The World of Music and Dance celebrated its 10^th anniversary this year with another outing at Fort Canning Park.

The musical festival held on Aug. 24 to 26 was a diverse blend of musical cultures inspired by a way of life that is also fused with an underlying message of hope and social activism.

The Womad experience

Music in this instance might simply be passed off by some as just music in an annual event. 

For the music creators, it is a matter of earning a living, being empowered by their craft and providing inspiration to others. 

And that is the beauty of it all. In the process of doing what they do best as musicians and performers, they managed to bring people from all walks of life together. 

Music becomes an experience to embrace the lively musical cultures ‘live’ and be unified by the language of music. 

Traditionally, groups that performed at WOMAD have been bestowed with the dubious genre called ‘world music’ that does not justify or describe the diversity of music. 

Labels aside, world music is meant to describe an all-encompassing genre that is inspired by culture and reflective of the ethnicities of the musicians. 

More accurately, the songs they write is inspired by the kinds of life they have led. Being in the business of music-making is not just about aspiring to be rich and famous. 

Take South African trio Mahotella Queens for example. As an all-women ensemble, singers Hilda Tloubatla, Nobesuthu Mbadu and Mildred Mangxolathey have been performing for more than 40 years. 

Their brand of liberation music is stamped with a social conscience as they championed the end of Apartheid in 1994, raised awareness of child rape in Africa and strive to elevate the status of native tribal women.

Women are subjected to domestic chores in their native Zulu tribe and it is through music that they managed to rise above themselves in a society fuelled by gender politics and inequality. 

It is also their hope that other women can do likewise, or in their own words, “stand up to the government.” 

Besides pushing for change in politics and society, they also want to uphold traditions of native music so that it would be pursued by the younger generation.

Meeting of different cultures

Traditional music can also find new musical possibilities through improvisation to keep it interesting. 

Niger group Etran Finatawa performed with the NUS Chinese orchestra in an unlikely collaboration at the free Womad campus concert. 

Speaking through an interpreter at an interview conducted by The Observer, Etran Finatawa group members Al Hoosseini Mohaned Anivolia and Bagui Bouga said that the Chinese orchestra picked up their record and was intrigued by their tunes. 

And everything fell into place when they tried fusing the two seemingly diverse instrumentations together. 

Bouga also said that the experimentation in their music is symbolic of a changing society. The Womad festival is essentially about receptiveness and exchange on a global stage. 

Etran Finatawa plays a style of music best classified as ‘Nomadic Desert Blues,’ singing about living and travelling in the desert as ephemeral nomads.

There is also an interesting story related to Nigerian percussion instruments. 

It is believed that when the Nigerian ‘Arzakalabo’ and ‘Tende’ drums are played together, it would compel camels to dance. 

Camels are the main mode of transport in the desert suited for their transient lifestyle.

Music on a global stage

Besides its apparent effects on animals, people are also drawn to music for its “healing power.” 

In an exclusive interview with founder of the Dhol Foundation, Johnny Kalsi said that music need not be extravagant or flamboyant, but calm and soothing to the soul. 

He should know how and what music is best enjoyed as he is the founder of the Dhol Foundation after being approached by several musicians to be their teacher. 

Dhol is a traditional percussion instrument from Punjab and also the acronym of Distinguished Hall of Learning. Dhol Foundation is also the name of the playing group and the teaching institute, and their speciality is in playing bhangra music. 

Kalsi considers himself to be a global citizen who fuses Indian and Western music. He is of Kenyan descent but grew up in London. 

He also jokingly said that he has only met two people in the entire world who does not listen to music. 

And he likens fusion in music to producing texture and flavour in cooking. 

He said, “It’s like cooking where different ingredients go into the mixture and you get a great blend of tunes and tones.” 

That is what Womad is about. Musical experimentation has to be experiential for the musician and the audience and the established norm that pushes the boundaries of definition. 

This is simply, the language that music speaks.