise, assist, offer services and answer questions.

    2) I saw that Derek suggested sponsorship with an airline or van rental company, I second that idea since traveling costs, especially for a big band, are the largest expense on a tour and there are hardly ways around gas, tolls airline expenses. But instead of individual tour sponsorship, GF could be the beneficiary of a van or winnebago (!!!) that then is either a separate grant process for artists or becomes available to rent/borrow at a discounted rate?!

    Working with artists to build their revenue could be another strategy to help the finances of a tour. For example, pairing the recipients of the fund with press to get the word out in a new city or market can impact ticket sales in a venue and therefore helping artist revenue.

    • globalfest

      Hi Vivi, and thanks for your kind words and generous contributions to this discussion. You have brought up some really concise, specific ideas that we will be discussing as we develop into a service organization. Thanks again!
      the gF team

  • Gerald Seligman

    1.
    Since GlobalFest is already linking promoters and artists and
    assisting with tour funding, the next step, as others have noted is
    in helping to organize the community in joint action to help
    ameliorate the effects of a ruinous visa policy (and its costs that
    are prohibitive for many), and to be an active agent overall in
    helping to coordinate a broader interest group. This isn’t to
    say they should be expected to accomplish this on their own, but now
    that they have done the ground work for artsits, showcases and
    assisted touring so effectively, increased funding and support could
    mean futher leadership roles. Attempts have been made in the past,
    the North American World Music Alliance being one of them, but they
    failed for lack of funding and staff. The need is still there and it
    is hoped that GlobaFest might be given the means to address it.

    2.
    Tour support is a complex issue since so much money is needed and so
    many factors are in play. The simple equation is that more funding
    equals more result, but the task is daunting to find the funders and
    coordinate the contribtutions. No US agency will have the means or
    motivation, which leads us to the many embassies, foundations,
    individual donars that can only be reached via a hands-on effort
    undertaken by a paid staff. Funding again.

    • globalfest

      Thanks so much for your input Gerald. There have been many suggestions for gF to take a more active role in the sustainability of the world music field as a whole, and your comments add to that. And, of course, funding is the other main thread here as it always is. We’ll be discussing this in depth over the coming months, so please keep ideas coming. Best, The gF team

  • Pistolera

    As a globalFest alum (2008) I first have to restate how many doors gFest opened for us. The festival launched our international touring career. Within weeks of the show we were booked for a year or more. However, as an artist based in the US, the biggest hurdle for us has been booking. Once we completed what I call, the “globaFest circuit”, which included many high profile festivals as well as support slots for bigger artists at venues such as Massey Hall and Town Hall, the opportunities died down. With no agent, we were a little lost. Luckily, I am an organized person and have maintained my own database and kept in touch with presenters. But anyone that has been a booking agent or has self booked knows it is a thankless and grueling job. One of the most challenging things is keeping track of the schedules that all the festivals, PAC’s, and clubs keep. Some book their seasons a year in advance; some three months. So it can be tricky to route a tour that includes the diversity of festivals, PAC’s, colleges, clubs due to their varying programming schedules. What if gFest acted as a booking agent and took 10% or 15%, as a booking agent would, and put that towards growing gFest?

    • globalfest

      Hi Sandra, and thanks for sharing your feedback as a gF alum, the challenges you have faced and the opportunities you have created for yourself and the band. We have thrown around the idea of acting as agent, but need to think about what kind of fundraising and staffing this will require. Its good for us to see this from your persepctive and we will continue the discussion. Thanks again. gF team

  • Martha

    We have been in the thick of touring these past couple of weeks and have been thinking and thinking of more strategies and services globalFEST provide musicians…in many ways, it seems as if you are the bridge between what labels used to provide but is so very scarce these days, especially for indie bands. In many ways one feels that what you already provide is more than enough given what you do goes above and beyond the call of duty in our current music industry climate. Having said this, here are a couple of ideas;
    1. Perhaps globalFEST can offer quarterly seminars with panels of helpful KEY people in the business could offer advice on grant writing, funding and/or updates on the current climate, which appears to be ever changing.

    2. Another big challenge (also mentioned by someone else in the thread) is the tax waiver information which has been a huge headache depending on which territory we are traveling, things like Visas, work permits, waiver forms, social security forms, etc. If there was a way that this could be mapped out clearly by territory what the requirements are. If there was some kind of “global” booklet that has this info including website links, etc, this would be a big help.

    • Dmitri Vietze

      Hi Martha, This is Dmitri with rock paper scissors (we help globalFEST with PR). On the topic of seminars, we organize a free world music preconference as a part of APAP (which occurs at the same time as globalFEST in NYC). In 2014, it will take place on the Thursday and Friday leading up to globalFEST. APAP does not charge musicians (or any performing arts professionals) to attend this preconference. We plan to offer topics of interest to musicians and other professionals. This year we included topics like the State of the Recording Industry, New Uses of technology, Cultural Diplomacy, and World Music Infiltration. I hope you can join us this year! Thx!

    • globalfest

      Hi Martha, Thank you so much for taking the time to bring us your artists’ perspective on gF’s activities and what would be helpful to you as we develop this next stage in gF services. See you soon! Best, The gF team

  • Alexis Ortiz

    It’s great to see so many fantastic suggestions, many of which are also on my list. Most of these have already been discussed, but I figured I’d add them to the mix anyway.

    As mentioned several times, visas and taxes are among the
    largest hurdles for international artists, so providing technical assistance
    and also advocating for more streamlined policies would be a greatly useful
    service. Perhaps instead of just offering monetary awards through the touring fund, you could also offer grants of in-kind services (like Taproot and other similar organizations), for visas, taxes, publicity, marketing, etc.

    I also think it would be great to tour globalFEST (or at least several of the artists) to other cities across the country to help build audiences for world music. Additionally,
    I think it would be helpful to build a network of presenters to share best practices for presenting artists from abroad, as well as strategies for reaching out to diverse communities in their own local areas. This could be done virtually, as well as at
    the World Music preconference during APAP. And it would be wonderful to have
    similar sessions and showcases at the regional conferences.

    As Stephen and several others have pointed out, globalFEST is uniquely positioned to help its artists and alumni (as well as presenters) develop meaningful educational outreach and residency activities for their tours. In past cultural exchange
    programs I’ve worked on, we’ve brought all of the participants together for an
    orientation/training session at the beginning of the season, and we dedicated a
    large chunk of time to crafting outreach sessions, with the help of educational
    experts and artist mentors with experience in the field. Coming together in person helped to build a sense of community among the artists and alumni over the years and also generated new ideas that the ensembles might not have come up with on their own.

    Finally, globalFEST could help connect its artists with American artists and vice versa. In my experience, these sorts of artist-to-artist exchanges are really meaningful, both musically and in terms of career development more broadly, and they can help with audience development through cross-pollination. Also, have you thought at all about bringing American artists to work with globalFEST artists in their home countries, or to other international festivals?

    • globalfest

      Thanks so much Alexis for your feedback on gF’s activities and future. We have a lot of work post this crowd source phase and your ideas and suggestions are really helpful to this process. Thanks again. Best, gF team

  • Robert Singerman

    For me, having represented many top world (and other genres) music artists before the “WM” term was even popular, the most valuable service to the field; artists, song writers, fans and potential fans, including all the businesses, media, and non-profit organizations and people involved, is helping to break the language barrier to make non-instrumental world music truly universal, or understood. Globalization without localization is practically impossible and localization, or the translation of the bios, lyrics, missions and true representation of the globalFEST artists, can make a huge difference in the short term and long term sustainability and effect of solving the adaptive challenge. Like Opera surtitles and film/tv subtitles, both of which dramatically increased the relevance internationally, across language barriers, of these mediums; songs and song meanings can be translated, communicated and understood by the audience, which will certainly increase, entertain and inform the audience significantly. Isn’t that the goal of the writers and artists, as well as of the listeners, communication? Many of the globalFEST artists are leaders in their communities and could be world leaders with translation. A song, like each TED talk, can be translated into many languages. The technology costs (considerations) are less and less and are far outweighed by the value; socially, politically, internally and externally, of true conscious communication, beyond the subconscious, non-verbal, non-written, communication that occurs naturally at any live event. Whenever there is a message, or story, in a song, it would be appreciated to be able to understand it, in real time, with all the senses at work together. We love the diversity in cultures and don’t want to encourage world music artists to sing in English, (to communicate and increase their reach), but many of us do want to understand, on radio, online, mobile, tv, and live, on tours, and at globalFEST, the songs. That would be truly evolutionary, even for the many artists already striving, with some succeeding, to put forward their ideas, pleas, jokes, stories, songs, lessons to different language audiences. The illusion of separation, from the foreign to the communicated and understood, breaking down the 6th wall, reaching and moving the person in the last row, can be done relatively easily once the value is clear, in a self-sustainable and inexpensive manner. All the other good ideas below would also be enhanced by eliminating or reducing language barriers. Thanks for considering this suggestion and I’m happy to offer my assistance in implementation. I do really hope that globalFEST is successful in attaining this grant, as they have been creating business as unusual since the very beginning, extremely successfully and still have a long way to go, thankfully.

  • Robert Singerman

    For me, having represented many top world (and other genres) music artists before the WM term even existed, the most valuable service to the field; artists, writers, fans and potential fans, including all the businesses, media and non-profit organizations and people involved, is to help break the language barrier to make non-instrumental world music truly universal, or understood. Globalization without localization is practically impossible and localization, or the translation of the bios, lyrics, missions and representation of the globalFEST artists, can make a huge difference in the short term and long term sustainability and effect of solving the “adaptive challenge”. Like Opera surtitles and film/tv subtitles, both of which dramatically increased the relevance internationally, across language barriers, of these mediums; songs and song meanings can be translated, communicated and understood by the audience, which will certainly increase, entertain and inform the audience significantly. Isn’t that the goal of the writers and artists, as well as of the listeners? Many of the globalFEST artists are leaders in their communities and could be world leaders with translation. A song, like each TED talk, can be translated into many languages. The technology costs (considerations) are less and less and are far outweighed by the value; socially, politically, internally and externally, of true conscious communication, beyond the subconscious, non-verbal, non-written, communication that occurs naturally at any live event. Whenever there is a message, or story, in a song, it would be appreciated to be able to understand it, in real time, with all the senses at work together. We love the diversity in cultures and don’t want to encourage world music artists to sing in English, (to communicate and increase their reach), but many of us do want to understand, on radio, online, mobile, tv, and live, on tours, and at globalFEST, the songs. That would be truly evolutionary, even for the many artists already striving, with some succeeding, to put forward their ideas, pleas, jokes, stories, songs, lessons to different language audiences. The illusion of separation, from the foreign to the communicated and understood, breaking down the 6th wall, reaching and moving the person in the last row, can be done once the value is clear, in a self-sustainable and inexpensive manner. All the other good ideas below would also be enhanced by eliminating or reducing language barriers. I’m happy to volunteer tools and resources I may be able to connect globalFEST with, in the implementation. Thanks for considering this path, with any increased funding. I do really hope that globalFEST is successful in securing this grant, as they have been creating business as unusual since the very beginning, extremely successfully!

    • globalfest

      Thanks so much Robert, for your insights into what it could mean to break down language barriers in international music. We appreciate you taking the time to comment through this process. Best, The gF team

  • Joshua Feigenbaum

    The questions I have heard from so many artists is how do I get beyond the DIY phase of my career? The resources and connections that professional managers have is often out of reach for artists breaking into the domestic and international scene.

    I would suggest ongoing management training that addresses the questions 1) how do I make a sustainable career for my artists and 2) in an intensely competitive music business how can people cooperate and share information in real time that can lead to gigs and better music sales?

    Are these the right questions and goals? Can globalFest create an infrastructure that can be a clearing house for helping artists and managers connect the dots?

    GF brings artists and listeners together in a way that lights up ears, minds and hearts creating opportunities to be heard and seen by a broader audience. Getting beyond me and making the ethos us and we would continue the good work that starts with a showcase in January and tour support for the those acts lucky enough to make the cut.

    • globalfest

      Hi Josh, and thank you for taking the time to write to us. The idea of management training both for the artist and for the industry professional is an important one and has become a theme throughout this Business Unusual crowd sourcing process. This feedback will help us define our mission as a service organization based on the needs we know are out there. Best wishes, The gF team