4th WORLD MUSIC FESTIVAL TODO MUNDO
Fourth edition of the festival “Todo Mundo”, the premier Belgrade festival fully dedicated to the world music scene, is bringing new magical journeys to faraway places! The journey around the world will take all of us on the way from China to Hungary, with important stops in Serbia and the region. For the first time, the festival presents folk dance tradition, in a new manner.
One of the most difficult questions asked from journalists, audience, as well as musicians themselves is: “What is the meaning of the term World Music, how to define it and how wide we should understand it?” This question has its philosophical, musical and ethical points. The answers are numerous and you will find different opinions in the books, essays, magazines, on web forums, in the interviews or in the festival programs.
“Todo Mundo” has been giving own contribution to this discussion with the festival programs since the beggining. This year, the variety, so charasteristic for the whole world music scene is even more vivid. Music of the Hungarian legends Muzsikas and local group Belo Platno are mostly based on the traditional music. Chinese globtrotters Hanggai are on the other side of the world music spectrum, showing that Asian classical, traditional and modern music are also considered as world music.. The festival is, for the first time, giving space to dance, which is so often connected closely to the music and tradition, this time in fresh and lively version. Novelty this year is the live broadcast of the festival opening concert of Italian group Orchestrina Adriatica on TV RTS Digital and on Radio Belgrade 3.
Part of the program are the seminar and the workshop, testifying that there is increasing interest among young musicians for world music, traditional instruments and different cultures. Few groups in the program are consisted of musicians from different countries, diversed cultures and traditions, which are not always close to each other.
Many of us will say: “Belgrade is The World”, but with gratitude to this festival, in Belgrade is the whole wide world – Todo Mundo.
April 21st at 21.00 – Studio 6 Radio Beolgrade
Orchestrina Adriatica (Itally)
April 24th at 20.00 – Dom omladine Beograda, Amerikana
Belo platno with guests (Serbia/Croatia, Italy, Greece)
April 25th at 20.00 – Dom omladine Beograda, Big Hall
Tutti World Music Orchestra (Serbia, Norway, Palestine, Turkey, Montenegro, Croatia, Macedonia)
AKUD Branko Krsmanović: “Opa! Oro s onog sveta” (Serbia)
April 26th at 20.00 – Dom omladine Beograda, Big Hall
Festival produced by Dom omladine Beograda and Association Ring Ring, Belgrade
Program selected by: Bojan Djordjević and Dragan Ambrozić
Festival supported by:
City of Belgrade. EU – Programe Creative Europe through project EUTERPE,
Istituto Italiano di Cultura di Belgrado, Collegium Hungaricum, Royal Embassy of Norway, Tutti Association
DCE, Adriatico Mediterraneo, RTS
Ticket sales Dom omladine Beograda and Eventim network
TREĆI TODO MUNDO 2014: Re-thinking Balkan
WORLD MUSIC FESTIVAL“TODO MUNDO”, April 11th & 12th, 2014.
Тема Тоdо Мundo festivala je predstavljanje gradske muzike iz nama bliskih zemalja, ove godine iz najbližeg okruženja. U 2014 godini se obeležava 100 godina od početka Prvog svetskog rata, u kog je bio uključen ceo programom tematski obuhvaćen prostor – od Beča do Istanbula – pa je naša teza da koncertima još jednom se pokazuje da samo umetničko promišljanje donosi pravu katarzu i nadilaženje zajedničkih tragičnih iskustava. Promislimo ponovo Balkan zajedno!
11.4. Velika sala od 19.30
Humanitarni koncert - Mile Paunovic i Balkanski Istočnici
Mile Paunović je jedan od vodećih trubača sa istoka Srbije, profesor i kompozior, rodom je iz Negotinske, koji zbog bolesti nije u mogućnosti da češće nastupa. U njegovom orkestaru nastupa čitav niz uglednih muzčara iz Rumunije, Bugarske i Srbije. prihod oog koncerta namenjen je njegovom lečenju.
12.4. Velika sala od 19.30
Muzički projekat “Istanbul night” nastao je u Zrenjaninu pre dve godine i predstavlja kulturno muzičko putovanje od Mediterana do Balkana. Mladi bend inspirisan posetom Istanbulu i upoznavanjem sa “sufi muzikom” i starim instrumentima Turske, razvio je uzbudljiv, autentičan izraz zahvaljujući sopstvenim razmišljanjem o poreklu koje nosi sa sobom bivstvovanje u našem regionu. Ovaj trio sačinjavaju isključivo Zrenjaninci u sledećem sastavu – Roni Beraha – violončelo; autor muzike i aranžmana, Marko Čokulov – gitara; muzički producent snimaka, Vladimir Stojković – perkusije.
Grupa “Pristup” dolazi nam iz Beča i daje nam priliku da sagledamo muziku našeg podneblja kroz oči i uši bliskih suseda. Podvrgnute virtuoznim i inovativnim aranžmanima, već dobro poznate pesme sijaju novim sjajem, dajući novi šmek starim srpskim, hrvatskim i mađarskim tradiocionalima. Na tački na kojoj se folk muzika ukršta sa kamernom muzikom i jazz improvizacijama, “Pristup” grade jedan novi svet u kome muzika poreklom sa Balkana dobija univerzalnu prepoznatljivost. Članovi sastava su: Hannes Laszakovits, kontrabas , Vlado Blum, gitara, Robert Rammel na violini.
Nastup grupe Pristup je ostvaren u saradnji sa Austrijskim Kulturnim Forumom u Beogradu.
Bend “Divanhana” spade u glavne zvezde neo-sevdalinke. Osnovan je od strane mladih studenata Muzičke Akademije u Sarajevu početkom 2009. godine, koji su uz pomoć savremene instrumentacije klavira, basa I bubnjeva nadopunili tradicionalni zvuk harmonike, klarineta, udaraljki I vokala, dodajući elementima Sefardske muzike I Orijentalnog zvuka sevdalinke jednu posve novu jazz senzibilnost , dok nam čistoća tonova glasa pjevačice Leile Čatić poklanja široki raspon emocija, od srceparajućih do onih razigranih.
Njihov drugi album “Bilješke iz Šestice” kruniše dvogodišnju turneju sačinjenu od 70 održanih koncerata, u više od 13 zemalja. “Bilješke iz Šestice” su izašle u javnost krajem 2013. god., a objavio ih je RSG iz Sarajeva za BiH tržište, te za regiju Multimedia Music iz Beograda. Divanhanu čine: Leila Ćatić, Neven Tunjić, Nedžad Mušović, Meho Radović, Azur Imamović, Rifet Čamdžić, Danijel Čondrić, Irfan Tahirović i Borjan Milošević.
TODO MUNDO World music festival
Belgrade, Dom Omladine Beograda, March 22nd and 23rd 2012.
22.03. at 20.30 Americana
TALABARTE is a new concept of formation in Galicia strictly based on the contemporary folk and acoustic music.
In this project three essential and veteran musicians within the Galician musical scene come together: Quim Farinha (Berrogüetto) on the violin, Pedro Pascual (Marful) on the diatonic accordion and Kin García (Susana Seivane) on the double bass.
22.03 at 21.30 Americana
Tinariwen just won the Grammy Award for the Best World Music album. They played with the Rolling Stones, Robert Plant, Carlos Santana and Red Hot Chili Peppers, but…
Tinariwen are often associated with just one image: that of Touareg rebels leading the charge, machine gun in hand and electric guitar slung over the shoulder. The band ditch this cliché on their fifth album ‘Tassili’ and it’s for the best. The founding members abandoned their weapons long ago, and on this new album they have engineered a minor aesthetic revolution by setting the electric guitar – the instrument which became their mascot and made them famous – to one side and giving pride of place to acoustic sounds, recorded right in the heart of the desert, which is the landscape of their existence, the cradle of their culture and the source of their inspiration. You might even call this radical move a return to the very essence of their art, a return which, paradoxically, has also opened the doors to some intriguing collaborations with members of TV On The Radio, with Nels Cline (Wilco’s guitarist) or The Dirty Dozen Brass Band.
There is some truth in that old cliché of the soldier-musician. In the 1980s, Ibrahim, Abdallah, Hassan, ‘Japonais’ and Kheddou began to play together in and around the town of Tamanrasset in southern Algeria. They performed by weddings, baptisms or just simple youthful get-togethers. They then spent several years in the same military training camp in Libya before the Touareg rebellion broke out simultaneously in Mali and Niger and sent them out onto the field of battle in the southern Sahara. At the same time, their songs, recorded on cassettes scattered far and wide, helped to broadcast the message of a rebel movement that set out to promote the rights of nomadic people suffering under the arbitrary policies of repressive and distant central governments. When peace was signed in 1994, their de-mobilization coincided with profound changes in the way of life of those desert people, whose traditions had been irrevocably upended by years of drought and a continuous process towards a sedentary life. Such calamities forced many young Kel Tamashek – the people who speak Tamashek, the language of the Touareg – into exile. Tinariwen became the spokespeople of a generation which looked on helplessly as their harvests thinned, their animal herds wasted away and their world slowly crumbled.
There was a time when Bob Marley and the Wailers lived a certain paradox, albeit on a different scale, to the one that was to greet Tinariwen: that of singing about the distress of their people whilst becoming global stars in the process. For it was in the embers of this social trauma, which remains just as precarious today, that Tinariwen caught fire and went global. The group, losing some of its original members and gaining new ones along the way, became a professional unit that toured around the world, headlining at various important festivals, including the Eurockéennes de Belfort in France, Glastonbury in the UK and Coachella in the US. Their albums Aman Iman (2007) and Imidiwan (2009) were eulogized by the media and attracted the praises of Robert Plant, Elvis Costello, Thom Yorke, Brian Eno or Carlos Santana, with whom Tinariwen performed at the Montreux Jazz Festival in 2006. Nevertheless, this success, this universal recognition didn’t alter the essence or spirit of their musical style, which mixes the bitter sound of spiky guitars with the often pantheistic approach of lyrical poetry that celebrates the sacred union between one people and their environment, and represents a sort of reflection of painful collective circumstances.
These circumstances have become considerably harder in recent months, to the point where the members of the group were forced to record their new album far from their base in Tessalit, in northern Mali, which is now deemed too insecure for outsiders to visit. Sticking with their desire to return to the roots of their music, and rediscover the age-old habits of their art, out in the wild, with acoustic guitars and unamplified percussion, they opted instead to record out in the deserts of southern Algeria, close to the town of Djanet, in a protected region called the Tassili N’Ajjer. The place has its historical significance for these old rebels. Back in the days of migration and rebellion, it served as a refuge on the road to the Libyan training camps. It was in this lunar landscape of white sand, rocky outcrops and astounding geological riches, in that mineral solitude which lends itself so powerfully to introspection and the outpouring of deep feeling, that musicians and technicians gathered between November and December 2010, under a Mauritanian tent, with 400 kilos of gear and a mountain of problems to solve. The wind that made the tent frames creak, the sand that invaded the electric equipment, the constant chugging of the electricity generators, and these were just some of the unwelcome intrusions that had to be overcome.
In this natural open space it was decided to approach the sessions in an unorthodox manner and, unlike the way it’s done in most studios, let the musicians give their inspiration free rein during seemingly endless sessions around the campfire. It took three weeks to gather all the songs on ‘Tassili’. Some of them are recent ones. Others have been dug up out of a much older, even traditional repertoire. The latter only become obvious candidates when the guitars were picked up and strummed and other acoustic instruments were played.
During the last week of recordings, the singer Tunde Adebimpe and the guitarist Kyp Malone from the New York band TV On The Radio arrived at the camp. The two bands had been forging links ever since they met at the Coachella Festival in California, back in 2009, links which were consolidated at Tinariwen’s Hollywood Bowl gig in Los Angeles a year later when Kyp and Tunde were invited on stage to jam with the band. Out in the desert, the contributions of the two musicians on five songs and later additions by guitarist Nels Cline and the horns of the Dirty Dozen Brass Band, recorded in their manor down in new Orleans, give ‘Tassili’ the intriguing character of an album which reaches deep into the essence of Tinariwen’s art whilst simultaneously opening itself out to the wider world.
Ibrahim Ag Alhabib sets out on a musical journey between sand dunes and vaulting stars with a solemn question: “What have you got to say, my friends, about this painful time we’re living through?” The notion of a people in peril, fighting for their survival – both cultural and psychological – traverses ‘Tassili’ like a stick of rock. The decision to use acoustic guitars, unamplified percussion, the jerry can ‘calabash’ and hand claps, suggests a great deal more than closeness between these musicians and their desert; it’s somewhat closer to a communion.
Tinariwen’s music and sensibility have always been close to the American Blues and on ‘Tassili’ they re-enact the emotions of an individual who finds himself face to face with loneliness and doubt, gripped by torment, the prisoner of inextricable circumstances (‘Djeredjere’). But that individual also manages to find hope in the strength of his community (‘Imidiwan Wan Sahara’) or in the simple pleasure afforded by insignificant daily moments, as on the song ‘Takest Tamidarest’, sung by Abdallah, which drops us right in the middle of the desert, with its slow-baked pace that lends itself to pure contemplation of a man’s surrounding and to deep inner meditation. Because of these reasons, ‘Tassili’ isn’t just an extraordinary musical moment, in which Tinariwen repossess their own art to the extent that they feel completely relaxed about inviting others into their world; it’s also a shared human experience of rare quality.
3.03. at 21.00 Americana
SVETLANA SPAJIĆ and BOKAN STANKOVIĆ (Serbia)
Svetlana Spajić and Bokan Stankovic, the best Serbian multi-instrumentalist, singer and bagpipe player has been playing together since 1993 and they mastered in singing ancient ballads “na bas“ (over bass) from Eastern Serbia. Together they have been visiting many villages in Eastern Serbia singing, dancing, playing and making friendship with dozens of the best village singers of the region. In 2009 they recorded their material in Bokan’s village of Lasovo, Zajecar vicinity, with the help of artists Eric Adamsons and Zdravko Mirceta with whom they plan to continue co-operation and preserve the cultural heritage of Eastern Serbia.
23.03. at 22.00 Americana
KONONO No 1 (Kongo)
Konono No. 1′s “Congotronics” album introduced the world to the strange and spectacular electro-traditional mixtures which are being concocted in the suburbs of Kinshasa, Congo. World music, electronica and avant-rock aficionados have all been equally amazed by this otherworldly music, which has driven the international press to come up with some surprising comparisons (from Can and Krautrock to Jimi Hendrix, Lee Perry and prototechno!…).
The band was founded back in the 1960s by Mingiedi, a virtuoso of the likembé (a
traditional instrument sometimes called “sanza” or “thumb piano”, consisting of metal rods attached to a resonator). The band’s line-up includes three electric likembés (bass,
medium and treble), equipped with hand-made microphones built from magnets salvaged from old car parts, and plugged into amplifiers. There’s also a rhythm section which uses traditional as well as makeshift percussion (pans, pots and car parts) and a sound system featuring these famous megaphones.
The musicians come from an area which sits right across the border between Congo and Angola. Their repertoire draws largely on Bazombo trance music, but they had to
incorporate the originally-unwanted distortions of their sound system. Because of this, they had to develop a unique style which, from a sonic viewpoint, has accidentally connected them with the aesthetics of the most experimental forms of rock and electronic music, as much through their sounds than through their sheer volume (they play in front of a wall of speakers) and their merciless grooves.
KONONO No. 1′s debut album was the inaugural release in Crammed’s Congotronics
series, which is devoted to the exciting electro/traditional musical hybrids from Congo
23.03. at 23.30, Club
The band Naked is rare kind of band in Serbia. Instead of using the simple formula of putting together musicians from different traditions (urban and rural), here, there are musicians who play literary everything. Violin, two bass guitars, drums,accordion and the electric guitar – 6 players whose past and current collaborations include jazz, nu metal, philharmonic classical, chamber music, funk, pop and world music.
Their debut “Noyz” Multikultivator) was surprise with compositions on the borders of jazz, funk, rock and world music craftly developed and arranged by the whole group.
Last year they released the second album “Get Naked” for Hungarian label Narrator Records and this concert on the festival will be the real promotion of the album. Naked will make a final party of the festival.