Rainforest World Music Festival

By | August 15, 2011

Rainforest World Music Festival

It was a blast!

Wonderful music, interesting crowd, charming activities and many some-more during a new 14th Rainforest World Music Festival (RWMF) in Sarawak hold from 8 – 10 July.

Organised by a Sarawak Tourism Board, a RWMF is hold during a Sarawak Cultural Village (SCV), a pleasing 17 acres environment by a Santubong Peninsula with a pleasing backdrop of a famous Mount Santubong, it is a 45 minutes’ tour from Kuching city, a collateral of Sarawak.

SCV, a vital museum showcasing several racial communities of Sarawak, is ideal with a monumental vistas during a foothills of Mount Santubong, willing lake, pleasing flora, well-maintained walkways and generally an upgraded venue for a strain festival.

It is a ideal environment for a Rainforest World Music festival, listed as one of a tip 25 Best International Festivals by eminent universe strain magazine, Songlines. This creates a RWMF on standard with general strain festivals such as a WOMADA Adelaide, Australia; Chicago World Music Festival, USA; Forde Folk Festival, Norway and a Essaouira Gnawa World Music Festival hold in Morocco.

The strain festival was tailored to showcase a different operation of strain genres, with acts from internal and general groups such as Agungbeat from Sabah, Malaysia, Startijen from France, Pacific Curls from New Zealand, Mamak Khadem from Iran, The Blue Canyon Boys from USA, Lisa Haley Zydecats from USA, The Shin from Georgia, Eastern Europe, Ikswew from Canada, Frigg from Finland and Malick Pathe Sow from Senegal.

Other groups that achieved were Victor Valdez Trio from Mexico, Duoud from Tunisia/Algeria, Ilgi from Latvia, Kissmet from India/UK, Paddy Keenan Trio from Ireland, Leweton Women’s Water Music from Vanuatu, Joaquin Daz from Dominican Republic, Kamernga from Australia, Kamafei from Italy, Kenge Kenge from Kenya and Warsaw Village Band from Poland.

The heterogeneous brew of musicians combined pleasing strain that resonated via SCV during a unison performances and workshops.

The workshops were low-pitched sessions by a several groups hold during several venues during SCV such as during a Iban longhouse, Dewan Lagenda, Theatre and Lakeside. It showcased groups opening together in a opening by jamming sessions, where audiences could correlate adult tighten with a performers.

An area surrounding a lake was also designated to showcase internal food, souvenirs such as T-shirts, pivotal chains, bangles as good as locally done handicrafts. There were even stalls set adult for those wishing to get tattoos ornate with internal motifs. The laid-back environment was a strike with revellers to a RWMF.

Near a opening of a Sarawak Cultural Village was also a counter offered RWMF central sell that was a strike with music-goers who alive a stalls after any low-pitched opening to get copies of CDs, T-shirts and commemoration books of groups that achieved during a event.

Many were seen shopping CDs of a groups, and rushing to a workshops to get signatures from their favourite groups, as good as a mural or two.
The farrago of a festival, with a musicians and instruments used culminated in an enterprising unison where music-lovers from all ages converged by a foothills of Mount Santubong to listen to a low-pitched performances by a bands.

Performances started from 7.00 pm onwards compartment midnight. The initial night, a low-pitched festival kicked off with a internal favourite, Masters of a Sape from Malaysia that achieved on a side stage.

The categorical opening of a night started with Agungbeat a organisation of women gamelan players from Sabah, behaving their strain to a raptured audience. Other groups behaving on a initial night were Iskwew (Canada), Kamerunga (Australia), Victor Valdez (Mexico), Kamafei (Italy) and Frigg (Finland).

It was a second night that a organisation from New Zealand, Pacific Curls, behaving on a second theatre prisoner a audience’s courtesy with their charming and sharp-witted music. With normal Maori low-pitched instruments concomitant their music, Kim Halliday, Sarah Beattie and Ora Barlow, gay a assembly with strain evoking Pacific rhythms.

Their music, interspersed with jazz, Scottish tunes, resounding vocals and songs in a reduction of Maori and English had a assembly on their feet and moving to a beat. The startling appetite of a contingent serve escalated into frenzy and got a throng vehemence to a free-spirited beats. The many startling explanation was that Sarah Beattie, personification a violin, is profound and due in Oct though she was personification a low-pitched instrument like there was no tomorrow! Such was a appetite of this extraordinary and gifted organisation from New Zealand.

During a final night of a RWMF, an stirring opening came from a Kenyan organisation job themselves Kenge Kenge Orutu System with their normal Kenyan strain and theatre antics, they rocked a stage.

As guardians and masters of ancient tradition, a Kenge Kenge achieved a Opogore, a strain that harks behind to their low-pitched roots, Luo music, initial popularised in a 1960s. They use benga, a handmade low-pitched instrument same to a guitar to furnish strain that is both lovely and unfamiliar to a internal ears. Despite a denunciation barrier, a organisation managed to get a throng dancing frenetically with their upbeat tunes.

The prominence of a eventuality positively contingency be Kissmet, a spellbinding organisation rocking SCV with their alloy of Bhangra and stone strain effortlessly. Their spreading strain prisoner a assembly that gyrated extravagantly to a kick of a music. Singing both in English and Punjabi, followed by a beats of a bhangra music, audiences assimilated in a action. They really repelled with their charming costumes and turban, though mesmerized with their spreading rhythms.

This implausible low-pitched uncover culminated in a grand finale, where all a groups achieved on a stage. This brought many strain lovers to dance extravagantly to a beats. Though it was an burdensome night, it positively is one of a best performances a festival has seen.

The Rainforest World Music Festival using for over 10 years now, is not an eventuality to be missed. It has resolutely put Sarawak on a universe tourism map and towering a standing of a festival as an internationally acclaimed strain festival.

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