Eclecticism and stylistic diversity have been the dominant note of past choices made by the festival with regard to this partnership. Various formats were experimented and composers affiliated to jazz rock (Nels Cline), to European orchestral jazz-pop (Lyna Nyberg) or to jazz-influenced Brazilian music (Léa Freire), among others from different stylist and geographic latitudes, have contributed decisively to its growth. In 2024, Balkan traditional music – eventually one of the expressions of European folk music with the greatest repercussion and most impressive presence in the global musical imaginary – will enter the fluid territories of jazz through the hands and talent of an idiosyncratic Macedonian musician – Dzijan Emin –, who will direct the Orchestra of Guimarães (as well as eight Macedonian musicians who will accompany him) on a distinctly contemporary journey through hybrid and borderless sounds.

Born in Macedonia, Dzijan Emin is a multi-instrumentalist, composer and producer with a multifaceted and extremely original musical career, materialized in a body of work unfolded across several artistic fronts: the interpretation of classical repertoire as first corneteer of the Macedonian Philharmonic; the creation of improvised music; directing orchestras and large ensembles; composing soundtracks for cinema and theater; and, finally, the artistic curatorship of music festivals. At the core of his artistic work is an incorporation of multicultural sounds that mirrors the cultural environment of the Balkans themselves, marked by the fluid intersection of Western and Eastern influences, of which he is a native. Dzijan Emin’s curriculum of collaborations is as unorthodox as his authorial work, including collaborative projects in partnership with such different musicians such as electronic music producer Jeff Mills, renowned jazz vocalist Kur Elling, double-bassist and composer William Parker, recently deceased Japanese singer Damo Suzuki (former member of the influential German krautrock band Can and a seminal figure in European experimental music) or, lastly, the electronic-pop duo Air, among others of lesser notoriety. Emin’s compositions, characterized by exquisite contaminations between different musical languages, were interpret by reputed orchestras all around the world and resulted in ten discographic editions under his own name.