The communication management model envisaged for the project is supported by three key pillars: the establishment of an international consortium formed in a collaborative network model, with an effective presence in each of the participating countries; the creation of a digital platform for collaboration, registration, sharing, dissemination and marketing; the creation of a transnational publishing house between the PALOP-TL countries that promotes and distributes the phonographic editions generated under the project as well as its authors and interpreters.
This unprecedented initiative aims at employability, dynamisation and research in the field of music in 4 countries: Angola, Guinea-Bissau, Mozambique and Timor-Leste.
In order to achieve these objectives, certain institutional entities and non-profit organisations have been identified in these countries as co-applicants and partners to follow up on the project.
In addition to these effective collaborators, six artists from these countries were invited to present themselves as the faces of Marimba, who we call “ambassadors”, considered key elements in the dissemination actions of the project.
It will be in a collaborative environment between these stakeholders and the lead applicant Soundsgood, that the most relevant communication and marketing campaigns and actions to be developed during the Marimba journey will be fulfilled.
Given that this is a transnational project, Marimba’s main visibility and communication structure will be based on its Digital Platform, from which the ongoing actions of the project will be disseminated.
However, the dissemination of all information on Marimba will take into account various means and types of communication materials: 
a) Social networks considered as the medium with the greatest preponderance and importance;
b) Press releases (press releases) and monthly newsletters: more institutional communication;
c) short videos (teasers) with ambassadors and/or other artists, co-applicants and partners, stakeholders and beneficiaries of the project, depending on the actions.

It should be noted that all communication and visibility products, including graphic media, press releases, etc., will be approved in advance by Camões, IP, as well as final publications, as agreed. 

1.FLUX COMMUNICATIONAL 
An effective communication plan proves to be essential to convey and make known the results of the research by disseminating them among the participating civil society organisations. 
In this sense, Marimba is supported by a networked working model that integrates co-applicants and partners in the participating fathers, as well as ambassadors and other previously agreed international partnerships. This collaborative model is managed by the principal applicant Soundsgood, Lda. who determines the contents of the communications, establishes the timings and implements the communication flow, through the project coordinator, press officers and content managers and the social networks contracted for this purpose.
Prior to the disclosure of any communication related to Marimba, it will be communicated to Camões, I.P, this intention, request for agreement and validation before the respective public broadcast.
After this validation the entire Marimba network will effectively participate in its dissemination. 
To know:  Co-applicants will develop a communication relationship from their own state institutional channels (in the case of national radios) as well as, in the preferred media used by the rest of the majority, such as social networks and other press from their countries:  Angola
National Radio of Angola; 
VPA 20/20: Purpose Vision and Action, Cultural Association;
Guinea-Bissau 
AD, Action for Development NGO (Guinea-Bissau); 
Netherlands 
Mano a Mano Productions; 
Mozambique  
Khuzula Investments, Lda, 
National Radio of Mozambique, 
Warethwa, Cultural Association;
Portugal 
FME CE-CPLP — Federation of Women Entrepreneurs and Entrepreneurs of CPLP; 
East Timor 
Max Stahl Audiovisual Center (CAMSTL) (Timor-Leste). 

Complementing the work of co-applicants, the project integrates an extended transnational partnership made up of the following partners who will also disseminate Marimba’s actions and activities in a timely manner through the institutional path of these organisations.

Partner organisations in the countries of intervention:
Angola
• Ministry of Culture;
• Ministry of Foreign Affairs;
• Ministry of the Interior;
• Secretary of State for Creative Industries;
• CEART — School Complex of the Arts;
• Foundation of Art and Culture;
• The Dundo Museum.
Guinea-Bissau
• Vocational Training Centre — School of Arts and Crafts.
Mozambique 
• INICC — National Institute of Cultural and Creative Industries of the Ministry of Culture, Tourism and Environment;
• ARPAC — Institute of sociocultural research of the Ministry of Culture, Tourism and Environment;
• ECA — School of Arts Teaching of Eduardo Mondlane University;
• MMM — Mozambique Music Meeting.
Timor-Leste
The Orient Foundation.

Other international organisations:
• Altafonte (Spain, Brazil);
• Paradiso — Amsterdam, Netherlands;
• MED Festival — Loulé World Music Festival, Portugal;
• Musa Festival, Cascais, Portugal;
• SummerStage New York, USA;
• Tide, Galicia, Spain;
• Afrika Festival, Netherlands;
• SIM — International Music Week from São Paulo, Brazil;
• Playing for Change.

The ambassadors of the project are artists with great media visibility in the countries of action of the Marimba Project. They are musicians, composers and artists with great exposure to the Creative Industries of PALOP + TL where they have developed their career. 
Its own communication channels will also be used to disseminate Marimba’s actions. 
So far, the confirmed ambassadors are as follows but there are contacts with others:Paulo Flores (Angola); Nástio Mosquito (Angola); Manecas Costa (Guinea-Bissau); Stewart Sukuma (Mozambique) Etson Caminha (Timor-Leste). 
In addition to these co-applicants and priority partners, we will also focus on others. newspapers, radios and televisions of reference, as well as a press officer to assist in their dissemination campaigns, in each of the countries of intervention. 

2. TARGET AUDIENCE
It consists of the international artistic community and the music industry in general, such as musicians, musicologists and melomans, specialised journalists and fans of these sounds, as well as music collectors/DJs, researchers, opinion leaders and copyright/publishing entities interested in distributing music from these latitudes.
These target audiences that are intended to reach with Marimba’s communication are directly linked to the idea of creating engagement with audiences linked to world music (world music), in particular Afro pop much in vogue these days.
The Marimba project aims to reach all people with affinity for these genres of music regardless of the geography in which they are.
In order to maximise their impact and scope, the essential part of communication initiatives favours specific audiences with a particular impact on opinion formation and “spreading the word”.
Also to highlight the music-related audiences of the countries involved in the project, such as the audience of musicians ambassadors and other artists participating in Marimba that will be an asset to encourage young people to use the platform as a reference for their simple leisure and entertainment or study in the field of music production. 
The Marimba Music Community with special attention to young musicians and performers, with a focus on young women, coincides with the target groups Marimba, where we highlight, the creative industries of Angola, Guinea-Bissau, Mozambique, and East Timor, with emphasis on the music sector, addressing both the artists and the organisation of the public sector, companies and agents of the third sector, such as Produc-A-Mc Companies and Entrepreneurs. 
Lastly, the communities of photographers, designers and young entrepreneurs whose selection resulted from talent competitions to be launched especially aimed at women, as well as public bodies in the area of culture with which protocols of cooperation have been established and public entities linked to Higher Education in the area of arts that have entered into a partnership with Marimba with regard to the development of student communities. 

3. COMMUNICATION TOOLS AND MEANS TO BE USED
Marimba bets on the rationalisation of the investment in communication, leveraging the essentials of communication on the digital platforms to support the project as accessible vehicles of communication with a very comprehensive interested audience.
In parallel, we contemplate the commitment to a strategy of relationship with the press, in Portugal and in the other countries involved, in campaigns in traditional media at moments considered crucial, as well as campaigns on the digital media and social networks of the Marimba network.
A/Digital platform
The Marimba digital platform whose design and development lies with the main applicant Soundsgood, will be the main source for all communication and visibility of the project assuming a more institutional relationship with the recipients.
It will constitute a careful communication environment using a cosmopolitan bilingual language and with references to mother tongues and local dialects. 
Its home page willprovideseveral navigation sections for the various Marimba actions where we highlight the most relevant ones regarding Marimba’s visibility: Marimba Heritage; Marimba Challenges and Marimba Sounds.
In each of these sections and depending on their content, reference will be made to the actors and country where a given action is being carried out, as well as funding entities (according to the requirements imposed).
Another important section/separator that will be available on the home is the Marimba “Present” and its communication with the “Marimba Press” section where all activities in “work in progress” mode and their feedback inclippingwill be documented. Let’s look at all this in greater detail:
• Research (Marimba Heritage)
Marimba has a very important research and fieldwork component, both for the collection of musical material in the various contexts of performance, as well as digitalisation and phonographic material available in public and possibly private sound collections (Marimba Heritage). 
Some of the content resulting from this work will be released as free access on the Marimba digital platform. 
Depending on the availability of new material, these actions will be promoted to the various target audiences, at national and international level, especially opinion leaders, intellectuals, specialised journalists and publishers/distributors of phonographic content.
• Competitions (Marimba Challenges)
The contests will be promoted on the Marimba platform and social networks in order to involve as many stakeholders as possible. 
At each opening, the competition rules and briefings will be visible. In addition to still images and logos, additional tutorial videos may be made available to achieve maximum participation in the competitions. 
The contest for start-ups aimed at entrepreneurs will naturally involve communication plans with visibility in previously segmented social networks.  
We will get the information directly through this section and also through press releases to all specialised conventional and digital media in their respective countries. 
They will be an important communication vehicle to the addressees of the competitions.

     3. Edition of works (Marimba Sounds)
Albums (digital books), Songbooks and Books.
Throughout the Marimba project, generic collections and/or historical authors/interpreters will be edited. These objects to be marketed shall take into account the entities involved. Marimba will edit and publish songbooks of books. These objects to be marketed shall take into account the entities involved in the placing of their logos. 
The launch of these products will be visible to the entities involved. These moments will also be communicated by press releases and social networks with great media repercussions to the various target audiences, at national and international level, especially opinion leaders, intellectuals, specialised journalists and publishers/distributors of phonographic content. 

        4. Teasers “work in progress” (Marimba Press)
All phases of implementation of the activities to be developed will be documented in video excerpts, which will allow the dissemination of the project along its path.
These small teasers carried out as part of the actions on the ground will be made available within the platform and with hyperlinks to the social networks of the partners and beneficiaries of the project. In the music field we use these devices a lot to give visibility and achieve a great coverage of the work that is being developed, such as small reports of punctual actions (e.g. field recordings or attendances at international fairs, etc.).
Depending on the visibility we will achieve in the media, all external feedback in this Section will be collected and compiled through Clipping. Press releases will also be compiled here (see section B).  
B/ Press releases and monthly newsletters 
Press Releases and Newsletters will be an effective form of visibility in the media of the different territories involved in Marimba, with a more formal language. 
The starting point for its elaboration and dissemination will be through the lead applicant who, as said, will put its content prior to the validation of Camões, I.P. before disclosing them to co-applicants, partners and ambassadors Marimba.
As the activities are being developed, the project partners, its beneficiaries and the entire Marimba network will receive a monthly newsletter with information about the actions under development. 
These newsletters will be developed from the platform in order to communicate and document the very evolution of the project throughout your life. 

C/National radios of Angola and Mozambique
National radios are of crucial importance in the dissemination of information on Marimba. They are considered as media with great impact on resident populations, especially in regions farther away from major urban centers, given their coverage capacity that reaches virtually all provinces of Angola and Mozambique.
Some of its radio programmes have a prominent and recognised social role over the past few decades. They serve to address different themes and raise awareness of populations for certain cross-cutting issues. 
Marimba will use the Angolan Radio National and Radio Mozambique, co-applicant partners, as privileged media outlets in these countries to reach the most distant regions and territories. It is thus confirmed as the most appropriate means to disseminate the activities and objectives of Marimba by sensitising these populations away from the large ones.
The aim is to use the channels and own resources of the networks of these institutions to make known Marimba’s stories by sharing them equitably in order to encourage young and female audiences to participate in Marimba activities and help to better tell the history of music in these countries.

D/Social networks
Social networks are the most important means in the dissemination and circulation of information content on a network among all Marimba stakeholders, especially in communications addressed to a mass audience. 
Thus, social networks will be created adjusted to Marimba that benefit the effective dissemination of all important information related to the project.
Considering Marimba as a project that aims to contribute to a transformation in the musical field and the cultural identity of the fathers and regions involved, as well as in all the community of official Portuguese-speaking countries, it should assume and establish a relationship of trust and lasting with its audiences making use of the coverage of social networks in the territories concerned.
In this way, all this specific communication on social networks will be developed in an easy, direct and informal way to be easily digested by target audiences.
In addition to the social networks of the ambassadors, co-applicants and partners of Marimba, we will have increased visibility from the publications made on Marimba’s networks. 
The publications of the various actions will be launched from the Digital Platform and/or, in the opposite direction, from the networks to the Platform.    

The networks to be considered, taking into account their greater scope are: Facebook; Instagram; Tik Tok, Twitter, Youtube and Linkedin. 

1. Communication Strategy on Social Networks
Analysing social networks with the greatest expression and seeking to have the greatest possible impact, Marimba will have an active presence on Facebook, Instagram, TikTok, Twitter, YouTube and LinkedIn. With this effective presence, we ensure a full coverage of different audience segments and different types of content.
The social media strategy will be integrated, but personalised. This means that, first of all, it will be easy for the audience to identify on each social network when certain content is published by Marimba, through visual and language coherence and consistency. Secondly, it will be taken into account that each social network has its own characteristics, thus requiring that the format and other technical aspects be customised to each.
The presence in all these social networks is challenging, but it represents advantages for the communication of the Marimba project:
- Does not cause dependence on any social network;
 Ensures that we are able to reach all potential audiences;
— It is possible to maximise the overall impact that the project can have;
— Enables the exploration of various content formats.

Marimba’s social media presence will not be limited to its own pages and profiles, but also co-applicants and project partners will be an active part of the project. 
process, either through the sharing of content originally published on Marimba channels, or through the publication of original content on their networks.
The content shared on Marimba’s social networks will seek to attract, engage and generate value for communities and artists in order to create a positive perception of the musical heritage of the countries of intervention.

2. Strategic objectives of social networks
— Notoriety
In the first phase, contribute to more people getting to know the Marimba project and its objectives. People are more likely to be attentive to pages on social networks that they already know and are familiar to them.
A user who is regularly impacted with content that he considers relevant and interesting, through the different channels, will be more available to interact in the moments of communication of Marimba’s actions.
— Interaction
Let’s make sure that in addition to the public following Marimba on social networks, they want to interact with their content published regularly. We aim to create a close and constant relationship with our online community.
We aim to convert followers into digital project ambassadors, users who value, share and even recommend our actions.
In addition to these “informal supporters”, the project has an important support from a group of internationally recognised artists — the “Marimba ambassadors” who are the face of the project. These artists have an active presence on social networks and are considered essential to encourage the recognition and involvement of their followers on Marimba’s social networks.
— Education and principles transversal to Marimba
Some of the shared content will have a strong focus on community awareness, i.e., raising awareness about key topics such as environmental sustainability, social integration and gender equity, among others.We believe that educating people is not only about sharing what Marimba will achieve, but also raising relevant issues in the course of its activities that lead people to reflect and combat some prejudices.

3. Marimba Social Networks to Activate
— Facebook
All data points to Facebook as the world’s largest social network with nearly 3 billion active users. In virtually every country it remains the most popular social network. In recent years there has been a consolidation among the public over 40 years of age.
Marimba’s Facebook presence will be through the creation and promotion of a page with content in different formats. The network’s multivalence allows virtually all of Marimba’s content to make sense to be published on Facebook.
— Instagram
Instagram has shown sustained growth over the past few years and has guaranteed great popularity among audiences under the age of 35. It is a social network where there is a great dependence on the image (photos and videos), since users tend to search for more aspirational content. 
Marimba’s presence on Instagram will be through the creation and promotion of a professional profile that will be fed with photographic content and videos. This content, according to the format and objectives, will be published in Feed, Stories and/or Reels.
— TikTok
In a short time TikTok has surpassed 1 billion users, which has led to being recognised as the latest phenomenon on social media. The content on TikTok is entirely video, typically short-lived.
Marimba’s presence in TikTok will be through the creation of a profile for publishing videos and/or short excerpts of videos that communicate the actions and artists involved in the project, in particular the emerging artists that Marimba intends to identify to promote within the Marimba booking and Export Office.
— Twitter
Twitter is a social network where shared content tends to be released and viewed practically in real time, hence it is the network of choice for journalists and politicians. In addition, shared content is mostly in short, more immediate and genuine text format.
We will create a Twitter profile for Marimba and regularly publish short extracts of content produced within the project, in addition to photographs and videos of actions in the field that fit the technical characteristics of the network.
— YouTube
YouTube, in addition to being a social network, is also the second largest search engine in the world (after Google). This means that in addition to users browsing the platform to view content, they also have the habit of searching directly for videos that respond to what they are looking for.
This network is also the world’s largest video platform and trends point to users’ growing preference to consume video content. The video content is easy to consume/interpretation, has a high perception of value by those who watch it and it is possible to be viewed on various devices.
Thus, Marimba’s presence on YouTube will be through the creation of a channel to upload the videos that are being produced within the scope of the project. When uploading each video, attention will be paid to the implementation of technical optimisations that ensure that the video is easily found in future searches.
— LinkedIn
LinkedIn is known to be the most popular professional social network, particularly associated with contacts that are established in the business and business spheres.
Recognising that part of the project’s success is naturally associated with the involvement of all partners with a focus on revenue creation for the financial sustainability of the project, presence in this network will be essential to keep this relationship alive in digital channels.
A very common practice on LinkedIn is for users to share the projects they are involved in. 
Thus, by creating a page on LinkedIn, we will be able to publish the news in relation to the development of the project and, with this, have the possibility that all co-applicants, partners, ambassadors and the artistic community in general, can share these same contents with their network of contacts.

4. Active Community Participation
We need to encourage and enhance the interaction and involvement of the online community. Not only through simple signals on social networks, such as likes or shares, as well as seeking to generate deeper points of contact, encouraging users to share content, experiences and opinions on different platforms.
Marimba’s social networks will function as open channels of communication with the community. No message or comment will remain unanswered, ensuring that the dialogue and openness we want in the development of the project is reflected in our presence on social networks.

5. Strategic Pillars
In line with what is presented in this Communication and Visibility Plan, the strategic pillars of our presence on social networks will be:
-Planning: the publication of content on social networks will always follow the development of the project and its schedule, ensuring highlighting the key moments identified in the main communication actions.
-Content: itis essential to resist the temptation to publish everything, regardless of its relevance. We will ensure that the content shared by Marimba meets the objectives previously identified. Only in this way will we be able to establish a trusting and lasting relationship with the public.
-Consistency: the contents will be published regularly and distributed evenly to keep the communication of the project active.
-Relationship: the better we get to know our community, the easier it will be to create content that you consider relevant and want to interact with. We'll test various formats and find out what works best on every Marimba social network.
-Analysis: monthly reports of the presence in each social networkwill be made to monitor and monitor the evolution of the strategy.

6. Advertising
Complementing the organic strategy presented, there will be a bet on the creation of advertising campaigns on social networks. This aims to increase the number of people reached with published content and, consequently, increase interaction rates.
Social media algorithms limit the organic reach of posts that are made. They act as a filter that only shows users the content considered most relevant to a particular user profile. It is estimated that if there were no algorithms, each time a user accessed social networks, they would have on average 1000 more posts available to view how to interact.
To this extent, it is essential for Marimba to have a social media advertising strategy. The advertising model used will essentially be to sponsor the publications that are carried out. In this way, Marimba’s contents will have more visibility and, consequently, greater media impact.
This strategy will be permanently active throughout the project and is intended to involve all social networks that are technically possible to implement.

4. KEY COMMUNICATION AND SCHEDULING ACTIONS 
1. Communication Actions
The key moments for communication and visibility actions will coincide mainly with the start of the main activities foreseen in the proposal.

We highlight the following moments:
A. Starting the Marimba project — Who we are and what we are going to do with press release to make Marimba known in general terms to spread throughout the countries of intervention;
B. Launch of the digital platform and its contents with special emphasis on the creation of Marimba Sounds and Marimba Heritage, accompanied by a strong social media campaign with ambassadors’ teasers;
C. Announcement of the program and schedule of training and technical training — Marimba Academy;
D. Announcement of Marimba Guide — directory of the creative industries associated with the music of the PALOP-TL;
E. Announcement of purchase of equipment, its beneficiaries and start-up of scanning activities and field recordings;
F. Announcement of Marimba Challenges and Marimba Startups — Young Creators Contests;
G. Announcement of the state of play of the project — “working in progress” concerning training, digitisation and field recordings, editions of Marimba Sounds and Marimba Heritage works in the 4 countries of intervention and human resources created;
H. Marimba Booking — Booking and international distribution of PALOP-TL music;
I. Launch of works/discs on Marimba Sounds by young artists Marimba; 
J. Announcement of Marimba Gathering, event/festival meeting of professionals and marketing of Marimba products;
K. Launch of books, songbooks and presentation of photographic exhibition and documentary during Marimba Gathering;
L. Announcement of the end of the Marimba project and creation of the Marimba Association as a legacy of all products generated in the context of the operation, also assuming the management of the artistic rights generated in the initiative.