{"id":13977,"date":"2022-08-07T08:30:18","date_gmt":"2022-08-07T08:30:18","guid":{"rendered":"https:\/\/appsaf.apieproject.com\/news\/?p=13977"},"modified":"2022-08-07T08:30:19","modified_gmt":"2022-08-07T08:30:19","slug":"womad-marks-40-years-with-music-from-west-africa-to-south-korea","status":"publish","type":"post","link":"https:\/\/appsaf.apieproject.com\/news\/2022\/08\/07\/womad-marks-40-years-with-music-from-west-africa-to-south-korea\/","title":{"rendered":"Womad marks 40 years with music from west Africa to South Korea"},"content":{"rendered":"<p>Please use the sharing tools found via the share button at the top or side of articles. Copying articles to share with others is a breach of FT.com T&amp;Cs and Copyright Policy. Email <span \n                data-original-string=\"LVvvHAYuA2KxV5BWAOPDyg==f1adPUjtwAiPFzQJ8Ndg51SfFa1j5M2Xi9RaOCu92tWpxg=\"\n                class=\"apbct-email-encoder\"\n                title=\"This contact has been encoded by Anti-Spam by CleanTalk. Click to decode. To finish the decoding make sure that JavaScript is enabled in your browser.\">li<span class=\"apbct-blur\">*******@ft.c<\/span>om<\/span> to buy additional rights. Subscribers may share up to 10 or 20 articles per month using the gift article service. More information can be found at https:\/\/www.ft.com\/tour.<br \/>\nhttps:\/\/www.ft.com\/content\/1cf0e341-3c6c-494e-b0f6-d41530799ccf<\/p>\n<p>\u201cHow many of you were here in 1982?\u201d asked Jane Cornwell, comp\u00e8ring onstage at Womad\u2019s 40th anniversary outing. A forest of hands waved. Without doubting anyone\u2019s probity or memory, let it be noted that had they all been paying customers, that original festival might not have lost so much money.<\/p>\n<p>The ghosts of Shepton Mallet, where the first World of Music, Arts and Dance was held, were everywhere \u2014 pictured on screens, and playing as background music while stages were reset: a snatch of the Royal Drummers of Burundi, The Beat racing through \u201cMirror in the Bathroom\u201d, Peter Gabriel debuting \u201cI Have the Touch\u201d. Despite its scorched grass, the current festival, back after a two-year Covid hiatus and despite worsening visa hassles, offered a weather utopia, enough cloud cover to keep the temperature bearable and occasional drizzle to keep down the dust.<\/p>\n<p>Where 1982 had The Beat, 2022 had The Selecter, Pauline Black\u2019s three-minute two-tone heroes. \u201cIt took us 40 years to get here,\u201d said Black pointedly, before running through a set of sharp singles: \u201cMissing Words\u201d, a bouncing ska version of the James Bond theme (which also served as a tribute to its composer Monty Norman, who died earlier this month) with toasting from Arthur \u201cGaps\u201d Hendrickson, and the unarguable climax of \u201cOn My Radio\u201d and \u201cToo Much Pressure\u201d, with a couple of choruses of Toots and the Maytals\u2019 \u201cPressure Drop\u201d. With four decades\u2019 hindsight, the band\u2019s other ingredients were clear; guitar soloing straight out of pub rock, vocal geometry as angular as post-punk, the storytelling of Joni Mitchell.<\/p>\n<p>The first night\u2019s headliner was Fatoumata Diawara, last seen here with Lamomali, a west African group convened by French musician -M-. Between the sunny solo acoustic work of her debut and the desert blues of her recent soundtrack for Google Arts and Culture celebrating the heritage of Timbuktu, she has a weakness for relentless loud funk, and this was on display. But her set came to life with \u201cNegue Negue\u201d, Afrobeat with guitars like rasping wood; a run through Nina Simone\u2019s \u201cSinnerman\u201d; and an epic recreation of her breezy early calling card \u201cSowa\u201d as hard rock.<\/p>\n<p>Please use the sharing tools found via the share button at the top or side of articles. Copying articles to share with others is a breach of FT.com T&amp;Cs and Copyright Policy. Email <span \n                data-original-string=\"hpAnVtcHL8lpY6nwqIXSDg==f1aSjcO3Iubrlc0LxTjxfEbOSo7UryECBe1ng3qSbjS\/TA=\"\n                class=\"apbct-email-encoder\"\n                title=\"This contact has been encoded by Anti-Spam by CleanTalk. Click to decode. To finish the decoding make sure that JavaScript is enabled in your browser.\">li<span class=\"apbct-blur\">*******@ft.c<\/span>om<\/span> to buy additional rights. Subscribers may share up to 10 or 20 articles per month using the gift article service. More information can be found at https:\/\/www.ft.com\/tour.<br \/>\nhttps:\/\/www.ft.com\/content\/1cf0e341-3c6c-494e-b0f6-d41530799ccf<\/p>\n<p>Soweto\u2019s BCUC, a self-proclaimed \u201cAfro-psychedelic\u201d mixture of South African musics, were a last-minute addition to the bill, shoehorned into too-small a tent too early in the day. Jovi Nkosi immediately took charge: an embodiment of restlessness, he scaled the lighting rig, jumped, practised boxing feints, at one point performed press-ups; he jumped out to perch on the bass bins to deliver lectures about balancing respect for parents with the need to assert one\u2019s own independence. A new song, \u201cThonga\u2019 Lami\u201d, prompted a rap on the link between intuition and the ancestors. Swooping bass and soaring gospel vocals from Kgomotso Neo Mokone, plus thunderous drumming, caused hysteria. With a caution to watch out for \u201cthe elders at the front\u201d, Nkosi ordered the crowd to mosh.<\/p>\n<p>Ang\u00e9lique Kidjo\u2019s set was billed as her reclamation of the 1980 Talking Heads album Remain in Light \u2014 David Byrne and Brian Eno\u2019s new wave imagining of Afrobeat \u2014 as west African music. In the event, she wove six of the album\u2019s songs in with her own. In \u201cCrosseyed and Painless\u201d she interpolated the refrain from Fela Kuti\u2019s \u201cLady\u201d; and more generally, the Talking Heads songs fitted seamlessly into her music, the brooding intense energy of \u201cThe Overload\u201d answered and then picked up by her recent \u201cMeant for Me\u201d; or \u201cDo Yourself\u201d, her collaboration with Burna Boy, flowing into \u201cThe Great Curve\u201d.<\/p>\n<p>After \u201cHouses in Motion\u201d, Byrne\u2019s Sprechgesang reproduced in Fon, she ran through a ringing highlife \u201cOnce in a Lifetime\u201d, then her own millennium anthem \u201cAfirika\u201d, during which she pulled a watching Peter Gabriel in from the wings, and finally a swaying \u201cPata Pata\u201d as a nod to the late South African singer Miriam Makeba and a dancing encore of \u201cBatonga\u201d.<\/p>\n<p>There were delights in the margins. B. Dance, a terpsichorean troupe from Taiwan with outsize tulle tutus the length of ball gowns, twisted and stretched to a contemporary classical soundtrack like giant fungi. South Korean singer Gonne Choi played perfect folk songs. Sona Jobarteh played kora standards with a forceful band and her son Sidiki on balafon, but in too noisy a corner of the site to allow for full concentration. Out in a wood to the south of the site the trumpeter Yazz Ahmed played music as vast and lonely as space underneath Luke Jerram\u2019s seven-metre-wide model of the Moon. Taraf de Caliu, an offshoot of Taraf de Haidouks, played cimbalom and twin violins at unstoppable speed. Alban Claudin closed out Saturday night in a hushed arboretum, under trees lit turquoise and coral, with subtle piano miniatures.<\/p>\n<p>Please use the sharing tools found via the share button at the top or side of articles. Copying articles to share with others is a breach of FT.com T&amp;Cs and Copyright Policy. Email <span \n                data-original-string=\"7clTQFvaf8Cm0yH5+pGJNQ==f1ax8JeUqSsABItwghBmEaPMnPQcOGEIVr0h5gP0WYnvpY=\"\n                class=\"apbct-email-encoder\"\n                title=\"This contact has been encoded by Anti-Spam by CleanTalk. Click to decode. To finish the decoding make sure that JavaScript is enabled in your browser.\">li<span class=\"apbct-blur\">*******@ft.c<\/span>om<\/span> to buy additional rights. Subscribers may share up to 10 or 20 articles per month using the gift article service. More information can be found at https:\/\/www.ft.com\/tour.<br \/>\nhttps:\/\/www.ft.com\/content\/1cf0e341-3c6c-494e-b0f6-d41530799ccf<\/p>\n<p>Saturday\u2019s surprise hit were ADG7, a South Korean nine-piece who play a mixture of shamanic and folk music from the north-west of the peninsula with a mixture of charm and formidable rock brio. The music found its drive in the interplay between Chun Gung-dal\u2019s double-ended traditional drum and Sunwoo Barabarabarabam\u2019s kit and hand cymbals, a funky syncopation over which Woen Meondongmaru plucked patterns on the gayageum, a long flat zither, and Choi Byung Hwal bowed a deep undertow from a similar-looking ajaeng. At the top end there were wooden flute figures from Kim Yak Dae and piping melodies from Lee Man Wol, whose saenghwang, a kind of mouth organ, looked like an Art Deco sculpture. Upfront, the three singers Hong Ok, Myeong Wol and Yoo Wol, their pink, green, red and blue clothes and headgear a bright contrast with the austere simplicity of the instrumentalists\u2019, danced and spun, inveigled the crowd into chanting the band\u2019s name in both English and Korean, and shook handfuls of metallic shakers the size of dragon scales.<\/p>\n<p>The songs included their signature number \u201cYeong Jeong Geo Ri\u201d, a stomping ritual greeting of the small household gods, the instrumental \u201cThe Dance of the Lions\u201d, a chance for the musicians to shine, and songs to summon laughter and banish loneliness. They also played a Korean take on \u201cHey Hey Rise Up\u201d, the Ukrainian folk song recently reworked by Pink Floyd. They ended with the electro-swing of \u201cHello, Lonely\u201d, leaving with the crowd again chanting their name.<\/p>\n<p>ADG7 were a hard act to follow. Nitin Sawhney filled the Siam Tent with a mixture of Spanish-inflected instrumentals, featuring chamber musicians, and skittering drum-and-bass-and-tabla. He closed with the delicate \u201cNadia\u201d, \u201cImmigrant\u201d, with a yearning English folk melody, and then a final run through the slow-building frenzy of \u201cProphesy\u201d, now two decades old but still utterly contemporary.<\/p>\n<p>The Flaming Lips brought an arsenal of effects that would have challenged a logistics brigade: lasers so powerful they necessitated the temporary closure of Womad\u2019s giant Ferris wheel; confetti cannons; smoke machines; Zorb balls; and a tiny mechanical bird that singer Wayne Coyne released at the start of \u201cMy Cosmic Autumn Rebellion\u201d, which promptly flew into the roof of the stage and got stuck there, tiny wings beating. The songs, about mortality, the infinite and eternal recurrence, passed by in a slow haze. For \u201cYoshimi Battles the Pink Robots, Pt. 1\u201d a 30ft-high pink robot glowered over the stage \u2014 and that was only the set\u2019s fourth song.<\/p>\n<p>Osibisa\u2019s \u201cSunshine Day\u201d, with its infectious climbing brass riff and singalong chorus, had earlier brightened up the main stage. The Ghanaian-English band\u2019s dancer, Angie Amra Anderson, had earlier had a special introduction from Gabriel: back in 1982, she was part of the Ekome dance company, making her the only performer from the original Womad to make it back onstage for the 40th anniversary, still \u201cpart of what we started there and the dream\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Selecter, ADG7 and The Flaming Lips were highlights, and Ang\u00e9lique Kidjo pulled founder Peter Gabriel onstage<\/p>\n","protected":false},"author":12963,"featured_media":13974,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,31],"tags":[7,14,32],"class_list":{"0":"post-13977","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-entertainment","8":"category-music","9":"tag-apie-project","10":"tag-entertainment","11":"tag-music"},"yoast_head":"<!-- This site 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