Natano Pasifika playing a song on Paradise FM in Vanuatu:
Natano Pasifika interview with the ABC Australia + program:
Natano Pasifika playing a song on Paradise FM in Vanuatu:
Natano Pasifika interview with the ABC Australia + program:
“Natano Pasifika” is a group of six talented traditional and contemporary Melanesian musicians who will be touring to Mozambique this May for the Music Bridges project hosted by Music Crossroads Mozambique.
“Natano” is a word in Namaku language from Tongoa island in Vanuatu. It means ‘our land’. The name Natano Pasifika was chosen by the group to represent the Pacific islands as land rising from the ocean. With instruments including the bush bass, ukulele, bamboo flute, guitar, tamtam and navarange, and traditional songs and traditional ‘Kastom’ dancing, Natano Pasifika display some of the rhythms and styles of Vanuatu and the South Pacific.
The group is composed of traditional and contemporary musicians from Vanuatu and Kanaky including Mars Melto (Vao/Malakula island), Tio bang (Ambrym island), Yaya (Kanaky/New Caledonia), Anthony Roy (Gaua island), Robert (Tongoa island) and Gordy (Vanua Lava island). They have been selected through the Music Bridges project by Further Arts and Canal Studio for the Music Bridges project to be held in Bilene and Maputo, Mozambique in May 2014 by Music Crossroads Mozambique.
The featured artists are:
Contact email@example.com for more information.
INTERNATIONAL CALL FOR APPLICATIONS
Music Bridges Mozambique (17th May to 1st June 2014)
Deadline of this call for applications: 25th of March of 2014
Music Crossroads Mozambique, in partnership with COSV and Further Arts invites you to take part on the Music Bridges Project!
What is Music Bridges?
This project aims to favour the strengthening of the music industry as a tool of poverty reduction in Africa Caribbean and Pacific (ACP) countries, and to reinforce the creation and production of music goods and services, in Mozambique and Vanuatu, in the perspective of South-South cooperation and networking amongst regional and European artistic contexts, through an integrated approach with distribution circuits.
The main activities foreseen under this project, include the organization of creative Music Residential Camps, the presentation of collective public music performances, the cooperation in the production of Music Festivals and performances, the organization of workshops and studies based on the music industries of the ACP countries, among other activities happening in Mozambique, which will contribute to the strengthening of the music industry of the involved ACP countries.
Who can participate? Young musicians from Southern Africa, aged between 18 and 30, taking into account gender balance.
What do we provide? Travel costs (mostly by road), meals, accommodation and pocket money.
How to Apply? Please send your application, together with a video or internet links of your performance to firstname.lastname@example.org, the selected performances will be announced by E-mail on 30th March 2014.
A workshop on free licenses and copyright in music careers – written by Cristina Perillo
Creative commons and the author’s intention
“The basic idea of Creative Commons is that the “all rights reserved ” automatic rule, that governs copyright automatically and up to 70 years after the death of the author, is not always and no matter how what the author wants. Not all authors are always interested in prohibiting to anyone, except their publisher, to do anything with their works. On the contrary, many – especially amongst the creative people who use Internet as a means of finding inspiration and co-workers, deal with others and spread their work – prefer a more flexible approach, in which only some rights are reserved. Not surprisingly, there is often a talk of “some rights reserved” licenses, with some rights automatically granted to the rest of the world, as long as the conditions of the license are complied with. So, on the one hand Creative Commons are a generalization of the legal instruments (licenses) to any creative work, created to foster collaboration amongst creators of free software, on the other hand they are part of a wider debate that highlights how the legislation on copyrights needs updates, in order to seize the opportunities offered by the digital revolution”.
The steps described by Federico Morando, director of Creative Commons Italy, on the authors’ intentions in regards to the accessibility and use of their work, have been the starting point to design a workshop on Creative Commons licenses and music, realized last October in the Republic of Vanuatu, during a residential camp for musicians within the Music Bridges project. The points touched by Morando presuppose a knowledge of the principles of copyright, awareness of one’s rights on works conceived and produced in first person and duties on works designed and manufactured by others, the perception of one’s role as author, in this specific case as musician, that is also a role of cultural mediator and vehicle of knowledge of great value and social impact.
Written by Sarah Doyle and Marcel Meltherorong
Port Vila, Vanuatu
21st – 23rd October 2013
Chief’s Nakamal & Vanuatu Kaljoral Senta
The workshop sessions were very successful with attendance of over 70 participants including musicians and industry experts from Vanuatu and the Pacific region, Mozambique and Reunion Island, and Italy and Austria. Participants developed their knowledge and skills, and deliberated on the next steps to take.
There were 3 main workshops held over 3 days:
– Producing events, promoting your music, and professional development
– Copyright and Collective Management
The local ni-Vanuatu participants and the Solomon Islanders benefitted the most from the workshops, as most of the debate surrounded issues faced by the music industry in Vanuatu and Melanesia. Local SMK artistic leaders, Mars Melto and Tio bang noted that the most significant outcome was that local musicians were challenged on their own knowledge of the state of the music industry, and on the idea of copyright and collective management organisations. Many weren’t aware of the possibilities an artist has with copyright protection. In fact, many of the participants did not know much or anything about the issues and processes that are involved in the music and creative industries.
The trainers from SOMAS (Mozambique) facilitated discussion and exercises on copyright and collective management, and Seru Serevi from FPRA (Fiji) shared his experience and reflections on copyright and CMOs in Fiji and the Pacific. The outcome of these sessions was that local musicians proposed to revive the recently abandoned Music Federation blong Vanuatu (previously chaired by Joe bong) because they see it as the only structure present in the country that can contribute towards the goals that the artists have for their careers and to protect, develop and promote local music. And then the hope would be to set up a committee with representatives from each province in Vanuatu to form a united voice on the issue of artists’ rights to the government, in the aim of establishing a CMO and addressing policy issues. But the drive has to come from the artists themselves instead of relying solely on the Ministry of Trade IP Office or VKS to act.
The session on licensing and creative commons was interesting and valuable for most participants (the majority of which had no knowledge of it) for learning about the possibilities for sharing, protecting and promoting music. Many questions arose regarding the different licenses that can be assigned to an artist’s product to allow or forbid it to be shared and/or used, and the perception of intellectual property as a personal possession. It was clear that the participants, particularly the local ni-Vanuatu musicians, were trying to grasp the concepts and understand their implications. While for some musicians in Vanuatu, access to internet and information such as CC licenses is more readily available, for the majority, it is still a major challenge due to the high cost and unreliability of telecommunications and internet services.
There will need to be a follow up process and widespread awareness on these issues to ensure that they are practically useful and understood throughout the industry in Vanuatu and the Pacific.
Participant evaluation of the workshops
The participants of the workshop included the majority of the Singaot Musik Kamp musicians and organisers in addition to a number of local youth and stakeholders of the music and cultural industry. The evaluations received both verbally and written include remarks such as:
The only problem faced by some participants during the workshops was the language barrier since English was the main language used and there was not much translation (into Bislama, French or other languages).
An exciting international music event will take place in Vanuatu in October this year in conjunction with the annual Fest’Napuan Music Festival and Lukaotem Gud Santo Festival.
The Singaot Musik Kamp is a two-week professional development residency for talented young musicians from around the region and the world, beginning at Mon Exil village in Espiritu Santo and finishing in Mele and Pango villages in Port Vila. Vanuatu will host over 60 musicians from countries including Mozambique and La Reunion (Africa), New Caledonia, Solomon Islands, Fiji, West Papua, Papua New Guinea, Tonga, Samoa and Australia. There are also over 20 local ni-Vanuatu traditional musicians that have been selected including flutists from Port Olry and Ureparapara; percussionists from Futuna and Tanna; string band members from Tongoa and Leweton Cultural Group; and tamtam players from Ambrym and Pentecost.
The event is managed by Further Arts with the local expertise of Canal Studio Association.
The musicians will be involved in workshops to network and collaborate on music, and deliver feature performances at Lukaotem Gud Santo Festival (11th-12th October, Unity Park, Luganville) and Fest’Napuan Music Festival (16th-20th October, Saralana, Port Vila). These festivals will be the chance for the public to witness the power and magic of the diverse group of traditional musicians.
Singaot Musik Kamp (SMK) is part of the “Music Bridges” action funded through the European Union’s Africa Caribbean Pacific (ACP-EU) Cultures+ program. Music Bridges is managed by a non-profit organization, Coordinamento delle Organizzazioni per il Servizio Volontario (COSV) in Italy and includes project partners, Music Crossroads in Mozambique and Further Arts in Vanuatu. Singaot Musik Kamp and Music Bridges is also very fortunate to have the generous sponsorship of Air Vanuatu to assist in the transport of the musicians to Vanuatu.
Music Bridges aims to reinforce the creation and the production of music goods in Vanuatu and Mozambique building on South-South cooperation, networking and distribution circuits between regional and European artistic contexts. In particular it seeks to promote the traditional heritage, practice and respect of indigenous music traditions.
Additionally, the Music Bridges project will present “Music Industry Development & Rights” workshops over 3 days from 21st-23rd October at the Chief’s Nakamal in Port Vila. These workshops are free and open to all musicians and music professionals for the purpose of developing technical, managerial and production skills for musicians, artists and industry personnel to build careers and opportunities. Everyone is welcome to visit and sign up on the website www.musicbridgesconnect.org. This is a platform for the music industry and all musicians including the SMK traditional musicians to connect, share and promote their music and activities.
Written by Mark “Remedy” Taiki.
From humble beginnings the reggae band Masamp Crew has held true to its roots since its conception in 2006. They have made their mark in the regional scene with their two well known songs “West Papua” and “Right Teachings”. Based at the Wan Smol Bag Youth Centre, the band derives its name from the term “Massive Amps” with its intent to always create “big sounds”. They have toured Malekula and have had a major presence in Port Vila through festivals such as Fest Napuan. Elements from their home islands in Malekula, Ambrym, Pentecost, and Erromango can be heard in their music through the use of traditional instruments and lyrical content. The band was formed as a way to deter its members from criminal activities in “Hollen 73 Distrik”. As a result their conscious sounds have brought to light several social problems. Issues such as unemployment, human rights, and regional conflict are re-occurring themes in their music. The response from listeners has been positive, and their progression in music has allowed them to adopt new styles and sounds. In an industry dominated by computer producers and auto tune pluggins, it is great to hear artists staying true to their craft and consistently putting out authentic reggae singles. If you’d like to hear more from them, make sure you attend this year’s Fest Napuan Festival at the Saralana Stage on the 16th to the 20th of October.
This is a possible dream!
To become the first teaching music School of medium level in Mozambique
The Academy Music Crossroads Mozambique bet in quality teaching and excellence, focusing the practical lessons and theories , through open sessions (workshops and seminars) under the artists’ guidance and experts of the Mozambican music, as well as international.
We teach music based on the Mozambican musical tradition, African and of African roots linked to modern techniques of teaching and learning of this art. Our curriculum was designed by the prestigious Global renowned Music Academy, that is also responsible for the training of our teachers’.