1987—Record labels in UK meet and launch campaign to advocate for a "world music" section at record stores, so fans can find and browse for this international repertoire. Detailed history at www.frootsmag.com/content/features/world_music_history/minutes. To see an argument against the term "world music" go to: www.davidbyrne.com/cmp/worldmusic.html. The World Music Coalition is aware of the problems and complexities of the term "world music" but uses it since it is widely understood and serves as a catch-all for very diverse genres. Regardless, the UK campaign can be seen as a "start" of the term as a banner to increase the visibility and viability of international musics.
1992—The first meeting of the Canadian Folk Festival Network. This network—which continues to thrive—works with the Canadian Arts Council which provides touring support for international tours.
1995—World Music Special Interest Group (SIG) at Association for Independent Music (AFIM; formerly NAIRD) led the INDIE Awards to expand the single world music award into two awards (traditional/contemporary), and polled retailers about CDs, which led to a uniform "file under" format for world music CDs. See www.worldmusicportal.com/cdfiling.htm. The group maintained a listserv (defunct) and a reciprocal web links program between world music labels. The SIG still exists on paper, but has not had much activity in recent years.
1997—The first time the Canadian folk festival network invited Americans to participate in their meetings. The North American presenter network—with approximately 60 members facilitated by Derek Andrews and Bill Bragin—is thriving to this day, and maintains a listserv and annual meetings. Email and face-to-face discussions include block bookings, booking issues, music recommendations, etc.
Late 1990s—WOMEX hosts annual North American Networking panel. Each year has a different facilitator and slightly different focus.
1999—First meeting of the World Music Special Interest Group at Association of Performing Arts Presenters (APAP) annual conference. This discussion—moderated by Bill Bragin and Alison Loerke—has become a regular staple at the annual event. This was part of an effort to demonstrate the collective buying power of presenters interested in world music, which can claim partial credit for the expansion of world music at the convention. Last year there were almost two dozen world music acts showcased at the conference. The next APAP conference includes a workshop on the special needs of summer-only presenters, 1/4th of which focuses on world music. The 2003 event also features Habib Koite as one of the two opening events. VISA and immigration issues have become regular topics of conference sessions.
1999—Folk Alliance World Music Special Interest Group emerges. After Britton Dornquast (Hear's Music, Tucson) put a call out to others attending the Albuquerque conference, the group met to make the event more fruitful for those with a global music interest. Others present included Angel Romero, Derek Andrews, Cheryl McEnaney, and Tom Frouge. Results of this group's efforts include: a still-thriving listserv for "world music" professionals sponsored by Folk Alliance (the listserv of choice for the N.A. World Music Coalition); a world music showcase, an official world music SIG meeting, and world music panels at annual F.A.; and, interest by the F.A. board in supporting an annual meeting of the world music professional community. Members of world music community have found the SIG meeting the highlight of the conference.
1999—WOMEX North American Networking panel—Derek Andrews invites Phyllis Barney of the Folk Alliance to be on panel; suggesting that F.A. as a conduit for a network of world music professionals.
2001—WOMEX North American networking session (facilitated by Sean Barlow) attendance/enthusiasm grows in response to 9/11 attacks. The seeds for a formal coalition are planted in a follow-up session led by Dmitri Vietze. Several attendees take on roles to develop a mission statement and bring other industry professionals into the fold. A mission statement is developed by ad hoc committee. There is debate via email about whether the Coalition should exist under the auspices of the Folk Alliance. It is agreed to use the Folk Alliance World Music Listserv as the channel for distributing Coalition news and action to the professional community. A separate listserv called World Lead emerges as a smaller group of players who take responsibility for directing the emerging Coalition.
2002 and 2003—WOMEX/APAP North American networking sessions continue to grow momentum for a Coalition.
2003—World Lead members meet in Chicago and resolve to form an independent 501C3 organization. At the meeting, decisions are made to form the basis on organization by-laws which will be presented at the 2004 Arts Presenters conference to the larger world music community for comment before ratification.
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