By Cameron Parker
ADELAIDE — Three stages, 150 performers, multitudes of workshops and 10,000 people jumping about at the same time — the spirit of WOMADELAIDE '93 was upon us. With a vast array of talent from around the globe, this festival promised to be like no other.
It was an absolute treat for anyone who could afford the $98 price tag. With Yothu Yindi on the same stage as Acid Jazz pioneers Galliano, the Terem Quartet from St Petersburg and the smooth gospel/blues of the Holmes Brothers, there was something here for everyone.
The term "World Music" was coined in 1986 by British record companies which were having "marketing difficulties" with their more obscure products.
They decided to bring all non-Western music under a convenient title so that shops would know where to put such music and buyers would know where to look. Such was the market that Paul Simon's Gracelands album was considered "African" and David Byrne (ex-Talking Heads) was "Latin".
Geoffrey Oryema, an exiled Ugandan musician now living in England, explained to Green Left: "We should not practise musical apartheid ... 'world music' is actually music from the ghetto, music from the Third World ... Famous European artists go out to the so-called Third World countries and borrow ideas which makes their work sound interesting. But when an African tries to do the same, record companies and radio stations start telling us 'You shouldn't sound like that, you shouldn't play electrical instruments'. There is a real unfairness there. It should be a two-way process."
The presence of worldwide music guru and part owner of the Real World record label Peter Gabriel was a drawcard for most people on the first two days of the festival. His performance on Friday night was packed with familiar tunes from his post-Genesis period as well as his stirring version of "Biko", about the murdered South African black consciousness leader.
Mahlathini and the Mahotella Queens gave the audience a jive-packed sample of their mbaqanga music. With colourful costumes, fancy footwork and rich harmonies backed by an unrelenting dance beat, the Queens ruled the roost to the delight of everyone.
This festival was turning out to be more than just another rock concert, despite the 10-storey high main stage ominously perched between blue gums and Moreton Bay figs.
Some of the most enjoyable moments were to be had on the smaller Stage 2 and in the faraway "tent", where all the workshops took place. Gaining an understanding of how Senegalese dancer Germaine Acogny and her partner on stage, drummer Arona N'Diaye, have perfected their craft was a highlight, as was vocal magician Sheila Chandra workshopping with 1500 people, all of them totally mesmerised.
S.E. Rogie from Sierra Leone introduced audiences to his "naturally high" palm wine music: "Palm wine music is the indigenous music of the people. It is an expression of the day-to-day experiences of the people. Many a time, people in the community would gather around a big fireplace on a beautiful moonlit night on a warm beach and just share our life stories. We take life easy, we share our joys and our sorrows — we take life easy, no sweat." And take it easy we did — grooving and swinging and hopping up on stage to be with the African music pioneer.
WOMADELAIDE was a special event also in showcasing some of the best indigenous Australian talent. It's just a shame that Aboriginal culture has to be presented as "world music" to gain a proper airing. However, it's good to see that in an environment of interaction between peoples and the fusion that is world music, Aboriginal music is up there with the best.
That was eloquently expressed by Kunjul, a young Aboriginal and Torres Strait Islander dance troupe from the Gungganyii tribe of north Queensland. They fascinated at their shows with their three-part performance of Aboriginal, Torres Strait Islander and hip-hop dance styles. Stunning stuff indeed.
The performances and workshops of Sheila Chandra, another world musician far ahead of her time, were the reason I made the trip from Sydney. Since 1982 she has been fusing Western pop with the ethereal harmonies of India. Here, alone on stage, she held audiences with her fever-pitch vocal percussion and mind-bending interactions of Islamic and Irish music, Gregorian chant and Indian improvisations.
If ever there is a simple expression of all that world music entails, Sheila Chandra has found it. As she explained to Green Left, "There are a lot of second generation musicians that are coming from parts of the world that I actually represent musically ... that's what WOMAD is all about — an education for all of us. WOMAD influences the way I look at music structurally. What is accessible to one culture is not always
accessible to another culture."
Acid jazz head honchos Galliano gave an energetic show on the Sunday afternoon. With ex-Style Council keyboardist Mick Talbot, they jived and rapped their way through their eclectic brand of popular hip-hop. People were partying.
It had to end sometime, and with who better than world music superstar Salif Kieta? His amazingly soulful songs — a blending of Malian rhythm and melody with American jazz/funk — was the perfect end to a most ear-opening fresco of the diversity and beauty of the cream of contemporary music.