WORLD MUSIC

If specialties are found in booking agents rosters, as it can reflect their personal taste, most of them stillaim to have a variety of choice, which allows them to diversify their offer. It is the case for TroisQuatre!,of which the gypsy trend is well valued with Boban Markovic Orkestar and Romano Drom. DaktariMusic is more in the Celtic world, with Carlos Nuñez notably. Naturally one finds European artists inmore non-specialized catalogs, who are well established, such as those of La Centrale (Besh O Drom),Musicomedia (Taraf de Haïdouks), Run Production (Spacanapoli) and Les Visiteurs du soir (PaoloConte, Madredeus, Luz Casal). All these booking agents have an excellent knowledge of the market andthe tastes of the French audience. They can become invaluable professional partners for Europeanoperators avid to develop their artists in France.3.5.2 FESTIVALSThere is an abundant variety of festivals presenting traditional world music in France. The period fromJune till September concentrates approximately 3/5 of festivals organized in a year. On 557 festivals listedin the data base of the Irma as programming traditional world music, only 186, that is a little less than athird, are held in this domain. Approximately two thirds (368 exactly), also schedule rock and song. Alittle more than half (255 exactly) schedule jazz. This clearly shows to which point traditional world musicis integrated into the programs of more general (non-specialized) festivals today. It is also interesting toindicate that, in the information given by these festivals to describe the music genre which they offer, only31 of them claim the term "Europe” among the determining of their programming. In the domain soappreciated by world music, the "European" notion often fades behind the identity of a culture inparticular. From this viewpoint, would it not be interesting to put forward this cultural variety whichconstitutes Europe?These last few years, the programs of traditional and world music has particularly seduced regional statebodies: cities, regions.... They find in this type of programming, elements allowing to value certainpositive aspects of their cultural policy, while offering festive moments to the people they administrate.The fact that they experimented the impact of this type of event in the sectors of tourism, patrimony, butalso social, allowed numerous festivals to maintain their activities, even to prolong actions centeredaround the music, before and after of the festival. We can note the very interesting actions led with theartists and the public in well implanted festivals, as Banlieues Bleues (east of Paris), Musiques Métissesin Angoulême, the Festival des Hauts de Garonne in Bordeaux, Ida Y Vuelta in Perpignan, Les TempsChauds in Bourgogne, Nuits Métis in Marseilles, Les Suds in Arles, Les Nuits Atypiques in Langon,Les Escales de Saint-Nazaire, Les Méditerranéennes of Argelès-sur-Mer, the Fiesta des Suds inMarseilles, Nancy Jazz Pulsations, Africolor in Seine-Saint-Denis, and many others. Developing aFrance Export Handbook–World Music