EFN Newsletter July 2026 #44
- EFN editor
- 20 hours ago
- 19 min read
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WELCOME AND SUMMARY
Welcome to the new edition of this communication and outreach initiative of the EFN. Feel free to forward it to your friends and colleagues. Receiving this newsletter is open to anyone for free, here. Read to the end to find out how to submit content for future editions.
This is what you'll find below:
🔹News from EFN:
▫️EFN Talking Points Online #1 - 15 September
▫️REMINDER: 2026 EFN Conference: registration now open!
▫️The 4th European Folk Day — Celebrating the traditional arts that unite Europe and beyond
🔸News from the members:
▫️Fira Mediterrània de Manresa announces the first acts in its programme, including Saraï
🔹Our featured member is Toernee Mondial
🔸Our featured artist is the Georgian singer Hamlet Gonashvili
🔹Special content: Songs in Motion: Stella Papalamprou on Identity, Displacement and Endangered Languages
✍️ Do you want to participate? At the end of the newsletter you will find how you can contribute to future editions, whether you are an EFN member or not. And of course EFN is always looking for new members and at the end of this newsletter there is a note about how and why to join, with links to the membership pages of the website and the application form.
News from EFN
🔸EFN Talking Points Online #1 - 15 September EFN Talking Points Online is a new series of online conversations bringing together different voices to explore issues that matter to the folk community.
Our first session, “Too Much Supply, Too Little Demand?”, will examine the imbalance between the growing number of artists and projects and the opportunities available to present them. The speakers will be David Sierra (Sierra Contratación Artística), Anne-Mari Hakamäki (Kaustinen Folk Festival) and David Agnew (English Folk Expo), with Araceli Tzigane as moderator.
The talks are free and open to everyone, not only EFN members. EFN members are also invited to suggest topics for future sessions.
➡️ Take note:
▫️EFN Talking Points Online #1 "Too much supply, too little demand?"
▫️When: Tuesday September 15, 2026 11:00 (UK), 12.00 (CET), 13.00 (EET)
▫️Register in advance for this meeting: 🔗 https://us02web.zoom.us/meeting/register/0167Bu6ZQUOFNRw-pqgF5g - After registering, you will receive a confirmation email containing information about joining the meeting.
🔸REMINDER: 2026 EFN Conference: registration now open!
Almeria (Spain), 13 & 14 November 2026
The conference programme will feature expert speakers and panels, working groups, breakout discussions and traditional music performances. Click here for CONFERENCE REGISTRATION – there is a special discount price for EFN Members. The first hotel that we recommend – which is very close to the venue - is the Costasol Hotel. EFN will announce more information on hotels and travel in the next few days.
EFN recommends that conference delegates should arrive on Thursday 12 November and depart on Sunday 15. Almeria airport has some direct and transfer flights – but the main airport to consider is Malaga. We will announce travel possibilities from the airport in a few weeks’ time. Long-distance train services to Almeria can be booked from Madrid and Barcelona. Watch out for information on hotels and conference programming coming very soon and the EFN Members Googlemail, the EFN website and regular mailings.
The conference will be hosted by EFN Member Fundación Indaliana para la Música y las Artes (Clasijazz), whose venue offers facilities for plenary sessions, breakout groups, catering and performances. Follow us on social media to stay up to date: Facebook - Instagram.
🔸European Folk Day 2026
The 4th European Folk Day —Wednesday 23 September 2026
Celebrating the traditional arts that unite Europe and beyond
18–27 September 2026
The website www.europeanfolkday.eu is now ready to register your events. European Folk Network (EFN) is proud to announce the fourth edition of the European Folk Day, taking place on Wednesday 23 September 2026 — the day of the autumn equinox in the Northern Hemisphere — with a full programme of celebrations running from 18 to 27 September 2026.
The choice of date is no coincidence. At the moment when day and night stand perfectly balanced, European Folk Day is rooted in the natural rhythms that have inspired traditional arts communities for centuries. It is a season of gathering, of harvest, of celebration.
Learn more in:
Featured member: Toernee Mondial
When they joined in April 2020, they introduced themselves like this: "Toernee Mondial is a network of Flemish venues involved in world – folk music in his widest sense. The main goal is to make concert tours. Based on membership."
Their answer to the question "what you and/or your organisation think you can give to the European Folk Network as a member and what you think will be the benefits of membership?" was "We could be good practice of how a not funded initiative can still be efficient and reach their goals. We hope to meet representatives that would be willing to encourage similar initiatives in their own region/country."
Learn more on their website.
News from the members
🔹Fira Mediterrània de Manresa announces the first acts in its programme, including Saraï
Adapted from the news sent by Amélie Vaudelin, from Compagnie Baltazar Montanaro
This news, which comes to us from one of our members, Compagnie Baltazar Montanaro, also concerns another of our members: Fira Mediterrània de Manresa. The Fira has generously hosted the EFN Annual Conference on two occasions, and we would like to share that a substantial first announcement for its 29th edition is already available. You can explore the programme on its website.
Fira Mediterrània promotes roots-based arts, dance and music. This year’s programme includes the band Saraï, a project by Compagnie Baltazar Montanaro, who have released “Miratge”, a new album entirely devoted to bal folk, available here. The trio brings together Juliette Minvielle, Sophie Cavez and Baltazar Montanaro, weaving Occitan poetry written by women from the Middle Ages to the present day into a vibrant and deeply danceable repertoire. Their concert at the Fira will take place on Saturday 17 October 2026, offering international professionals the opportunity to discover the project live — and to dance!
Featured Artist: Hamlet Gonashvili
By Araceli Tzigane
Picture from Discogs.
Why a featured artist from Georgia in the European Folk Network newsletter? Because Europe is not only a political map. It is also a cultural space made of borderlands, routes, shared memory and musical continuities that do not always fit neatly into administrative categories.
Georgia lies in the Caucasus, at the crossroads of the Black Sea, Eastern Europe and Western Asia. At the same time, its historical, cultural and institutional ties place it within a broader European framework, including its membership of the Council of Europe since 1999.
It also has one of the most extraordinary traditional music cultures connected to this wider European landscape. Featuring an artist from Georgia is not an exception to the spirit of EFN. It is a reminder of what that spirit can be: curious, open, attentive to living traditions and willing to listen beyond the most obvious borders.
And when it comes to Georgian roots music, certain names immediately come to mind. Hamlet Gonashvili is undoubtedly one of them. To me, Gonashvili’s voice feels as if a gentle electric current were running through every cell in my body. What does it make you feel?
"If you were so beautiful How come I didn't notice you, violet? It's because I haven't opened my heart to love."
Tu ase Turfa iyavi (თუ ასე ტურფა იყავი) means “If you were so beautiful”. Check the full lyrics in English here. The music is by Anzor Erkomaishvili, for a poem by Natela Gelashvili, according to this chronicle from October 2013. |
The Georgian Encyclopedia states that Anzor Erkomaishvili founded the Rustavi State Ensemble in 1968 and presents him as a singer, choir director, collector of folk songs and teacher. Therefore, he was the artistic and institutional figure responsible for the framework in which Hamlet developed a central part of his mature career. Hamlet Gonashvili was one of the great soloists in Rustavi, where he worked between 1969 and 1985 (the year of his death) performing repertoire from Kartli-Kakheti, Imereti-Guria, Mingrelia and Abkhazia.
There is a bio of Hamlet on the website of the National Library of Georgia. This is a summary:
Hamlet Gonashvili was born on 20 June 1928, in the village of Anaga, Sighnaghi district. He first studied biology and worked at the Tbilisi Tourist Bureau before entering theatre school. He also sang on the institute’s stage, where the rector, Mikheil Kveselava, encouraged him to pursue singing.
From 1953 to 1969, he was the leading soloist of the Georgian State Song and Dance Ensemble. From 1969 to 1985, he worked as a soloist with the state ensemble Rustavi, whose repertoire was largely built around his voice. He performed songs from Kartli-Kakheti and Imereti-Guria, as well as Megrelian and Abkhazian songs, hymns and works by Georgian composers.
His artistry was defined by his uniquely soft and unmistakable vocal timbre, virtuoso technique, refined taste and light, clear sound. His elegant stage presence, restrained singing style and expressive power moved both Georgian and international audiences. With Rustavi, he toured much of the world and deeply impressed listeners, including professional musicians.
His art combined a deep closeness to folk sources with an aesthetic sensibility connected to both Georgian and Western European classical music. In Georgia, Gonashvili is regarded as a national voice.
Tsintskaro is perhaps the clearest gateway into Hamlet Gonashvili’s art: a Kartli-Kakhetian love song in which his luminous, suspended voice turns simplicity into something almost otherworldly. “Tsintskaro” is a brief but deeply evocative love song: a man passes by a spring, meets a beautiful woman carrying a jug on her shoulder, speaks to her and sees her turn away offended (source). |
The Georgian Encyclopedia records Hamlet Gonashvili’s death on 25 July 1985 in Tbilisi, at the height of his artistic powers, while JARO’s artist profile describes it as a tragic accident caused by a fall from a tree while he was picking apples.
Mr. Gonashvili, you will long be remembered.
Special content
Songs in Motion: Stella Papalamprou on Identity, Displacement and Endangered Languages
By Araceli Tzigane
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"When you lose your land, your home, and your graves, language and song become the only homeland you can carry with you." Stella Papalamprou
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Stella Papalamprou is a Greek singer, arranger and lyricist who has been based in Barcelona since 2024. A few weeks ago, she contacted me to introduce her work. In Barcelona, she is developing a project with musicians from different backgrounds, creating a Mediterranean sound built from both traditional and original pieces. At the same time, she continues to work with musicians from her homeland of Grevena, a mountainous area between Epirus and Macedonia, performing songs in Pontic Greek.
But why Pontic Greek there? Pontic Greek is historically connected with the Black Sea region, hundreds of kilometres away from Western Macedonia. The presence of this repertoire in northern Greece opens a thread that leads us directly into some of the major displacements of the 20th century: forced movements, population exchanges, uprooted communities and languages carried far from their original territories.
In this newsletter, we have touched on the so-called Asia Minor Disaster before. In issue #7, when writing about the rebetiko singer Antonis Dalgas, born in Constantinople, now Istanbul, we recalled how millions of people —Greeks living in what is now Turkey and Turks living in what is now Greece— were forced to leave their homes. Those historical shocks also reached the region where Stella Papalamprou comes from. And the story is not closed: in Turkey, artists such as Apolas Lermi still sing in the language often called Romeika, keeping alive another thread of this shared and fractured memory. You can listen to Lermi's music here.
Stella is now releasing a collection of pieces in Pontic Greek, a repertoire deeply connected to her region and still alive today. Her work offers great musical pleasure, but it also opens a space to explore questions that are central to the European Folk Network: displacement, identity, endangered languages, traditional arts, music as social practice, music as professional work, relocation and re-rooting.
Let us explore these questions with Stella Papalamprou.
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Araceli Tzigane: Pontic Greek is historically connected with the Black Sea region. For readers who may not know this history, why are Pontic Greek songs still present today in places such as Western Macedonia?
Stella Papalamprou: The presence of Pontic songs in Western Macedonia in regions like Grevena, Kozani, Ptolemaida, Kilkis, Pella, Florina is the direct sonic imprint of one of the greatest humanitarian tragedies of the 20th century: the Pontic Genocide that started from 1914 and the forced Population Exchange of 1923 under the Treaty of Lausanne. More than 400,000 refugees from the shores, mountains and hinterlands of the Black Sea region settled in Macedonia (and Thrace), turning their new surroundings into a "new homeland." These songs did not merely survive as folklore; they functioned as portable soil. When you lose your land, your home, and your graves, language and song become the only homeland you can carry with you. Western Macedonia became the new ecosystem where this memory took root and continues to bloom today.
"Music can preserve a language long after everyday speech begins to fade."
AT: How did the arrival of Pontic Greek communities in Western Macedonia shape local musical and linguistic landscapes?
SP: The arrival of the Pontic Greeks profoundly reshaped the cultural landscape of Western Macedonia, already rich in Balkan asymmetric rhythms and brass instruments, encountered a completely different modal and instrumentological tradition. The Pontic lyra (kemenche), with its unique tuning in perfect fourths and its bright, penetrating timbre, alongside the angeion (or tulum), coexisted with Macedonian clarinets and davuls. Linguistically, the Pontic dialect—a dialect that preserves remarkable features of Ancient Greek, particularly the Ionic tradition, alongside later Byzantine influences—integrated into the landscape, maintaining a distinct identity while interacting with local idioms. The Pontic dialect, Romeika, also survived through music. Even today, many people who no longer speak the language fluently still sing these songs. That tells us something profound: music can preserve a language long after everyday speech begins to fade.
AT: What place does Pontic Greek have today in the communities you come from? Is it a language of daily life, of family memory, of public identity, of music, or all of these at once?
SP: It is all of these at once, operating in concentric circles. Pontic Greek is no longer the dominant language of everyday communication, but it is the language of high-intensity emotions. It is the language of mourning, of humor, of family gatherings, and, above all, of ritual. In the communities I come from, the Pontic dialect survives organically through music. When a young person sings a Pontic song today, they are not recreating the past; they are giving voice to a living inheritance. For me, Pontic Greek is far more than a means of communication. It is a language of belonging. It connects people not only to their ancestors, but also to one another, keeping a centuries-old tradition alive through music, emotion and collective memory.
By now, you may be thinking it is about time we listened to Stella. All good things —or almost all of them— are worth waiting for. Ready? Listen closely: |
AT: Are there musical elements in Western Macedonia — melodies, rhythms, instruments, languages or ways of singing — that reflect the influence of different historical communities in the region, beyond the Pontic Greek tradition?
SP: Absolutely. Western Macedonia is a fascinating living crossroads of cultures, languages and musical traditions. Its soundscape has been shaped over centuries by the coexistence of different communities—Pontic Greeks, Vlachs (Aromanians), local Macedonian populations, and distinctive mountain communities such as the Kupatsarai community, to whom I belong. Each has contributed its own musical voice while remaining deeply rooted in the landscape.
Beyond the Pontic tradition, one encounters the rich brass band heritage of Western and Central Macedonia, the asymmetrical Balkan rhythms that animate local dances, and modal characteristics that reflect centuries of cultural interaction across the wider Eastern Mediterranean.
For me, one of the deepest musical affinities is the close relationship between Western Macedonia and Epirus. Particularly in the Grevena region, where I come from, these mountain traditions have long shared musical ideas, repertoires and ways of singing. One of their most distinctive features is the anhemitonic pentatonic scale—a five-note scale without semitones, widely regarded as one of the oldest surviving musical systems in the Balkans. Its austere beauty evokes a sonic landscape that is at once timeless, contemplative and profoundly moving.
"For me, the coexistence of Pontic melodies, Vlach traditions, Macedonian brass bands and the pentatonic mountain soundscape is what makes Western Macedonia so extraordinary."
Equally remarkable is the polyphonic singing tradition found in Epirus and in neighbouring mountain communities. Its intricate dialogue between the leading voice, the responding voices and the sustaining drone (“ison”) is far more than a musical technique; it is a living expression of solidarity, coexistence and collective memory. Every singer has an individual role, yet the music only exists through the balance of the whole community.
The Vlach communities have also left an indelible mark on the musical identity of Western Macedonia. Their pastoral traditions, songs and dances form an essential part of the region's cultural fabric, reminding us that movement, exchange and coexistence have always shaped the mountains of northern Greece.
For me, the coexistence of Pontic melodies, Vlach traditions, Macedonian brass bands and the pentatonic mountain soundscape is what makes Western Macedonia so extraordinary. Rather than blending into a single style, these traditions have remained distinct while continuously enriching one another. As an artist, this cultural dialogue is a constant source of inspiration. It reminds me that music can preserve the uniqueness of every community while simultaneously revealing something universal: our shared need for belonging, resilience and human connection.
AT: When working with a repertoire connected to displacement, community memory and a language shaped by displacement, do you feel there are things that must be protected, or handled with particular care?
SP: When working with a repertoire shaped by exile, displacement and collective memory, you are not simply interpreting music—you are entering a living archive of human experience. Every melody, every word and every ornament carries the weight of real lives, losses and resilience. That demands not only musical skill, but humility, empathy and a profound sense of responsibility.
"What deserves to be protected above all is the ethos of the music: its honesty, its emotional truth and its humanity."
For me, there are two equal dangers. One is turning a living tradition into a museum object—something admired but no longer alive. The other is reducing it to an exotic product shaped by the expectations of the global music market. Neither does justice to the people who created and carried these songs across generations.
What deserves to be protected above all is the ethos of the music: its honesty, its emotional truth and its humanity. Tradition survives not because it remains unchanged, but because each generation approaches it with respect, understanding and love.
I don't believe our role is to speak on behalf of those who came before us. Our role is to listen deeply enough that their voices can continue to resonate through our own.
AT: Where do you place yourself between transmission and creation?
SP: I don't see transmission and creation as opposites. For me, they are inseparable. Growing up in Grevena, immersed in the musical traditions of Western Macedonia and Epirus, has made me especially conscious of the responsibility I carry when interpreting the Pontic repertoire. Every musical tradition has its own vocal aesthetics, ornaments, phrasing and emotional vocabulary. My challenge is to remain constantly aware of my own musical instincts, so that I don't unconsciously project one tradition onto another.
"For me, faithful transmission is not strictly imitation; it is an act of careful listening, humility and continuous learning."
This means paying particular attention to the vocal language of Pontic music—its melismas, laryngeal vocal ornaments, phrasing and expressive nuances—and striving to honour them with authenticity. My aim is to approach the repertoire as faithfully as possible, always respecting its own internal aesthetic and expressive logic. For me, faithful transmission is not strictly imitation; it is an act of careful listening, humility and continuous learning.
At the same time, I also accept that every artist inevitably brings their own musical biography into what they sing. If, on occasion, traces of my own background give rise to an authentic and meaningful dialogue between traditions—something that even an experienced listener can perceive as artistically truthful rather than stylistically confused—I welcome that naturally. Cultural exchange has always existed. But my guiding principle is always to let the Pontic musical idiom speak in its own voice before allowing my own artistic voice to enter the conversation.
Creation, for me, begins only after I have listened deeply enough to understand the inner logic of a tradition. Only then can a personal artistic voice emerge naturally—not by reshaping the tradition, but by growing from within it.
Stella’s debut album will be released in September. In the meantime, alongside “Protanixin”, the single that gives the album its title, is also available: |
AT: Your own life has also involved movement, from Greece to Barcelona. Has living away from your place of origin changed the way you relate to tradition?
SP: Sometimes you need a certain distance to truly understand what has shaped you. Looking back, I realize that every important step in my life involved leaving something familiar behind in order to understand it more deeply.
I was born and raised in Grevena, in the mountains of north-western Macedonia, where I worked as a lawyer and an officially certified translator in five languages. From the outside, my life seemed stable and successful. But inside, I felt that something essential was being neglected. I often describe my musical vocation as a child that was constantly hungry, and I could no longer ignore it. Eventually, I made the difficult decision to leave my legal career, my hometown, my family and the security of the life I had built, in order to dedicate myself entirely to music.
"Living away from my place of origin has not weakened my relationship with tradition; it has refined it."
That journey took me first to Athens, France and, eventually, Barcelona, where I collaborated with musicians from many different cultural backgrounds. Each place expanded my musical horizon, but more importantly, each departure gave me the distance to re-evaluate where I had come from. Every completed cycle brought greater clarity about the previous one.
Living away from my place of origin has not weakened my relationship with tradition; it has refined it. What once felt simply familiar has gradually revealed itself as something profoundly meaningful. I have become more conscious of the artistic, cultural and even philosophical depth of the traditions I inherited.
Perhaps the greatest paradox is that this voluntary displacement eventually brought me home. Today, when I sing Pontic music or the musical traditions of Grevena and Epirus, I no longer experience them simply as part of my heritage. I experience them as the place where my artistic voice finally belongs. After years of searching, I feel that I have arrived at my own centre. It is a home that feels warm, complete and deeply alive—and from that place, I can finally share these traditions with others, not out of nostalgia, but out of genuine artistic conviction.
AT: Before this music became part of your professional artistic work, was it already present in your life in everyday or community contexts? How does that difference between music lived from within and music presented on stage shape your relationship with tradition?
SP: Yes, long before it became part of my professional artistic work, this music was already woven into my everyday life.
I was born and raised in Grevena, a small town with the atmosphere of a large village, and in my family's village of Mavranaioi, where I still feel most at home. As a child, I spent countless hours with the oldest generation—my grandmother, her sisters and many of the women of the village. Long before I understood music intellectually, I was absorbing their voices, their phrasing and the modal language they carried so naturally.
"If an audience can feel that authenticity, even without understanding the language, then I believe the essence of the tradition has remained intact."
The wider Grevena region has long been a place where different cultural communities have lived side by side, particularly the Kupatsarai, the Vlachs (Aromanians) and the Pontic Greeks. Each preserved its own musical and linguistic identity, yet all belonged to the same landscape. Some traditions were part of my daily life, others I encountered less frequently, but together they formed the soundscape of my childhood.
My father also played an important role in shaping my musical ear. He listened almost exclusively to the traditional music of Grevena and Epirus, while many of his closest friends and collaborators were Pontic Greeks. As a result, I grew up listening not only to different musical idioms but also to different ways of speaking. Looking back, it feels as though I was hearing the same landscape through multiple cultural lenses, with each community revealing a different way of understanding the world while remaining deeply rooted in the same place.
Today, performing this music carries a different kind of responsibility. The stage asks for artistic precision, research and technical discipline, but I never want it to erase the intimacy from which these songs were born. My goal is not simply to present traditional music beautifully, but to preserve the sense that it still belongs to real communities, real memories and real human lives. If an audience can feel that authenticity, even without understanding the language, then I believe the essence of the tradition has remained intact.
AT: Much of the music we call “folk” or “traditional” was not originally created for the stage, but for everyday life: family gatherings, celebrations, rituals, informal moments. How do you relate, as a professional artist, to music that also exists outside professional artistic contexts?
SP: I never forget that these songs were not originally created for the stage. They were born within communities, not within the music industry. They accompanied everyday life—work, weddings, mourning, celebrations, departures, reunions and rituals. Their original purpose was not performance, but participation.
As a professional artist, I try not to see the stage as a place where these songs become something different. I try to see it as a place where I have the responsibility to preserve the intention with which they were originally sung. Of course, a concert requires artistic choices, musical preparation and a different kind of communication, but the emotional truth of the song should never be sacrificed for spectacle.
I am also aware that many people in today's audiences encounter this repertoire outside the community that created it. That changes my role. I am not simply performing songs; I am creating a space where listeners can enter another rare cultural world with respect and curiosity. My task is not to recreate folklore, but to allow the humanity within these songs to remain visible. For me, these songs are true human experiences.
"Technique can be mastered. Style can be imitated. But the soul of a tradition reveals itself only to those who approach it with knowledge, humility and patience."
AT: When working with a tradition that is still deeply rooted in living communities, how do you balance artistic interpretation with faithfulness to its cultural and musical identity?
SP: Artistic freedom begins with discipline. Every musical tradition has its own technical and expressive language. In Pontic music, the melismatic vocabulary, the laryngeal vocal ornaments, the phrasing, the rhythmic pulse and even the silence between phrases are all part of its identity. They are not decorative details; they are the grammar of the music itself. My responsibility is to learn that grammar as deeply and as honestly as I can, so that every artistic decision grows from within the tradition rather than being imposed upon it. Throughout this journey, I have also been fortunate to work closely with Giorgos Vergos, who performs the Pontic lyra and the angeion on the album. His family originates from the Matsouka region of Pontus, and his deep understanding of the Pontic musical idiom, together with our constant dialogue, has been invaluable in helping me refine my interpretation with greater depth and authenticity.
Technique can be mastered. Style can be imitated. But the soul of a tradition reveals itself only to those who approach it with knowledge, humility and patience. My goal is not to make the tradition sound like me. My goal is to understand it so deeply that, for a moment, my own voice becomes secondary—and the tradition can speak in its own voice.
~~~~
Thank you, Stella.
Pictures provided by Stella Papalamprou.
Protanixin, Stella's first album, will be released in September. You can follow her on her Instagram.
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HOW TO PARTICIPATE IN THIS NEWSLETTER
Are you already a member? Then, remember that you can submit contents for this monthly newsletter. Email your content to efneditors@gmail.com, for these sections:
· News from EFN Members. Brief announcements – of around 100 words and a link.
· Featured artist. - A profile with around 200 words, an embedded video and one link. Members are invited to submit profiles, considering solo and ensemble living or not living artists who have achieved lifelong artistic and technical quality or historical significance in the field of folk art from or developed in or settled in Europe. If you have any artists in mind that you'd like to feature, please ask in advance, just to be sure there is no other member already doing it.
And whether you are a member or not, you can participate in this section:
· Special sections. For instance, an interview with someone from an institution that is not a member or a thematic article by a guest writer or anything that can appear and be considered as interesting. This section can also host guest writers that are not members. If you'd like to share any content, contact us in advance to agree on the topic and the approach and to schedule it by emailing efneditors@gmail.com
Of course, self promotional articles lacking interest won't be accepted. In case of doubt, the EFN board will be consulted and will decide.
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