Songs of the Matriarchs: The Saharawis

Starry Nights in Western Sahara
Starry Nights in Western Sahara (Rounder Records, 2003)

Song of Umm Dalaila: The Story of the Saharawis (documentary film, 1996)

Beat of Distant Hearts (documentary film, 2000) By Danielle Smith

A bit of history: the documentary films

In 1992, documentary filmmaker Danielle Smith visited a refugee camp in SW
Algeria where the Saharawis have been residing since 1975. Originally from
Western Sahara, which borders Morocco on the south and Mauritania on the west
and set near the Atlantic Ocean, this nomadic tribe of Berber and Arabic descent
suffered under Spanish colonialism for 90 years. This 90-year rule ended after a
rebellion by the Saharawis who formed the Polisario Front (nation) in mid
1970’s. However, the Saharawis’ victory was short lived and Spain struck an
illegal deal, dividing up Western Sahara between Morocco, Mauritania and taking
35% of phosphate rights for itself. This led the Moroccan government to invade
Western Sahara while imprisoning, murdering and displacing thousands of
Saharawis. The Polisario moved to the center of the Western Sahara where they
set up camp, only to be bombed with cluster bombs and napalm with military aid
from the US and France. 170,000 Saharawis fled to Algeria and currently 200,000
Saharawis reside in four refugee camps or tent cities in SW Algeria. They are
divided from their families by a 2,400 km-long “Berlin Wall” (built by Morocco,
a country that currently illegally occupies Western Sahara).A 16-year war raged on between Morocco and the Polisario Front until a cease-fire
in 1992 when the United Nations passed a referendum in favor of the Saharawis.
However, the Moroccan government has posed various obstacles and the UN has not
been able to carry out a resolution that would allow the Saharawis to return to
their homeland as liberated people. Danielle Smith documents the history and
political plight of the Polisario in two documentaries, Song of Umm Dalaila: The
Story of the Saharawis (1996) and Beat of Distant Hearts (2000). And while the
stories captured in her films appear tragic to most eyes, a silver lining does
exist beyond the black clouds of oppression and suffering.

Similarities between Saharawis and Tuaregs

Similar to stories of other groups languishing in refugee camps, the Saharawis
have used their time wisely. Similarities between the Saharawis and the Tuareg (Tamashek)
who endured persecution by the Malian government in the not too distant past can
be detected here. Both nomadic groups created music and art from their struggles.
The desert blues band Tinariwen who formed in a rebel camp (Libya) in 1982,
employ electric guitars in their western inspired music and the Saharawis have
also adopted electric guitar, bass and electric organ in their repertoire
regarding liberation. And similar to the Tamashek folkloric Ensemble Tartit,
Saharawis women also sing in a call & response style, accompanied by hand claps
and drums and on occasion bring in string instruments. While the groups sing in
different languages and broach different subject matter, the Saharawis women
vocalists and groups formed in refugee camps similar to Tartit who formed in a
refugee camp in Mauritania. However, I realize that these similarities between
the nomadic groups are superficial and an expert ethnomusicologist is better
equipped to detect subtle differences than I am.

Other similarities between the two cultures are the strong roles that women
perform in their respective societies, especially when it comes to education of
the children. Unlike many Muslim societies, Tuareg and Saharawis women are
permitted to divorce their husbands. While I am not knowledgeable about the
exact role of Tuareg women, Smith reveals the role of Saharawis women in her two
documentaries, with a greater emphasis in the Song of Umm Dalaila. Women are
shown running schools, sanitation projects, organizing daycare, vocational
training centers and schools (kindergarten through high school) in the camps.
Under the Polisario, Saharawis women literacy level leapt from 1 to 90% and the
women will continue to play a strong role in their communities after the
Polisario nation returns to its homeland. However, most impressive, the
Saharawis have set up gardens and other farming in the harsh desert climate
where they reside proving their determination and resourcefulness once again.

Starry Nights in Western Sahara

Poetry, music and painting reflect both the Saharawis political plight and
celebration of their nation. The music is often folkloric with an emphasis on
tradition and a nod to classical Arabic music. But in line with contemporary
times, Saharawis musicians often back their vocalists (women) with electric
guitars, bass and electric organ. After all, many of the youth had been sent
away to study in Algeria and Latin American countries where they would have
acquired modern influences. And older folk, such as the vocalist Umm Dalaila
featured in both of Smith’s documentaries had toured abroad with the group she
joined upon arriving at the refugee camp. Obviously, this would also bring
modern influences to Saharawis music.

The CD, Starry Nights in Western Sahara, produced and recorded by
Randy Barnwell with liner notes by Danielle Smith, provides a field recording
sampling both traditional and contemporary songs that possess social-political
messages. In the past, when women could only sing at weddings (Spanish
colonialism) and songs revolved around lighter themes, today women sing in
public and perform music to motivate members of their society to express their
political dream of returning to their homeland as liberated people and as their
own nation.

Starry Nights includes 11 tracks, featuring Umm Dalaila, Mariam Hassan
and Umm Merkiya on lead vocals (although Dalaila and Hassan’s names are not
listed in the CD notes). Some of the songs feature lead vocals and a chorus
engaging in call & response vocals with syncopated hand claps and bass sounding
drums, a noted example is the track, Everyone Celebrate. An Old Man, Sweet Young
Girl and Bani sample traditional fare. The Sahara Is Not For Sale, with guitar,
flute and percussion and The People’s Aspiration represent more contemporary
sounding songs.

The first half of Oh, People Celebrate Your Independence features a traditional
song sung in classical Arabic from the pre-Islamic era and the second half of
the song, marks a political anthem. The traditional love song The Dream is sung
in Hassaniya and the instrumental Wedding Song features percussion (drums and
claps) with string instruments (although I can’t tell you which string
instruments appear on the track).


I would never condone the Moroccan king for invading Western Sahara or any
nation bent on dominating other cultures, but I do see a silver lining created
out of this horrendous situation. The Saharawis have managed to create a
matriarchal-type situation that is based on cooperation and equality. They have
included healthcare, education and the arts on their priority list and created a
society where women play strong leadership roles. They have organized and
rallied their newly formed nation (less than 30 years old, but a nation in
exile) as preparation for returning to their rightful homeland and they are a
people firmly rooted in solidarity.

Perhaps most of the world is ignoring their plight because many nations would
rather keep singing the same song called world domination. However, if we truly
want to live in a peaceful world, then it is time for us to return to a place of
humility and learn a thing or two from nomadic, tribal and indigenous people. I
believe that we will all be better off once we adopt a more humble stance and
move from patriarchal domination to matriarchal cooperation. Of course only time
will tell if the Polisario will stay grounded in a cooperative society once they
return to their homeland. Similar to the artist in the film, (Beat of Distant
Hearts) who draws a lizard in the sand, the winds of change could also erase
even the most rooted society. In any case, nothing ever remains the same and we
must all stay conscious if we choose to live in a more compassionate era. But
for now, the Saharawis gives us a good example of a society with healthy
priorities, if only permitted to return to the Western Sahara.


The Saharawis people (news and updates):

Nubenegra, producers of various Saharawi CDs:

Compliments of Cranky Crow World Music


Interview with Saharawi Singer Mariem Hassan

Mariem Hassan
Mariem Hassan expresses herself naturally in Hassania, the language of the Saharawis, but has serious difficulties with Spanish. That’s why she has rarely agreed to be interviewed. This is why this interview, reproduced from a long encounter with Carmelo Lattassa, has double value.

“We have our language (Hassania, closely related to the Berbers of Mauritania). The Mauritanians have the same music that we do but ours is more modern. They have the haul (aboriginal rhythm and form) as we do. Our songs are different because we talk of our problems since we fled from the Sahara, songs of the
children crying because their fathers went to war and never came back. They talk about the women whose husbands and fathers went to war, never to return, they talk about the deaths, of life, of politics, of god, of our land to which we hope to return. 

I have a song about my brothers. It’s called “Tus Ojos Lloran” (Your Eyes Cry) and talks about my brothers and my father. One afternoon, in a rehearsal, a friend of mine came. She called me away to tell me that my brothers were dead. So, I cried and after that I started to sing. When I wrote the song, I thought of my brothers, in the time we lived in the Sahara, climbing the mountain with them, entering our jaima with them, talking with them, living with them, and I ask myself “where are they?After the Spaniards abandoned the Saharawi colony, the Western Sahara was occupied by Morocco and Mauritania. The Saharawi people fled to Algerian lands and founded the S.D.A.R. (Saharawi Democratic Arab Republic, recognized by 76 countries). 

The Mauritanian perseverance ceased, but even today, we are waiting for a referendum on the land, occupied by the Moroccan government. The Saharawis confronted the military occupation, but the Moroccan army superiority brought many deaths to the Saharawis.

When I have problems, I say: “Mulana (God), help me.” Life is like that. If someone has problems, if someone is ill, someone is dead, someone lives well, someone lives badly, someone has problems with his family, his government, his work, life goes on. For example, if my husband died, did I die too? No, I have
to think about how I should live and how my children are going to live in the future. That’s how it is.

You, the Westerners, have walls to hang your portraits. We, instead, live in cloth tents. When it rains, the water gets in the tent and wets the mats and everything. When it is cold, it’s really cold. (In the desert, temperatures can reach below freezing point.) Most of the people have nothing to heat the tents with. When it’s hot, it can reach over 43 degrees Celsius (110 Fahrenheit) and that makes life really hard.

We cook all the dry foods: lentils, beans, and things like that because they last longer. Then we go to the wells to look for the water to cook it. The water is really salty, but that’s what there is. We make the bread, the food and everything with the hands and we all live inside the jaimas, the mother, the father, the children and the one who comes to visit.

When I started to compose, I didn’t have an instrument with me, only a drum. Before, we sat in circles and sang for ourselves but each year we do more things. We go out and do it differently. Now we gather Shueta, Mudleila (Saharawi singers) and me, together with two guitar players and compose. But when I’m alone, I compose only with a drum. I do the lyrics and then the music, like this, until the song comes out. Sometimes it works well, sometimes badly, like this. I only write the lyrics. The music is by heart.

A poet sees a woman, and describes her and makes a poem, but I don’t, I do things singing. Before the war, we did songs of love and beautiful things but the war and the lack of our land made us talk of more important things about the kids, the martyrs, the war.

The haul has really strict rules of memory and interpretation. The contemporary singers usually write the lyrics but the rest of it is still being done in the old way. The accompaniment is with the tebal, a drum of about 60 centimeters in diameter, made of a dug out wooden bowl and leather from the skin of a camel or goat. It is played with the hands, almost exclusively by women, producing a dry and deep sound at the same time.

From its origin, they used the tidinit, an instrument of dug out wood and a leather lid, similar to a four-stringed guitar. Since some time ago, the guitar is used in the songs because of its harmonic richness. It’s interpreted from the forms of the tidinitthat’s why it sounds so different and is especially difficult for the Westerner, accustomed to the classical guitar.

When I sing for someone different than my people, I feel happy, always happy. And when the audience applauds, I do it better, with more joy. I was married two times. My first husband didn’t want me to sing or to do these cultural things. When I got married, it was in the old way he talks with my family, my brothers, but
not with me. I gave him three sons but I didn’t like his attitude. He didn’t like me to do anything, neither singing, nor working in the wilaya, so I told him that I couldn’t continue this way. Then, he signed a letter saying that he released me because the woman cannot separate from the men by Islamic law (Sharia).

But I chose my present husband first ,you have to build the love and then the rest. We participate in everything the men do because our Islam is easy, it’s not an imposed Islam. I travel many time out of the wilaya, to different countries and my husband sees it as normal. When I return I go back to my other work, as a nurse. I always think of returning to the occupied Sahara. I only think of return.

The interview with Carmelo Lattassa ends with this illustration:

Mariem’s Spanish is simple and limited. She had great difficulties to answer the questions. When she was asked for the first time if she found poetry in everyday life, she answered, “When I’m in the camps, I get up at seven and get the children ready for school. Sometimes I leave the lentils in the kitchen and ask
my neighbor to take care of them. Then I go to work, and when I return, I find the kitchen burnt.  Then, I do couscous, I do rice, preserves with milk…”

Courtesy of Nubenegra. Translated by José Ocaña and Tess Mangum-Ocaña. Edited by Angel Romero

jaima is a large desert tent. Pronounced ha-ee-mah


Drum Drum tours the USA

Drum Drum has commenced their third tour of the USA. It will be their first tour on the roster of SRO Artists Inc and will include 17 performances over 5 weeks including the Chicago World Music Festival, Street Scene in San Diego and Lotus World Music Festival. The group will also be performing at the three major Arts Markets in Milwaukee, Charlotte and Long Beach.

Following this members of the group will be invovled in a production at the Sydney Opera House in mid October and attending Womex.Drum Drum for the last three years have been at the forefront of contemporary Pacific music and dance in Australia. Based in Darwin in the tropical north of Australia, they draw upon their diverse cultures and ancestry to create a style of music never heard before.

Tour schedule:

Mon 09/15/03 Holland, MI Knickerbocker Theater

Tue 09/16/03 Lansing, MI The Creole Gallery

Thu 09/18/03 Charlotte, NC The Square

Fri 09/19/03 Chicago, IL World Music Fest

Sat 09/20/03 Chicago, IL World Music Fest

Sun 09/21/03 Wichita, KS Performance Hall

Thu 09/25/03 Fargo, ND Festival Concert Hall

Sat 09/27/03 Bloomington, IN World Music Festival

Wed 10/01/03 Billings, MT Alberta Bair Theater


Capping a Decade of Excellence

Africando – Martina

Martina (Stern’s STCD 1096, 2003)

It’s been 10 years since Africando began the full-force re-Africanization of salsa. Of course, the musical give and take between Africa and Latin America had been going on for generations, but even the most Latinized African popular music was getting too slick and synthesized and a return to roots was clearly in order.

The first Africando album, Trovador, set the global music scene ablaze with its combination of veteran African vocalists and seasoned Big Apple Latin musicians. They’ve kept it hot since then, exploring on subsequent releases salsa’s connections to Cuba, Senegal, Haiti, Puerto Rico and beyond.

Part of the fun of Africando is finding out who’s shown up to sing on their albums. From the start their vocal lineup has consisted of permanent, recurring and just-passing-through singers. On their last studio disc alone, 2000’s Mandali, they were billed as the Africando All Stars and lived up to the expanded moniker by including the likes of Salif Keita and Koffi Olomide.

Their new release, Martina, soars as brilliantly as anything they’ve done before. The unifying theme of the disc is the edification of African Women in all their strength, perseverance, grace and beauty that goes well beyond physical. Africando regulars Sekouba Bambino, Medoune Diallo, Ronnie Baro, Gnonnas Pedro, Eugene Shoubou and Amadou Balake are back, and guest vocalists this time include Senegalese troubador Ismael Lo, soukous smoothies Nyboma and Kester Emenya and Puerto Rico’s Joe King.

The complete seduction of your ears, soul, feet and hips begins without delay on track 1. “Lindas Africanas” (“African Beauty”) features the vocal ensemble singing with understated passion of exactly what the title suggests, sweetened by perfectly placed violin and timbale solos.

There’s no letup from there as two versions of the love song “Abibou” plead their cases in Diula and Spanish, “Azo Nkplon” throws in an electrified violin that wah-wahs like a cat in heat, Ismael Lo offers a touching paean to a friend who died young, guest Adama Seka stingingly scolds unfaithfulness on “Dioumte” and the horn-drenched salsa grooves swing flawlessly for the duration.

Malian arranger Boncana Maiga and Senegalese producer Ibrahima Sylla guide the whole thing with the same expertise and intuition they’ve wielded since the inception of Africando, showing how something that started out as a great idea can carry on with that greatness undiminished. A marvelous disc, but here’s a question to ponder: why, given the theme of the album, were there no female singers on board? A minor quibble, since the finished work is so good, but worth thinking about.

Buy Martina


Pancho Quinto – Rumba Sin Fronteras

Pancho Quinto - Rumba Sin Fronteras
Pancho Quinto – Rumba Sin Fronteras
San Francisco, USA – The latest release on the Riverboat label is Rumba Sin Fronteras by Cuban musician Pancho Quinto. Scheduled for release in the US on September 23, the album shows that Pancho Quinto’s music is a unique cross of rhythmic and harmonic elements rarely heard in contemporary music and features innovations in Cuban rumba percussion.

Rumba Sin Fronteras highlights the spirit of improvisation that makes Pancho such a major force in the development of Cuban music and one of the world’s great percussion innovators. On this recording, generations of musicians collaborate in a stunning mix of Afro-Cuban and African-American traditions, creating a ‘rumba without frontiers’.

The basic tracks of Rumba Sin Fronteras were achieved in a one-day session during Pancho Quinto’s historic 1998 US tour.

He was inspired by the booming percussive sounds he heard bouncing from car trunks in San Francisco’s Latin barrio, the Mission district, and craved the boom of hip-hop bass. With Pancho, singers Lazaro Rizo and Guillermo ‘El Negro’ Triana were eager to stretch the boundaries of rumba vocals, incorporating new harmonic ideas and phrasing into traditional songs. For this recording, Pancho bought plywood to build a bass cajon, a massive box that he sat on and played with his hands and sticks. He performed with a set of bata drums behind him, a small cajon between his legs, two conga drums on the side, and a variety of bells, sticks and a tambourine at his feet.

This unique percussion set produced a diverse array of sounds that Pancho divides between high and low frequencies.

Active for more than fifty years in a network of percussionists in Havana who have maintained and developed Cuba’s important African heritage, he began his career playing in traditional religious ceremonies, gaining the rank of omo ana or master drummer. During the 1950s he was a constant presence in neighbourhood carnival groups and rumbas, and played on the classic Sonora Matancera song ‘Nuevo Ritmo Omelenco’ which featured a young Celia Cruz.

Buy Rumba Sin Fronteras.


Celtic music of Spain

Tejedor - Llunaticos
Tejedor – Llunaticos

Llunaticos (Aris Música/Resistencia, 2003)

Although half of my family can claim Spanish ancestry, I have only known about Spain’s Celtic tradition for the past two years (Galicia & Asturias). However, until very recently I was unaware of Asturias’ Celtic music scene which includes pop star Hevia (inventor of the electronic bagpipes), Llan de Cubel, Felpeyu, Asturian Mining Company (led by an American expatriate) and Tejedor. Tejedor,
comprised of two brothers, José Manuel and Javier Tejedor and their younger sister, Eva have one eye on tradition and the other one on contemporary arrangements.

Most of the songs that appear on Llunàticos (lunatics) were composed by Javier and José, but with a Celtic folk-roots flavor. The trio employs an array of Celtic musicians and a vast collection of traditional instruments that are augmented by electric instruments at times. The opener, a tongue and cheek instrumental, Hell Bagpipes, brings in a host of musicians including, Igor Medio (bouzouki, guitar), Horacio Garcia (bass guitar), Fernando Arias (drums), Ramón Morán and César Ibarretxe (keyboards), Merce Santos (hurdy-gurdy), Xabier Zeberio (nickelharpa) and Ibón Koterón (alboka). José contributes bagpipes and Javier adds accordion and percussion. The result is anything, but hellish and a fan of Celtic music could describe it as heavenly.

Three ballads Married Woman, Swallow and Maruxina feature Eva on vocals. She also contributes pandereta and tambourine on Maruxina, a song about a maiden with dubious sexuality. Married Woman and Swallow flow in a lyrical fashion and are embellished with acoustic guitar, flute and other Celtic instruments. Maruxina begins with a cappella vocals set over drums & percussion and eventually guitar, bouzouki, bagpipes and accordion join into the traditional song’s quick tempo. The song also provides some unusual music twists that match the duplicitous nature of the song’s titular character.

While I do not have time to comment on all 12 tracks that appear on the recording, most of the songs fall into the instrumental category. The titular track marries Celtic music with electronic dance while, the slow instrumental lament, In the Memory features misty-eyed bagpipes along with violin, double bass and keyboards. The melancholy instrumental Etna blends flute and low whistles with a string quartet. And Floreo of Remis (written by José Remis Ovalle), allows José Manuel Tejedor to showoff his bagpipe virtuosity as he sails through quick tempo arpeggios and leaves listeners begging for more.< Llunàticos showcases a remarkable trio with lots of youth appeal and passion for roots-music. I wonder what this group will do next and I look forward to future recordings.

Buy Llunaticos


New World Titles on Topic Records

Drumming & Chanting In God's Own Country, The Temple Music Of Kerala In South India
Drumming & Chanting In God’s Own Country, The Temple Music Of Kerala In South India


London, England – Topic Records has released three new titles from its collection of traditional world music.

Drumming & Chanting In God’s Own Country, The Temple Music Of Kerala In South India (TSCD922) includes recordings in and around the Hindu temples of Kerala in Southern India made between 1995 and 1997, which demonstrate the vast range of performance genres. The huge percussion orchestra performances, the ancient styles of devotional singing, and the small music ensembles featuring rare traditional instruments like the huge C-shaped horn, the kombu, are some of these styles.


Gumboot Guitar, Zulu Street Guitar Music From South Africa
Gumboot Guitar, Zulu Street Guitar Music From South Africa


Gumboot Guitar, Zulu Street Guitar Music From South Africa (TSCD923) centers on the remarkable rootsy guitar from the streets of Durban. In the late 19th century, music previously played on Zulu musical bows was transferred in the new urban environment to the guitar and often concertina and violin too. Musicians often joined miners’ gumboot dance teams to accompany this genre, which mostly traditionally takes place on the streets of single-sex hostel compounds. These recordings from 1988 and 1996 feature musicians and gumboot players who live in one such hostel outside Durban.


The King’s Musicians, Royalist Music Of Buganda-Uganda
The King’s Musicians, Royalist Music Of Buganda-Uganda


The King’s Musicians, Royalist Music Of Buganda-Uganda (TSCD925). Possibly no other African rulers maintained such a rich variety of musical ensembles at their courts as the Kabakas (kings) of Buganda. Here is a unique sample of this musical richness, featuring the two different xylophone ensembles, the royal flute band, the songs of the king’s harpist and lyre players, as well as praise drumming and dancing.


Roots Music Booking Agencies Merge to Form The Roots Agency

Boston, USA – The Roots Agency is the result of the merger of Drake & Associates, Tamulevich Artist Management and Latin music agency MusicAmador. The Roots Agency is an agency that books roots-oriented music and dance, specializing in the genres such as folk, Latin, Celtic, world and American roots.

The agency represents Plena Libre, Eva Ayllón, Perú Negro, Sol y Canto, Sones de México, Janis Ian, Richie Havens, Leon Redbone, Greg Brown, John Gorka, Ellis Paul, Vance Gilbert, The Barra MacNeils, Dee Carsensten, Guy Davis, Mustard’s Retreat and more.Heading the Boston office is Rosi Amador: (Boston Office).  Phone (same) 617.492.1515. Fax: +1 617.649.0299. Robyn Whittington (Rosi’s new assistant):

Tim Drake:  (Main Office)
David Tamulevich: (Midwest Office)
Paul Dreifuss:  (Managing Director, Main Office)
Nancy Ambrose:  (Assistant, Main office)


Swahili Music Festival in Zanzibar

Zanzibar, Tanzania – Sauti Za Busara Festival is a new Swahili Music &
Cultural Festival showcasing best of Swahili musical traditions – from past,
present and future. Itwill be held Friday through Sunday 13 – 15th in February
of 2004 at Malindi Grounds, Zanzibar Town Zanzibar, Tanzania.

The festival is a 3-day weekend cultural extravaganza of music, theatre and
dance. The theme of this new dynamic festival on the African cultural calendar
is Swahili Encounters, focusing on showcasing a diversity of performing
arts which are all rooted in Swahili language and traditions. Modern and
traditional styles, both religious and secular will be represented, alongside
exciting new fusions and included will be some of the finest groups from
Tanzania and Kenya. The 2004 inaugural Festival takes place on the magical and friendly islands
of Zanzibar, Tanzania and is Free admission for all. The festival venue is
Malindi Grounds, a large green open space in the area close to the main market
of Zanzibar Town. Accommodation at all levels is available within easy walking
distance of the main festival venue.

Sauti Za Busara Festivals are planned for the future in a range of East
African islands and coastal venues and will expand to include a broad programme
of local and international artists.

During the week before the 2004 festival Busara Promotions collaborates with the
Dhow Countries Music Academy (DCMA Zanzibar: to present a
series of related music-based workshops and masterclasses. For the week
following the event Busara also plans to coordinate a variety of recording
sessions featuring many festival artists at Zanzibar’s Heartbeat Studios.

The programme deadline is 13 December 2003. Music groups and artists interested
in participating please send press kits to: Busara Promotions, PO Box 3635,
Zanzibar, Tanzania. Tel: +255 747 428478

Advertising, merchandising and sponsorship packages are available. For more
information contact Festival Director at


Filipino Band Rivermaya Tours U.S.A.

New Jersey, USA – Award winning Filipino rock band Rivermaya has started its US tour this week. The Tuloy Ang Ligaya U.S. Tour is produced by NOSAJ Entertainment.

Rivermaya is the most famous band from the Philippines, composed by Rico Blanco on vocals, Mike Elgar and Kakoi Legaspi on guitars, Japs Sergio on bass and Mark Escueta on drums.


260 South California Avenue, Palo AltoSEP. 14 – SPY CLUB, SAN JOSE

40 Vallejo Plaza, 3505 Sonoma Blvd.

600 Queensway Drive, Long Beach

7514 Clairemont, Mesa Blvd.

4857 Baxter Road, Virginia Beach

252 W. 43rd Street, Manhattan


Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion