THE
BEGINNINNG
The gates
opened right on 4.00 pm and the small queue filed in. Some early risers among
the bats were already hovering above the Frome Rd entrance. A right turn into
the new market strip and a left run into the park proper and there are the
flags: the Angus Watt flags – still heralding
the arrival of WOMADelaide after 30 plus years.
Those who
know said it was clear that crowds were well down on this same time last year,
and we all guessed why but no one really knew. Regulars found their favourite
spots, got that early coffee before the rush, and set up base somewhere among
the trees. Old friends and family meet up – some haven’t seen other since the
last time they were at WOMAD.
The weather
is perfect and WOMADelaide is already working its magic. Changes to the program
due to the shenanigans in the Middle East meant the traditional welcome to country
ceremony was delayed by an hour and shifted to stage 2.
Welcomes to
country often feel clunky and unnecessary, but when seated on the ground, on
actual Kaurna ground, it makes more sense. You can feel the earth
beneath you. And Jamie Goldmsith’s welcome was one of the best. We’re not
welcoming Australians to their own country, he said. This is about
strengthening the connections between us and with the land. We’re really just
saying, “It’s good that you’re here.”
THE
MUSIC
Stage 3
kicked off with La Perla, a 3 women group from Columbia. All three play
various percussion instruments and consequently, and what is always the case with
Latin music, it’s all about rhythm. All three had strong voices and were often
at full voice together. It sounded and felt a little tribal. Other almost
acapella numbers offered beautiful contrast. I particularly enjoyed the playing
of the bass hand drum – it had the effect of
a bass guitar part that kept the pulse and simultaneously added a
melodic tone to the percussion.
Ashkan
Shafiei and Band launched
the weekend’s program on the Zoo stage. Ashkan is from Iran but is now based in
Sydney. I’m sure everybody was aware of the global events casting shadows over
his country but it was politely ignored. He said simply, “It’s good to be
here.” The program notes say their sound is influenced by music heard in the Tehran
of 60s and 70s (when Iran was a very different place); they don’t sound much
like the more traditional groups that play music based on Persian folk culture.
This is a much more modern sound – very jazz influenced. Many of the melodies
are brass led (trumpet, saxophone), and together with congas the combined
effect gave the music something of a Latin feel. By show’s end many were up and
dancing. There was one traditional instrument featured, played by Ashkan - the
rubab. Interestingly it was more used as a percussion instrument. It
unfortunately also got a bit lost in the mix when the whole band was playing.
A brother
and sister from India, Balaganesan and Bageswari, were first up in the Frome Park Pavilion
playing the nadaswaram, a double reed wind instrument. This was pure traditional music unadulterated by any modern influences,
and as such could be fairly described as an acquired taste. Think the sound of
the pipe that snake charmers make when mesmerising cobras and you’re somewhere
near the mark. But this brother and sister team are virtuosos on their
instrument, and play long complex pieces typical of so much Indian classical
music. The music was all instrumental and I imagine is used for ceremonial or religious
purposes. But as there was no information shared by the artists one can’t be
sure. I really enjoyed it. It reminded me of WOMADelaide’s early days before
World Music, ironically, became globalized.
 |
| Xylourides |
I was going
next to see Beoga (from Ireland) back on stage 3 but as can happen as you wander through the WOMAD
park your ears and soul are led elsewhere and I found myself sitting at the Moreton
Bay Stage totally engaged by the music of Xylourides from Crete. Their music
is magical. Instruments featured are the Cretan lute (laouto), a Cretan lyra
(an upright fiddle instrument played with a bow), and hand drum percussion. The
lyra was often featured as the lead solo instrument. The vocal melodies are
soulful, tuneful, and sometimes trance like. They play both fast and slow and
have managed to bring traditional Cretan folk music to an adoring modern
audience. They certainly won me over.
I continued
on my trek back to stage 3 to catch a little of Beoga but alas – impossible!
This may have been a programming error. It seems someone underestimated their
popularity – this may well have been the biggest crowd ever seen at stage 3 and
by the time I got there Beoga were tiny figures way off in the distance behind
the trees and a sea of heads. They should have been playing the main stage.
On my way
towards the exit there was a large crowd gathered in the Frome Park Pavilion
for Ganna’s only Womadelaide’s performance. Ganna is from Ukraine and is
one of a new breed of musicians who have learned that modern musical technology
means you don’t need a band. She sounds like a band. Looking and sounding
decidedly ethereal she employs looped electronica to wash over her audience and
carry her angelic vocals out across the park. When she issued a call to dance
hundreds responded by moving to the front of the venue to get more physical
with the music. Others sat on chairs down the back and let her heavenly sounds
add to the bewitching charms of WOMADelaide at night.
CLOSE
WOMADelaide
is still a remarkable event. It still has a magic that has made it one of
Adelaide’s precious trademarks. It still draws young and old. And as I made my
way toward the exit the now illuminated market strip with its multi-coloured ceiling
ribbons made me feel like I could be somewhere in South-East Asia, but no, it’s
Adelaide. Gorgeous Adelaide.
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