26 october 2001

Kabul Workshop The WOMEX is eight years old and alive and kicking. After two years static in Berlin, its place of birth, the Worldwide Music Expo has taken to the road again, winding up in Rotterdam, simultaneously this year's European Cultural Capital. Housed in one of the city's often weird and sometimes wonderful architectural delights, De Doelen, the trade fair boasts something near 500 stands lining endless corridors plus 34 showcases programmed throughout the afternoon and evening over four days. Needless to say, visitors are advised to go for comfort rather than elegance.
Two of the many qualities characteristic of the Dutch are their high degree of organisation and their impeccable English. Both essential when hosting such an international event. For many of the bewildered delegates desperately trying to work out how to get around, the friendly faces of the WOMEX team on a hazy autumn morning made all the difference.
Once the excitement of seeing old friends, colleagues and compatriots had passed, the all-important process of making new ones got under way. Amid the hustle and the bustle, business cards were exchanged, introductions made, meetings planned. By the time the showcases rolled around, the general atmosphere was one of merry activity.
In the introduction to the WOMEX booklet, the Dutch State Secretary of Culture asks the sticky question : so, what is world music ? Clearly a constantly evolving state of the art, reflected in the widely diverse programme ranging from timelessly traditional to contemporary cross-over artists. Representing the latter category, MoMo, a fusion of Moroccan and electro sounds concocted in the UK got the crowd on their feet and jumping. They were closely followed by the legendary Orchestra Baobab, recently back together after having disbanded in the early 80s. Senegalese rumba at its very best, their return to the stage was a moment of sweet nostalgia for some and a wonderful discovery for others. Sophisticated swing and angelic voices, Orchestra Baobab was undoubtedly one of the high points of the evening.
Next stop Cuba with the Caribbean island's most (in)famous sonero, Candido Fabre. Backed by an impressive combo, he got the audience dancing within minutes. The temperature shot into tropical heights as Candido launched into the improvisations for which he is famed. Despite a clear frustration at having to leave the stage after the allotted forty minute set (his concerts usually last well over two hours), the artist was understandably happy to be at the WOMEX to promote his music and his country.
Next door in the more intimate Many Traditions Hall, a magical moment of music was to be shared with Petro-Loukas Chalkias & Kompania. The venue quickly filled up as the word got around that the Greek clarinet player, whose family remains one of the last tenants of the musical traditions of Epire, was playing. A particularly beautiful ending to a full and rich evening.
The Doelen might have shut, but the night was young and despite the peace and calm of the streets of Rotterdam, the Calypso just a few blocks away was in full swing. From Mali, 'Techno' Issa Bagayogo with his rousing mix of traditional and electro got the club rocking. The DJs, VJs, instrumentalists and vocals of the Shrine Synchro System from the UK then took over, spinning their original mix of afro-beat, hip hop and world vibes until the early hours for those too excited at being in Rotterdam for the WOMEX 2001 to go to sleep.

Marushka