"It takes a bit of stubbornness and smell for everything" [Interview Santiago Ayerbe - Visual Artist]

Santiago Ayarbe

Santiago Ayerbe is a visual artist passionate about people, their trades, relationships and art of course. He started his days as a plastic artist taking his creative exploration towards the visual arts and advertising, however it is difficult to pigeonhole him into a single discipline because he also works as a cultural manager, visual and musical curator.

He is one of the creators of the Yaveria Festival, a winning project of a grant from the Ministry of Culture, which has become a space for emerging bands and projects that seek to circulate and make themselves known. The festival has been responsible for providing scenarios for knowledge exchange, workshops on different topics and presentation of creative interdisciplinary audio-visual projects.

We wanted to interview him so that from his perspective he tells us what he thinks about art, entrepreneurship, management and culture.

"Art must somehow be the space of freedom before the economic system. Although this one today is who gives it shape, and is closer to market behavior, marketing and consumption. It must be the exit, before these neoliberal movements. The response and resistance to this event. "

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Where is the money to start an artistic project?

sources of income

All projects (artistic or not) reach a point where you have to ask yourself: and how are we going to pay for that? For that we must answer what are the possible sources of income of the artistic project?

The tendency within cultural projects is to worry more about how they are going to spend the money than how they are going to recover it. Of course, we spend it in the name of art, to create things that nobody has seen before, experiences that will move many. That's fine. But we spend it. And we should recover it.

The most conscious and planned exercise must be two-way. It is as important how much we are going to invest, as the ways in which we plan to recover that investment. The income of the project.

The rule is simpler, and easier to write than to comply with it:
We can not spend more than we receive. (Applies for everything)

In the ideal world no one loses money. In the real world ... it happens more than one would like. Because the normal thing is to spend it before receiving it, and receiving it is just an expectation. A lot of money is lost in the culture; as well as friendships and commercial and professional links are lost in that way.

Yes. In the arts, culture and entertainment, billions can be moved in one transaction; But receiving millions does not mean that they are earning a lot (the end result can be millionaire losses) or that it is something simple or fortuitous (seldom profits are only the result of a spark of luck).

The sources of income must be identified and we must have control over them.

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11 levels for a concert

11 levels of a concert

A concert is much more than songs. You have to sing them well and have the repertoire rehearsed. But the choreographic aspect, when designing the staging of a concert, can not be left aside.

A staging can be designed on many levels. As more attention is requested and claimed from the public, more elements come into play in the staging. These elements change depending on the musical genre that is being presented and it is not necessary to use them all at the same time. That's why I think they are levels. The work of designing a staging is escalating.

It is interesting to analyze live shows of all calibers. From intimate recitals, between 20 and 60 people, to the concerts of crowds (from 800 people onwards, to say any number).

This list is to give a guide to the artists who are setting up their Show Live. Or those who have reached a certain level and wonder what could be the next step. Everyone must give their time. Each level is acquired when the project, the show and the public need a little more to keep growing.

I insist, not all projects need all these elements; I have been enjoying concerts of singer-songwriters with 400 people in the audience, armed only with their guitar. Nothing else. His genius was perhaps to make it seem that all these elements were seen as something given, without effort, as nobody thought. The reality is that his proposal of artistic value was perfectly aligned with what was on the stage; He promised us beautiful songs, of intricate lyrics, intimate, that were the center of attention. For that he did not need more than his guitar (and his magnificent interpretation).

The reality is that a show is designed. Follow a choreography that many do not even know exists.

[Friendly warning: this article is for reference and it can take up to 15 minutes to read it completely; We hope you enjoy it.]

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"The song is a living organism" [Interview with Na Morales]

Na Moraes Interview

Na Morales is one of the most interesting composers that Colombia has today.

Folk music has always had its space. It has never been short of repertoire. Na Morales is like a fresh air for that repertoire. A contemporary look at rhythms and metrics that are tied to tradition.

I got to the music and songs of Na Morales by a friend of a friend. Because that has always been the best way to discover something new. And it's not casual. His lyrics and melodies come straight to the soul. They touch the fiber that connects us with our family and friends. They are made to stir up the desire to share them with the people that one wants the most.

In one of his recent concerts in Bogotá he said that his album "Regalos Hecho a Mano" came out as an answer to being away from his family and being able to give each one a song as a gift from another country.

Without realizing it, he not only gave a song to each of his relatives. He framed the stories and feelings of everyone who heard his music. Those things that we feel and do not know how to say or how to thank the people we have close to us.

We could say that Na Morales makes intimate music. That highlights the precious moments. Valued.

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How much is it worth to make a cover? [Updated]

How to record a cover

The musical groups are divided into two groups. Those who know how to legally record a cover and those who do not. Here we summarize some alternatives.

The covers Are versions of songs that another artist already sells.

They can be made as a tribute (Fonseca sings "Without Measure Distances"By Diomedez Díaz) or because sometimes the song needed another perspective (like Kenton Chen by Scary Pockets singing "If I Is not Got You" by Alicia Keys).

They can be done because you want a more minimalist and felt approach (like Melisa Lilian (by Matisse) singing "Bailar Contigo" by Monsieur Periné ) or make a version simply because the album needed some nostalgia (Esteman sings "Frenzy" by Alberto Rodríguez Borrás -which has more versions than words in the song-.

Many groups that I know what they do is record and already, well no more. Without doing anything. Following this list:

- Do not ask permission
- They record because I like that song
- Never give back to the composer or composer (or group of composers)
- To invest $0 in permissions

Easy, is not it?

In principle it is easy, but it does not stop being illegal.

The majority of Internet users have the bad habit of acting under the rule of "It's better to ask for forgiveness than to ask for permission".

The mess, is that in terms of intellectual property, it is always better to ask for permission, not just ask for forgiveness.

Even, you should always ask for permission.

That price $0 for no permission can become a headache: lawsuits, lawyers, damages, damages, paperwork, collective gastritis ...

The good news is that you can pay the same (I mean nothing, $ 0) and do a legal cover; and save yourself the headaches.

Making covers on YouTube to get attention is fine ... but would not it be better to also be able to distribute them on digital platforms and sell those own interpretations?

What is needed?

Continue reading "How much is it worth doing a cover? [Updated]"