The following artists will perform at the National Hispanic Cultural Center for ¡Globalquerque! 2017 (Sept. 22-23). Performances will take place on three stages, all located at the NHCC (1701 4th St SW, at Avenida César Chávez). Enjoy the intimate courtyard setting of the Fountain Courtyard, the state of the art 692-seat Albuquerque Journal Theatre and dance outside on the Plaza Mayor.
Grounds open at 4 PM and performances start at 6:20 PM (Friday)/6 PM (Saturday) and run until at least 11:40 pm. The Global Village will be open into the night. There will also be FREE day programming on Saturday for families and adults, including workshops on music and folklore, crafts, and live performances. Visit the Global Fiesta page for more info.
Debashish Bhattacharya & Derek Gripper (India/South Africa)
Puerto Candelaria (Colombia)
Xabier Diaz & Adufeiras de Salitre (Galicia, Spain)
Betsayda Machado y La Parranda El Clavo (Venezuela)
Trio Da Kali (Mali)
Bideew Bou Bess (Senegal)
Bideew Bou Bess is comprised of three brothers: Moctar, Baidy, and Ibrahima Sall. They are experienced and articulate performers with a clear sense of their place in the world’s ever-evolving music scene. In concert performances, they blend sweet vocals with savvy poetic commentary and strong traditional melodies.
James Heflin, music editor for The Valley Advocate, wrote: “Bideew Bou Bess offer something startling: an African brand of Hip-Hop that’s not quite like anything else. That’s true of most of their music, which possesses equal parts Hip-Hop swagger, big beats, well-sung harmony, and traditional African sounds… It’s exhilarating stuff.”
Bideew Bou Bess now has their own Senegal-based production company, doing international collaborations for recordings and performances, while maintaining a busy year-round concert schedule. Their collaborations with the award-winning film production company Gelongal has produced stunning music videos, and has added to their ever-growing international audience. They are also generous social activists, regularly doing benefit concerts that address issues like malaria, health care, education and equity.
Two World Music instrumental virtuosos join together for a historic tour when South African kora guitarist Derek Gripper and Indian slide guitarist Debashish Bhattacharya make their North American touring debut in 2017. Each has re-defined the styles of music possible on their instruments, inventing new playing techniques, and composing new works which bring out the full array of their talents.
Debashish is perhaps the greatest slide guitarist in India. He has, both through creating the actual design of the instrument and through his incredible talent and discipline, elevated the Hindustani slide guitar to be the highest evolution of slide guitar anywhere. Debashish’s music has musical range, physical dexterity, and emotional depth. To develop his playing, he has undergone decades of disciplined study of Indian vocal technique combined with his instrumental work. Debashish can sing perfectly in parallel with every blindingly fast melody he plays. He is an eager collaborator with an open musical mind, and has performed with a wide variety of musicians.
Derek began his formal musical training at the age of six on the violin. After studying classical music in Cape Town for the next thirteen years, he began to look further afield for musical inspiration. This search took him to India where he studied South Indian Carnatic music. On his return home he began to focus on the guitar, trying to find a new direction for the instrument. He was attracted to the use of multiple layers in the music of Oliver Messiaen, the African-influenced structures of Steve Reich, as well as to guitar arrangements of the music of J.S. Bach. Derek Gripper’s project to create an African repertoire for the classical guitar, based on transcriptions of works by some of Africa’s greatest musicians, has resulted in a growing collection of outstanding African Guitar arrangements.
Puerto Candelaria (Colombia)
Puerto Candelaria was formed in 2000 in Medellín, Colombia, the result of the fateful meeting of six talented musicians, united and guided by talented composer Juancho Valencia to create a totally new and original musical show. The imaginary land of Puerto Candelaria is a sonorous place and the spiritual home to the members of the group and to all who enjoy taking a musical journey with the sound of the Candelarios.
The group’s founders never imagined that a decade later, their idea would come to be hailed the most daring, controversial and innovative Colombian musical project of recent times.
Puerto Candelaria bases its sound in popular Colombian rhythms, full of imagination and magical spirit that provoke the senses and awaken heightened emotions in audiences around the world. Their creation of contradictory rhythms like Cumbia Underground or Jazz a lo Colombiano is responsible for creating a special place for their country in the global markets of jazz, experimental, and world music.
Musician, composer, folklore researcher, singer and expert exponent of the Pandeireta Galega (Galician tambourine), Xabier Diaz is a well-known figure on the Galician music scene. He was lead singer with award-winning folk revivalists Berrogüetto and has collaborated with many other leading artists.
His latest project allies his tambourine with the adufe—a square frame-drum of Moorish origin used in Portugal. Indeed, not one but eleven adufes, wielded by the eleven women percussionists and singers of the Adufeiras de Salitre ensemble, augmented by Gutier Alvarez on hurdy-gurdy and Javier Alvarez on accordion.
Over two years of work went into the album of the project, Mr Tambourine Man, in which time-honored popular songs from the villages are given a joyous reinterpretation through Diaz’s gently soulful singing and the powerfully engaging ensemble performances of the Adufeiras.
Iberi Choir (Georgia)
Blokes in black coats and boots, with rows of cartridges on their chests, long knives on their belts. Not an invasion force, but singers. Gorgeously rich, shifting blocks of improvising harmony, sometimes with wild, crowing falsetto over the growling basses and soaring tenors.
As Georgian culture has become more city-centered and pop-influenced, its unique polyphonic singing has been seen as threatened, and it’s on UNESCO’s list of Oral and Intangible Masterpieces of Humanity. A new wave of singers are embracing it, including the vocal group Iberi (in ancient times Georgia was called Iberia), who perform songs from across Georgia’s ten regions.
Singing for them isn’t just dramatic and intense stage performance, it’s a social thing; at the long table of a supra, a feast that’s at the centre of Georgian life, the many courses and Georgian wine just keep on coming, and so do the toasts and songs: work songs, carols, hymns, love songs, historical ballads, a praise song for the 12-13th century Queen Tamar (so powerful she was canonized by the Georgian Orthodox church as King Tamar), and very old songs from the pre-Christian era.
Pascuala Ilabaca (Chile)
Pascuala Ilabaca is a leading light of the new breed of exciting young Chilean singer-songwriters. Her music is rooted in traditional sounds, but also incorporates shades of jazz, pop and rock, drawing on global influences from places as diverse as India and Mexico. Almost always armed with her accordion, Pascuala has an incredible voice, too, and her band, Fauna, provide her with the perfect accompaniment.
Born in Valparaíso in 1985, Pascuala Ilabaca has had a lifelong passion for music—always blending the traditional folk of her country with her love of the music and rhythms of India especially. In 2016, Pascuala received the Pulsar, the most important Chilean music award, for her album Rey Loj.
Betsayda Machado y La Parranda El Clavo (Venezuela)
Betsayda Machado is a Venezuelan singer born in El Clavo, Barlovento, a community with a rich Afro Venezuelan tradition. Barlovento’s inhabitants today are descendants of African workers who once toiled in the cocoa fields, and were exploited by land owners in the area. Nicknamed “The Black Voice of Barlovento,” Betsayda has been recognized since the age of seven as the most promising voice in the area by local leaders, and has become the carrier of a long tradition of nearly-extinguished genres of black music in Venezuela. Betsayda moved to Caracas in her early twenties, for the last few years has been acknowledged as an icon of Afro Venezuelan music, receiving attention from the media and others.
La Parranda El Clavo is the local percussion and voice ensemble of El Clavo. For nearly 30 years, they have been playing together for town festivities, funerals, new year celebrations and get-togethers as a way of sharing culture and community with their family, friends and neighbors. Betsayda started her career singing with them in the late 1980s.
This engagement of Betsayda Machado is made possible through Southern Exposure: Performing Arts of Latin America, a program of Mid Atlantic Arts Foundation in partnership with the National Endowment for the Arts.
Trad.Attack! has turned the Estonian music scene upside down by bringing traditional music to the big stages, building a modern world around its archaic sounds. It is often said that the band, with its three members, sounds so big that you would think there are many more people onstage.
They take traditional songs—sometimes starting with scratchy recordings of long-vanished village voices—and build pulsating rhythmic structures, creating an impressively big sound from acoustic 12-string guitar, drums and an array of whistles, bagpipes and jew’s harps.
All three band members grew up with music around them and each had been active on the Estonian music scene for more than 15 years before they started Trad.Attack! in 2014. In the beginning it was meant to be just simple, fun and experimental. Surprisingly for the band, their first tune, “Kooreke,” became a hit in Estonia. Since then, the band has received 14 Music Awards in Estonia, released their debut album AH!, been recognized internationally, and toured in 28 countries from China to Canada, including significant showcase festivals as WOMEX, Eurosonic and Transmusicales. They’re still a bit surprised about their success, but definitely having lots of fun.
Trio Da Kali (Mali)
Trio Da Kali unites three outstanding musicians from the Mande culture of southern Mali who come from a long line of distinguished griots (hereditary musicians). Formed of voice, balafon and bass ngoni, the Trio aim to bring a contemporary twist to ancient and neglected repertoires.
Hawa Kassé Mady Diabaté, daughter of the legendary griot singer Kassé Mady Diabaté, is the Trio’s vocalist. Her rich, expressive voice and her natural vibrato have brought comparisons with Mahalia Jackson, America’s great gospel singer. The Trio’s musical director is master balafonist Lassana Diabaté. One of Mali’s most astonishing musicians, Lassana has recorded and toured with many of West Africa’s foremost artists, including Toumani Diabate’s Grammy-Award nominated Afrocubism album and Symmetric Orchestra project. The youngest member of the Trio is bass ngoni player Mamadou Kouyaté. Still in his mid-twenties, the eldest son of world-renowned Grammy nominated ngoni player Bassekou Kouyaté brings a contemporary feel to the traditions he has learned from his father.
Hong Sung Hyun’s Chobeolbi (Korea)
Hong Sung Hyun is a Korean traditional musician who plays Janggu (Korean traditional percussion). Chobeolbi is Hong’s musical project which presents his collaborative works with various musical instruments.
“Chobeolbi” means “welcome rain,” and it represents his work, which aims to soak the parched hearts of modern people living in a harsh world. In this project, Korean percussion moves beyond a supporting role to take center stage as a melodic instrument in its own right, collaborating with others as well as playing its own melody. The work is based on the original music of the East Coast Shamanism: “the wind that blows from the east, the cool rain that falls,” expressing the shape of nature.