Musicians at Womad Aotearoa say uplifting culture and language is crucial for people to survive and thrive in an unstable world.
The festival boasts a wealth of cross-cultural mashups, but many performers at Womad in Taranaki over the weekend hold firm to their indigenous perspectives.
Nana Benz of Togo on West Africa’s ‘slave coast’ brought Voudou rhythms to New Plymouth District’s Pukekura Park with instruments handmade from recycled metals and a vintage Korg synthesiser.
Percussionist Toto Tchilatchi said ecology was the heart of the Voudou faith, and Nana Benz is led by feminist women priests.
“We guys are behind them, to push them, because we have a strong message to deliver: We come from the earth, we will be going to the earth.
“People today aren’t even able to say ‘thanks’ to this nature.”
Nana Benz create Voudou beats to spark action, said Tchilatchi.
“You have to get up and dance... Get up and stand for your rights and defend nature.”
Papua New Guinea star George Telek Mamua – known as Telek – brought his collaborators of nearly 40 years to Womad Aotearoa: fellow countryman Pius Wasi along with Melbourne’s David Bridie with his rock-ambient-world music ensemble Not Drowning, Waving.
With an MBE for services to PNG music, Talek said he’d brought more traditional aspects into his stringband and rock music over the years, seeking out Pacific-wide cultural similarities.
“Playing this [traditional] kind of music has got a lot of feelings in there and a lot of creativity. And we’re promoting our traditional instruments and songs.”
Bridie said both George and Pius “have been talking about how they love that there are te reo signs everywhere [at Womad], because for them language is everything.
“In the Pacific, we’re all one saltwater people… This is where the languages and connection to culture are still really strong.”
India’s Satish Veya said his 88-stringed santoor originated far from the saltwater in mountainous Kashmir, and proved a good fit when introduced into centuries-old Hindustani classical music in the mid-1950s.
But modern influences forced other changes, such as shrinking performances to under an hour – despite a growing audience for traditional concerts of three hours and more.
“In this fast life I think Indian classical music definitely has the ability to calm down human beings,” said Veya.
“It can give peace, and the stress-free life can be led if this music is listened to on an ongoing basis.”
Aotearoa’s musicians brought traditional Māori understanding to the fore – despite working in modern styles.
Laughton Kora led the ‘galactic funk’ band Black Comet – his latest offering in a career that featured a decade in the reggae dub rock band Kora with his three brothers, being there at the formation of L.A.B. and acting on stage and television.
“We’re masters at storytelling. Most of our knowledge has been handed out down through waiata,” said Kora.
“It rings across the whole world. There’s a relationship there, especially to do with old-school colonisation, with holding on to the values of our own culture.
“It’s special to us, so we’re putting that out to the international world.”
Jordyn Rapana aka Jordyn With a Why agreed Māori ways of being are being upheld in modern forms.
“We stand in between these realms, holding our kōrero tuku iho: these ancient truths that we’ve been knowing for a long, long time.
“Now we’re just trying to channel it and using mediums that talk to today, to our urban Māori, or to our tamariki-mokopuna.”
Jordyn said waiata maintained the spirit of peace in the justice movement and on protest hīkoi.
“To be able to hold that wairua of rangimārie, but still be able to hold your line, your boundary and being able just to tell the truth.”
Iwi agency Te Kotahitanga o Te Atiawa board member Wharehoka Wano has helped bring Taranaki culture to 17 Womad festivals.
“It begins with the pōwhiri. It’s about manaaki, we’ve got to make sure that we look after our visitors.”
“I think it’s been challenging at times for the organisers to understand that kaupapa, that’s an indigenous kaupapa.”
“But I think our Tiriti partners are also getting the importance… it has a purpose.”
Glasgow-based Talisk are also tradition-based innovators, stretching Celtic folk by feeding concertina, fiddle and acoustic guitar through loop and synth effects pedals.
Mohsen Amini said their riotous dance music aimed to give a moment of escapism – and they hope that strengthens people.
“It’s unbelievably important to be informed… But you have to strive for some joy somewhere… so through the darkness you can have a bit of light and then hopefully you’re inspired to behave like a better person.”
Jamaican reggae star Protoje with his band The Indiggnation favour ‘conscious’ lyrics.
“Just realism, just socially conscious music, socially aware and philosophical more than political.”
“If I’m happy, if I’m sad, if I’m joyful, if I’m whatever – I try to let people feel upliftment and joy while giving them some knowledge, hopefully some wisdom.”
Trinidad and Tobago’s Queen Omega gave a commanding performance on Sunday evening.
With the crowd bouncing, beaming and singing along to dancehall reggae she summed up the message of Womad Aotearoa’s indigenous musicians.
“Let’s not let this be just tonight. Let’s all carry this on, because the world needs this.”
LDR is local body journalism co-funded by RNZ and NZ on Air
