Refugees for Refugees is a Belgium-based ensemble that
includes musicians from Syria, Tibet, Pakistan, Iraq, Afghanistan and Belgium
who are united by their aspiration to intertwine links between their
music. The group has developed an
original repertoire that fuses various traditions.
Influences include Afghan, Tibetan, Arabic, Pakistani, and European music. Refugees for Refugees uses a wide range of musical instruments, including nomadic Tibetan chants, the South Asian sarod, Arabic ud and Middle Eastern percussion.
The lineup in 2019 included Asad Qizilbash on sarod (Pakistan), Aren Dolma on vocals (Tibet), Fakher Madallal on vocals, percussion (Syria), Kelsang Hula on dramyen, vocals (Tibet), Mohammad Aman Yusufi on dambura, vocals (Afghanistan), Simon Leleux on percussion (Belgium), Souhad Najem on qanun (Iraq), Tammam Al Ramadan on ney (Syria), Tareq Alsayed Yahya on ud (Syria) and Tristan Driessens on ud (Belgium).
La Chiva Gantiva is a Belgian band rooted in Afro-Colombian music. La Chiva Gantiva was founded around 2011 in Brussels by three Colombian students: Rafael Espinel, Natalia Gantiva and Felipe Decker. The group later grew into a multinational band with members of Colombian, Vietnamese, Belgian and Chilean origin. Their style combines Afro-Colombian rhythms with rock, afrobeat and funk.
In 2010, La Chiva Gantiva received the Premio SHOCK, an annual award given by Colombian television. The band has performed at festivals and venues in Europe, Australia, New Zealand, Benin, the United States and Canada.
Shantalla is a Belgium-based band formed by several Irish musicians and one Scot. The band was created in 1995 by two members of an Irish band called Sean Talamh (Gaelic for ‘old ground’ or ‘old country’, meaning Ireland). Kieran Fahy and Michael Horgan teamed up with Gerry Murray and Joe Hennon (guitar) and decided to use a name that was easier to pronounce in English so they used Shantalla. They were later joined by Scottish singer Helen Flaherty.
The group’s first album was recorded in 1998 for the Belgian label Wild Boar Music and distributed in many countries by Green Linnet.
Kieran Fahy – fiddle. Kieran had classical training and is an All-Ireland slow air fiddle champion. He won the first O’Carolan competition in Keadue. Kieran has released two solo albums and toured the USA with Duck Baker.
Helen Flaherty – vocals and bodhrán. Helen has a background in singing Scottish and Irish songs. She recorded with Mairtin Tom Sheainin MacDhonncha on his Blath na hOige album.
Joe Hennon – guitar. Joe is rock a musician that converted to traditional Irish music. He leads the young music group Clann Lir
Michael Horgan – uilleann pipes, flute, whistles. Michael has played with La Lugh, Mary Bergin and several other artists. He is involved in the recording of soundtracks and sessions with successful Belgian artists.
Gerry Murray – accordion, bouzouki, mandolin and whistles. Gerry is a twice Slogadh All-Ireland Champion. Before he left Ireland in the 1980s, he was a prominent music teacher in the North Monaghan area.
Zap Mama was founded by Marie Daulne. Marie sings in French, Swahili and Wolof, harmonizing with Pygmy bushmen, and free styling in Brooklyn slang. Sound is truly her mother tongue.
Born in the former Zaire (now the Democratic Republic of Congo) to a Belgian father and a Zairian mother, Marie Daulne fled the country at the age of three when war broke out. After taking shelter with a tribe of Pygmies, her family eventually made their way to Brussels. There is no doubt that Marie experienced an uncommon Belgian upbringing.
While children from her school were practicing in front of a piano, Marie’s mother was introducing her to the sounds of the rainforest, teaching her the unearthly singing of the Central African Pygmies. But Marie preferred to listen to Stevie Wonder and early hip-hop from the United States: “Our mother would make us learn the polyphonic singing, but at the time we thought it was boring because it was traditional.” Instead, Marie developed her vocal skills through imitation of the sultry voice of Roberta Flack and the lip-smacking beats of the Fat Boys’ Human Beat Box.
An appreciation for the music that her mother tried to teach came later when Marie returned to Zaire at the age of 18. Hearing the music in its context and re-imagining her past, Marie found new meaning in the syncopated ululations of the Pygmy melodies. Energized by her rediscovery, Marie returned to Belgium ready to share.
Zap Mama, the world-renowned a cappella group Marie founded, is a persistent exploration of cross-cultural musical pollination, incorporating sounds ranging from Moroccan mawwal to Delta blues. It was the Zap album Seven that marked an evolution for the strictly a cappella female ensemble with the introduction of instruments and male vocals. Marie explains the change: “To use only women limits the vocal register too much, I want to see the voice go as far as possible. But the voice talks to the head. Instruments talk directly to the body. When there is a drum, it’s the body that understands. I wanted to mix the two.”
Marie moved to the United States for a few years, where she began to collaborate with its R&B and hip hop artists. Zap Mama’s Ancestry in Progress features neo-soul Erykah Badu (on “Bandy Bandy”), hip-hop artists Common and Talib Kweli (on “Yelling Away”), and other members of the Roots’ Philly massive.
After her American experience, Marie moved back to Belgium.
Sophie Cavez is a self-taught musician who started playing the diatonic accordion at the age of 17. She began her career by replacing Didier Laloy in various settings, but was soon recognized for the remarkable quality of her playing. As a result she became the accordionist of numerous bands herself, one of them being Urban Trad.
Together with Karim Bagglli she also founded her own band Dazibao where she played her own compositions full of eastern and flamenco influences. Apart from this she can also be seen in the Racines show by comedian Phlllippe Vauchel, and in Luc Pilartz’s VioSons populaires en Wallonie.
She played accordion with Celtic bands Camaxe and Ialma and has had a long-standing collaboration with cellist Baltazar Montanaro.
Jong Folk (Apple Rekord, 2003)
Elem, with Urban Trad (Universal Music, 2005)
Imaxes, with Camaxe (Wildboar, 2005) Alma, with Dazibao (Home Records, 2005)
Si la terre…, with Geneviève Laloy (Polyson, 2005)
Fars, with Jong Folk (Apple Rekord, 2005)
Nova Era, with Ialma (2006)
Erbalunga, with Urban Trad (2007)
E40, with Dazibao (2007)
Luna, with KV Express (2007)
Lumen, with No Blues (2008)
The Watchman, with Ad Van Meurs & Friends (2010)
Sophie Cavez and Baltazar Montanaro (Appel Rekords, 2010)
Les Mamelles du Désir, with Jeff Caresse (Appel Rekords, 2011)
Opus 1, with Knopf Quartet (Wildboar 2011) Escales, with Baltazar Montanaro (Appel Rekords, 2012)
Reiseiland, with Soetkin Collier Quartet (Appel Rekords, 2012) 3e temps, with Baltazar Montanaro (2015)
Zafon, with KV Express (Homerecords 2016)
Miguel Allo is the founder of Celtic band Camaxe. He is also a passionate gaitero (player of the gaita, the Galician bagpipes). He started playing the instrument at the age of 9 and by the age of 12 was already composing his first melodies.
Miguel grew up in the context of Galician musical culture and participated a numerous musical contests in Santiago de Compostela (Spain), where he managed to win the first prize with his Belgian band. Miguel is also a member of Galician roots band Ialma.
Marc De Martelaer was the bass player for Celtic band Camaxe. His elaborate musical background is the result of his collaboration with numerous bands from the most diverse origins: Jewish with Krupnik, Brazilian with Samboa, Asian, etc.
As a recognized bass player he has had the opportunity to work together with some renowned Belgian musicians: Catoul- Micault group. Ten Strings, Claude Semal et les Convoyeurs, Perry Rose, etc).
Limbrant, noted for its pure approach to Flemish music, is a six -member ensemble under the direction of Hubert Boone, one of the pioneers of the Belgian folk music revival. Many of the innumerable songs and dances he collected in Flanders are in the group’s repertoire.
Limbrant’s program includes early ballads, love songs, and historical songs; dance melodies – polkas, mazurkas, waltzes, contredances, and lively schottisches – which were imported from other regions and gradually assimilated into the Flemish folk culture; pieces from the bal musette repertoire; and original compositions.
Hubert Boone plays violin and Flemish bagpipe. The lineup has varied throughout the years.
Danskens- Arguèdènes, with the Walloon brass ensemble Á Râse dè Têre
Brabantse danstradities [Brabant dance traditions] (Etna, 2013)
Ialma is responsible for the increasing influence of Galician folk music in Belgium. The group features five cantareiras (singers), who are descendants of Spanish immigrants from Galicia, as well as Belgian instrumentalists. Ialma also has strong Wallonian and Flamenco influences.
The vocalists are: Verónica Codesal, Marisol Palomo, Nuria Aldao, Natalia Codesal and Magali Menéndez
Tradicional Galician instruments such as gaita (bagpipe) and pandereta (tambourine) are combined with accordions, bass, and piano.
Filip Lambrechts started playing the guitar at the age of 16. He improved his playing by imitating what he heard on records (mostly American singer-songwriters). Some time later he discovered Dadgad (particular way of tuning the guitar) thanks to the recordings of Pierre Bensusan.
After having studied jazz music for some years he returned to acoustic folk music. Next to Bensusan he is also inspired by the playing of Martin Simpson, and Welsh guitarist Dylan Fowler. Filip was also member of the trio Sourdine and Celtic band Camaxe.
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion