In countries like Iran the public appearance of female singers is characterized by largest difficulties. Only for religious rituals, called Tazieh, it is allowed o make and to listen to music. For men it is forbidden to listen to the singing of women. Therefore singing is possible only in private sphere, where women are alone or among themselves: at the cradle, doing housework, working in the fields and women’s celebrations.

Maryam Akhondy made it her business to bring traditional women’s songs back to life. Therefore, in 2000, Maryam Akhondy created an all-female a capella group, Banu, named after the Persian word for “noble lady” or “distinguished lady”. The choir’s program is a kind of musical expedition to the different regions and cultures of Iran. It gives an informative view of the singing culture and self-confidence of the Persian women. Most of these songs are full of life and energy, commanded by various percussion instruments. This is quite unusual for Iranian music which is often more serene and melancholic. But these old folk songs are funny, ironic and give a view of Iranian women when they are in private.

Le Cantanti di Chicago (“The Singing Women of Chicago”) is a 20+ member women’s choir based in the Hyde Park neighborhood of Chicago, founded in 2014 by Sri-Lankan-born musician Dhilanthi Fernando, who is also its director. We are a diverse group of women ranging in age from teenagers to octogenarians and coming from many backgrounds and nationalities, reflecting our hometown of Chicago. 

Formed in 2005, a bunch of girls from a youth center met regularly to do what they love the most: singing. They had prodigious voices that only their close environment could enjoy. In 2007, Coconut Water decided to turn that passion into one of its projects, and the result was the Malagasy Gospel Choir. Not only a music project, the choir prevents social exclusion and improve the girls’ well-being. Showcasing their appearance in the United States for the very first time, this group of joyous singers spread peace and joy despite the impoverish country they live in.

The Time Ensemble is a unique phenomena in the a cappella world. With members originating from Belgium, Canada, Croatia, Czech Republic, Estonia, Germany, Indonesia, Italy, Japan, Malaysia, Mexico, Norway, the Philippines, Serbia, Slovakia, South Africa, Sweden, the United Kingdom, the United States of America, Uruguay and Venezuela, their audiences are in for a truly unparalleled performance. The Time Ensemble eagerly draws on their combined knowledge of musical styles and languages, to present an engaging and invigorating musical experience that provides an authentic insider’s look at the diversity of the world’s choral music.

For more than 25 years, the Twin Cities Community Gospel Choir (TCCGC), through its soulful interpretation of the African-American gospel music tradition, has moved audiences spiritually and creates community across racial, cultural and economic boundaries.

We strive to perform to the highest musical standards, preserving and educating others and ourselves about traditional forms while exploring new musical avenues with African American gospel music. In this time of division and unrest, we strive to model community and reconciliation. We seek to bring people together with a message of hope and joy through our music.

TCCGC gathers singers of various musical experience, ethnic backgrounds and ages to celebrate the power of music.  For some, TCCGC is a first foray into gospel singing. For others, this music is a way of life.

Since its inception the choir has maintained its commitment to be a community resource, bringing its music and message to urban, suburban and rural communities.

Founded in 1990 by its director José Galván, Voz en Punto is the  a cappella vocal group with the most brilliant international projection in the history of Mexican music. With an original scenic proposal that gives testimony to Mexico’s rich musical heritage, and utilizing the most incredible musical instrument which has always been at human beings’ disposition—the voice—Voz en Punto burst onto the musical scene conquering audiences who they then proceeded to “madden and send into ecstasy and delirium…” as various press critiques attest, from countries as varied as the U.S., France, Switzerland, Germany, Russia, Rumania, Austria, Finland, Spain, Greece, Holland, Egypt, and Japan (among others).