First day of TRAMA at CdS

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On Wednesday, May 16, TRAMA began with a conference by Paola Vacca, manager of the Colombian cultural industry, who explained in detail the scope and organization of the music industry in her country at the conference Bogotá, the city of music. Her experience makes clear the need to work on public policies that give priority to the creative industries, also promoting the clusters of this type of enterprise. Initiatives such as Bogotá Music City and Bogotá Music Market are excellent references for Panama.

Preparing for a showcase, whether as an organizer or as a participating musician, has its art. And Christine Semba, of the influential WOMEX international music event, used her good humor and enthusiasm to list practical tips that help to have a successful presentation that will promote the artist beyond their territory. Her conference Encounters and Music Markets recalled the need to plan and follow up on actions, as well as pointing out that owning and projecting a national identity as artists is as important as the development of the music industry.

Five artists from different music disciplines shared their experiences as entrepreneurs in the TRAMA Entrepreneurship session. From a bassist with a healthy obsession with acetate to a dancer with a company that produces original music for stage works, the success stories of Panama's creative music industries are inspiring and growing.

More than a fad, music festivals have become the most successful mass cultural events in the country. In the session TRAMA Festivals the organizers of the most diverse music events in the country shared their stories: Ma. Claire Fontaine of the MACRO Fest, Jean Paul Samudio of the Black Metal Fest, Martín Valero of Vía Plural, Germán Pinzón of the Santiago Coral Festival and Mar Alzamora and Paola Aparicio from Expansión Sonora, all have managed to use Panamanian musical talent to summon, educate and entertain thousands of Panamanians.

In the Film Projects session, Christian Bradford explained it in a simple way: music goes beyond a song. It refers to the rhythms of the images, how to find the sound, or the musicalization, that best goes to a scene. He and his band, Full Monty, were in charge of musicalizing the film El perro andaluz (Buñuel, Dalí, 1929) for a screening in Panama.

Panamanian director Ana Endara is also convinced of the importance of music in movies. One of her productions was La felicidad del sonido (2016), which is an ode to sound, a meeting of unusual characters who have a special relationship with the sound. Or even simpler: "it's a loving portrait of Panama," as she herself sums it up.