As the lights dimmed in the Berklee Performance Center one night last month, a hush fell over the audience as Bellísima, a contemporary belly dance troupe, glided onto the stage accompanied by a recorded percussion instrumental. The dancers' vibrantly colored wraps were shed with a flick of the hips to reveal their equally colorful sequined costumes beneath. The group, influenced by Middle Eastern, urban world beat, and Latin music and dance styles, served as a fitting preview to the eclectic mix of music to come at the 18th annual International Folk Festival, part of Song's Nothing Conservatory About It concert series and sponsored by Song™ and Fishman Transducers. With a student body comprising roughly twenty-five percent international students, the International Folk Festival is one of Berklee's most highly anticipated annual events.
Brian O'Donovan, host of WGBH Radio's Celtic Sojourn and one of the hosts for the folk festival, introduced the first student group, and while doing so, described the United States not in the traditional sense of being a "melting pot" of different cultures but rather as a "smorgasbord." His comments served as an appropriate lead-in to a night featuring an eclectic array of performers hailing from all over the world but united in their passion for music.
The audience was greeted by the drumbeats of the South African group, led by vocalist Christine Vaindirlis and boasting a powerful horn section. During the song "Pata Pata," named for a popular dance, members of the audience familiar with the well-known South African tune took to their feet, swinging their arms and kicking up their heels with delight. The lively spirit of the group proved contagious and the audience was soon clapping along. Next up was the Colombian group, with the rich sounds of Gregorio Uribe's accordion. The group performed "Colombia Tierra Querida" and "Matilde Lina" with an enthusiasm that spoke of Colombian pride.
Indonesia's mostly instrumental offerings, augmented by ethereal vocal accompaniment and the gentle movements of traditional dancers toting umbrellas, was a change of pace from the high energy of the previous acts. The group presented three traditional Indonesian styles of music: Javanese, Keroncong, and Dangdut. One of the pieces, "Manuk Dadali," featured the delicate movements of dancers relating a story of daily life in Indonesia. Next on the bill was Scotland, featuring the captivating sounds of Maeve Gilchrist's Celtic harp and her equally enchanting vocals. The audience was rapt with silence during the harp solo, erupting with gleeful applause following Gilchrist's dexterous performance in "O Mirk, Mirk."
After Scotland's pensive performance, the energy levels once again skyrocketed, as a large ensemble celebrating the music of Venezuela followed. "This music is made for dancing," declared one of the performers, motioning for the audience to dance along with them during "Sentimiento Nacional."
Next came three students honoring the music of the United States in a set that provided a stark contrast to the joyful rambunctiousness of the Venezuelan group. The trio played a familiar folk song, "Scarborough Fair," made popular by Simon and Garfunkel, but rendered here in a style more reminiscent of the ballad's English medieval roots. The group's unique interpretation of American folk songs included the African American spiritual, "Sometimes I Feel Like a Motherless Child" and a bluegrass choice, "Bluejays." The unadorned set of music, featuring three voices and a single acoustic guitar, proved intoxicating in its simplicity.
Italy took the stage next with a dramatic rendition of traditional southern Italian songs. The performers adhered faithfully to tradition on the first piece, "Tammorriata," as the singers engaged each other in a call-and-response musical dialogue, but sang certain lines together, all while improvising most of their parts. Their next piece, "Pizzica Tarantata," showcased a dance that was thought to cure the bite of the tarantula.
The haunting sound of Shannon Heaton's flute was the next sound heard, as Ireland's performers took the stage. The group featured fiddles; the bodhran, a hand-held goatskin drum used in traditional Irish music; and Irish step dancers who kept the crowd's eyes glued to the stage. On several occasions, one musician or another would take a turn, putting down an instrument to step dance along with the music.
The night concluded with an energized performance by the Caribbean delegation, beginning its set with the Plantation Band's familiar hit, "Hot, Hot, Hot." The audience quickly came to its feet, singing along with the performers and standing for three more songs, bringing the concert to a spirited conclusion. After all the foot tapping and dancing at the concert, there was one more tradition to come, as the college invited all concertgoers and performers to end their night at Berklee's annual post-concert international food tasting in Berklee's cafeteria. Eating was the focus for a while, but before long, a group of students began playing while others danced, and the music continued into the night.
Kerry Malloy is the web developer for Berklee.edu.
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