Retiro Park, Palacio de Cristal
Udlot Udlot by José Maceda 1pm
Udlot Udlot, presented in the Palacio de Cristal — built in 1887 to house the General Exhibition on the Philippine Islands — sets out to consider colonial exploitation on these islands. Composer and musicologist José Maceda (1917–2004) studied music from east and west Africa, Brazil and Southeast Asia. In Paris he met European composers like Pierre Boulez and Iannis Xenakis and studied ethnomusicology in the United States. In the 1990s he founded the UP Center for Ethnomusicology and wrote a number of books, including Gongs & Bamboos, an approach to Philippine musical instruments.
Nouvel Building, Auditorium 400 Hall
Miguel Ángel del Ser is a record collector who lives in Madrid. Between December 2017 and October 2018 he produced a series of DJ sessions under the name Psicolabio for Svala Radio. These sessions, characterised by the domestic exoticism of the wunderkammer (cabinets of curiosities), were recognisable for their tone, broad-ranging styles and thematic arrangement.
A group of Madrid-based tambourine players. Their repertoire, compiled by Xurxo Fernandes, is made up of Galician songs and Sephardic songs from Turkey and Greece, some of which represent the final links of oral lore from the villages and towns where they were recorded. These songs bind and accompany dance in impromptu gatherings.
Żywizna (Raphael Rogiński + Genowefa Lenarcik) 5:30pm
Led by his interest in ethnomusicology, guitarist Raphael Rogiński moves to and from different coordinates, from jazz to blues to Jewish music. The focus of his group Żywizna, alongside vocalist Genowefa Lenarcik, is musical tradition from the Polish region of Kurpie — Żywizna means “nature” in the dialect from this area, Genowefa’s birthplace and the place where her father, Stanisław Brzozowy, was a true institution of local folk music. In this project, the musical legacy of Kurpie collides with Rogiński’s electric guitar, taking these songs to new places.
Lea Bertucci 6:15pm
An American composer, performer and sound designer who works in the field of electroacoustic music, inside the minimalist tradition of Julius Eastman, Éliane Radigue and La Monte Young, but without overlooking music recorded in Burundi, Finland, Bulgaria and Ethiopia. Her concerts for alto sax engage specifically with their surroundings via extended techniques and psychoacoustic feedback. For instance, her 2019 record Resonant Field was conceived to experiment with the resonances of the inside of an abandoned grain silo; that is, a huge concrete cylinder which is part of the Silo City industrial complex in Buffalo, New York.
Kolida Babo 7pm
Koliada is the Slavic name for the celebration of the new solar year, known in other parts of Europe as the winter solstice or Christmas. Greek artists Socratis Votskos and Harris P adopted the name Kolida Babo for their collaboration when they began to record their first record around this time of year. Both play the duduk, a woodwind instrument originating from Armenia and popularised by Djivan Gasparyan, one of the group’s primary influences, together with spiritual free jazz, kosmische electronic music and traditional music from the Greek regions of Epirus and Thrace.
Asmâa Hamzaoui y Bnat Timbouktou 7:45pm
Artist Asmâa Hamzaoui, daughter of maâlem or the master Rachid Hamzaoui, plays the guembri, a kind of three-string bass, accompanied by Bnat Timbouktou (Daughters of Timbuktu), krakebs and castanets. The set-up constitutes one of the few all-female Moroccan Gnawa groups. Like diwan or bilali (Algeria), stambali (Tunisia), and sambali (Fezzan, Libya), gnawa music originates from the brotherhoods of the slaves who practiced possession rites and the members of which maintain they descend from Bilal, the first Abyssinian (Ethiopian) converted to Islam.
Bamba Pana & Makaveli 8:30pm
A collaboration made up of Bamba Pana, a producer, and rapper Makaveli, which is one of the finest exponents of singeli, a music movement that caused a stir among youths from the Dar es Salaam neighbourhoods (Tanzania), with the Ugandan label Nyege Nyege Tapes catapulting them on to the world stage. Drawing influences from autochthonous genres such as taarab, mchiriku and bongo flava, Tanzanian hip-hop, this duo’s music is played at dizzying speed, faster than Gabber — exceeding 180 bpm – leaving those who venture to dance exhausted.