The biggest Russian festival Tavrida Art hosted Russian Ethno-Music Conference MusiConnect Russia — the second five-day showcase conference of its kind held in Russia.
The gathering was aimed at the development of the Russian ethno-music (world music) industry and organized by Daryana Antipova and Alyona Minulina.
The conference took place during August 21 — 26, 2019 and it brought together 12 directors of ethnic (world music) festivals in Russia and one special guest from Hungary.
The participants included: Mikhail Chashchin of Festival Heaven and Earth (Tyumen); journalist Emil Biljarski of the Hungarian Ritmus és hang (Budapest); Natalia Ulanova of the international festival Voice of Nomads» (Ulan-Ude); Marina Gulyaeva of Kupalskaya skazka festival (Moscow); Daryana Antipova, co-director of the Russian World Music Awards (Moscow); Stanislav Drozdov, former director of the international festival Folk Summer Fest (Sevastopol); Ilya Shkurinsky of festival White Noise (Petrozavodsk); Irina Shuvalova of the the creative bureau Selsovet (Moscow), Yuri Pavlov of WAFest festival (Nizhny Novgorod), Irina Palekhova of Alatyr festival (Yekaterinburg), Alexei Polyakov of Call of Parma festival (Perm), and Olga Sitnikova of Protoka (Samara).
Tavrida Narodnaya is a compilation CD of the best musicians presented at the showcase festival. Festival directors listened to more than 25 participants who applied to perform and were chosen among 50 applicants. All musicians are under 35 years old. If you want to get more information about these projects please contact the compiler and showcase organizer Daryana Antipova (email@example.com)
Four groups were chosen to participate at the festivals:
Staritsa from Belgorod is going to play at Kupalskaya skazka» festival in 2010; Volya from Voronezh to participate at WAFest festival in 2020; Zoya Strekalovskaya from Yakutsk will go to Nebo i Zemlya festival in 2020; and Daniil (Danya) Voronkov from Moscow is going to perform at Voice of Nomads festival in 2020.
OYME (soul in English) is a Moscow-based group specialized
in the culture of the Ugro-Finn traditions of Russia. Currently, the ensemble
presents two types of shows: the traditional program and the world music option.
The conventional ethnographic program includes traditional polyphonic female singing of folk songs and laments from the Erzya and Moksha ethnic groups in Mordovia as well as traditional tunes by genuine instruments. Based on its own ethnographic expeditions “OYME” reconstructs ancient ritual ceremonies and national holidays of the Erzya and Moksha.
The world music side of the band features electronic folk
music made by using computer technologies, traditional Mordovian instruments
and world music instruments.
The OYME repertoire is primarily composed of celebratory and
ritual songs of the Mordovians. Each concert turns into a folk festival, a
collective ritual performance engaging the audience. The shows begin, as a rule
with the song named Pazchangodt – the rite of wishing each other well-being.
Members of the audience raise their hands and jubilantly shout out in chorus
OYME’s musicians regularly embark on ethnographic expeditions across the Republic of Mordovia with the aim to collect new musical material. The OYME artists record songs performed by local babushkas using a multichannel device. These expeditions allow the musicians to implement their dream of creating an open archive of Mordovian song heritage.
The ensemble’s lineup Ezhevika Spirkina, Larisa Zybkina, Kseniia Zobanova, and Anastasia Kosova on vocals; Elena Barskova on drums, percussions; and Vladislav Oskolkov on violin.
The Terem Quartet is one of the leading proponents of “new Russian folk music” on the international music scene today. The Terem Quartet was founded more than 13 years ago, when the participants were still music students in St. Petersburg. Mischa Dziudze explains the choice of the ensemble’s name: “Originally the word terem describes a loft, and therefore the place in which virgins used to live in the house before their marriage. Today, it is generally used to describe a pretty Russian-style house, but also,” he adds, “a wonderful place in which many different animals live in peace together, as in a Russian fairy-tale world.”
The group was already well known in Russia when Peter Gabriel discovered them in 1991 and immediately brought them into the recording studio. The Terem Quartet’s resulting debut album was released in 1992 on Gabriel’s Real World label and led to the group’s international breakthrough and popularity. After the great success of this first album, the Terem Quartet has had no shortage of invitations to play beyond Russian borders. They performed at the Summer Olympic Games in Barcelona in 1992, at the anniversary of German reunification in 1992, and have even been invited to the famous Venice Carnival. In January 1994, the musicians celebrated their thousandth concert together in Russia and took the opportunity to record their second album.
After making a studio album and a live production, it was decided that the Terem Quartet’s third album would be a concert performance recorded with the technical standards of a studio session. The venerable Teatro Civico in Tortona in Italy proved to be the ideal place for such a project, and No, Russia Cannot Be Perceived by Wit was recorded there on October 2, 1998.
On No, Russia Cannot Be Perceived by Wit, Igor Ponomarenko (alto-domra), Andrei Kostantinov (soprano-domra), Andrei Smirnov (bayan-accordion) and Mikhail Dziudze (bass-balalaika) present themselves in top form, both in terms of playing and in high spirits. The album title gives an idea of their general attitude, while wonderful track titles such as “Sounds Like A Twist,” “Must Be A Foxtrot,” and “Positively A Waltz” inform the listener that this is a quirky, non- traditional folk album. In addition to their own fascinating compositions, the Terem Quartet also present original interpretations of selected pieces of classical music (including an exquisite adaptation of Rossini’s “Barber of Seville”).
The Kamwa International Ethno-Music Conference was the first three-day conference of its kind held in Russia. The gathering was aimed at the development of the Russian ethno-music (world music) industry and organized by the Kamwa festival, Natalia Shostina and Daryana Antipova.
The conference included a series of round tables on current topics of the ethno-music industry such as “Features of ethnic festival organization in Russia. The best form of legal registration for festivals”, “Folk Music Industry in Russia” and others. The main goal of the event was to foster professional industry partnerships, business contacts, opportunities for exporting Russian ethnic music, and international cooperation.
The conference took place during July 27 – 29, 2018 at the grounds of the Architectural and Ethnographic Khokhlovka Museum, located 40 km from Perm on the picturesque banks of the Kama River. It brought together directors of ethnic festivals in Russia, managers working with world music groups, tour agents, representatives of ethnic labels and journalists ranging from Siberia and Moscow to France and Hungary.
Denis Davydov of the Myrkr record label in Ekaterinburg said: “I am very glad that I was able to take part in the Kamwa ethno-music conference. It was a new and useful professional experience for me. Finally in Russia there is a platform where you can meet and talk with the organizers of ethno – and folklore festivals, representatives of groups, publishers and journalists. I hope that the conference will be an annual one. Thanks to its organizers, and, in particular, Daryana Antipova and Natalia Shostina for the invitation“.
Tatiana Lambolez of booking agency Altan-Art (France) expressed: “The atmosphere was wonderful at the conference. We had interesting topics for discussion and all members actively participated, which is important. The Kamwa festival itself is wonderful, with a very rich and varied program in a wonderful place and nature. I enjoyed the full program and the choice of artists as well as communicating with conference participants and organizers. Thank you!”
Best World Music Band – Seven Eight Band
Experimental Award – Nadishana
Best Authentic Band – Merema
Newcomer Award – Karelia
Best Video – Otava Yo
World Music Legend – Sergey Starostin
Audience prize – Gilead
Contributions to world music – Theodor Bastard
The 2nd Annual Russian World Music Awards were held on Thursday, November 23rd at the Moscow’s Central House of Artists in Moscow, Russia. Shaman Nikolay Oorzhak from Tuva opened the ceremony with a traditional prayer.
Russian musicians are rarely present on the world music scene so this project is created to change this situation. On the Awards’ social media page vk.com/russianworldmusicawards you can listen to all the tracks from nominees for free.
Our ceremony in Moscow on November 23rd was very successful. It gathered lots of musicians, directors of all the main world music festivals of Russia (Andrei Klukin from Wild Mint festival in Moscow, Natalia Shostina – director of Kamwa festival from Perm and Yuri Romanov – WhatEthno festival director from Novosibirsk), and many fans of Russian culture. It was a please to hear from the audience that it was a cultural revolution in our country!
The ceremony was conducted by Andrei Bukharin, music critic and columnist for Rolling Stone magazine. This year, 46 music collectives from 25 cities were nominated. Voting was conducted with the participation of 12 jury members, consisting of the largest specialists in the field of folk music from 9 countries: Ben Mandelson from the UK, Jarmila Vlchkova from Slovakia, Nataliya Shostina from Russia, Simon Broughton from the UK, Aengus Finnan from the US, Rolf Beydemuller from Germany, Alexander Cheparukhin from Russia, Arne Berg from Norway, Andrew Cronshaw from the UK, Nick Hobbs from Turkey, Carlos Seixas from Portugal and Yury Romanov from Russia. In total, 12 samurais and absolutely wonderful people.
The special guest Arne Berg from NRK (Norway) and musical journalist Vadim Ponomarev (Guru Ken) had a networking meeting named “World music today: identity, migration, context” the next day on November 24th at Pioneer Cinema Bookstore.
Organizers are Natalia Myazina and Daryana Antipova.
Chitinskaya Sloboda – Songs of Russian People. Cossacks’ songs / Song of old-believers and Transbaikalien Cossacks (Sketis Music SKMR-129, 2016)
Songs of Russian people. Cossacks’ songs / Song of old-believers and Transbaikalien Cossacks is a two-CD set by Russian folk music ensemble Chitinskaya Sloboda. The group is part of a movement in Russian folk music that is researching and recovering ancient musical traditions.
Disc 1 focuses on Cossack songs. It features a mix of polyphonic choral a cappella pieces along with songs featuring accordion and percussion accompaniment. The ensemble provides fascinating vocal interplay with a wide-range of vocal ranges featuring female and male singers.
Disc 2 includes songs a cappella old believers songs (an ancient Russian orthodox sect) and traditional cossack songs from the Transbaikal mountainous territory east of Lake Baikal in Russia.
Chitinskaya Sloboda includes Alexander Avdeyev, Vyacheslav Egorov, Vladimir Kravtsov, Arina Nekrasova, Larisa Pakhomova, Alexei Ryumkin, Natalia Ryumkina, Leonid Subotni, and Lyubov Tkachenko.
The CD booklet includes liner notes in Russian and English and song lyrics in Russian.
The jew’s harp had disappeared in Russia until Vladimir Markov (Владимир Марков) and other enthusiasts revived it. Markov, a musician from Irkutsk conducted research and started playing the vargan, the Russian jew’s harp in the 1990s.
Out of time – Russian jew’s harp music (Вне времён. Русская варганная музыка) is Markov’s vision of how the vargan was used. It’s a fascinating album of traditional Russian folk songs adapted to jew’s harp.
Reelroad plays traditional Russian music in an original post-folk style in concert halls and festivals throughout Europe and Russia.
In 2008 the band crossed the Atlantic to perform at world music festivals in Mexico and the United States. In early 2009 Reelroad celebrated its 10th anniversary.
Reelroad’s repertoire favors obscure folk songs from northern Russia and central Siberia, music driven underground for decades. Reelroad has two styles of performing Russian folk music. The first echoes the village with the sound of Russian instruments such as the gusli (zither), zhaleika (fife) and kaljuka.
Traditional vocals are prominent, due in part to Reelroad members Anastasia Karaseva and Aleksandrs Dmitrijevs, founders of the traditional village choir “Dubinushka.” Acoustic guitar, violin, flute and bagpipes round out the sound.
In the second style, developed for the large stage, Reelroad projects and amplifies the village sound with bass guitar and drums. All seven Reelroad members are musicians. Four serve as vocalists as well, singing in traditional Russian village vocal style.
Anastasia Karaseva plays the tin whistle, Spanish pandereta and Irish harp.
Alexey Belkin manages Reelroad and plays Galician and Scottish bagpipes, zhaleika (fife) and winged gusli (dulcimer).
Aleksandrs “Kep” Dmitrijevs plays acoustic guitar, banjo and harmonica.
Natalia Vysokikh is a professional violinist.
Alexey Skosyrev made the fretless bass guitar he plays, as well as Anastasia’s harp.
Svetlana Kondesyuk, a graduate of the Academy of Arts, plays the flute and Galician bagpipes.
Denis Nikiforov learned to play the drums in the army, studied at the Academy of Arts, and works at the famous Hermitage museum.
In addition to concert performances, Reelroad teaches Russian folk dances in clubs and dance schools. The band welcomes dancers of all skill levels and aims to dispel the belief Russian folk dances are boring or difficult.
Russian composer and arranger Andrey Vinogradov (a former member of the legendary Russian band Arsenal) is set to play on hurdy-gurdy March 30th, 2017 at Hyperion club, Moscow.
You will hear Andrey’s own songs and instrumental compositions, as well as Russian, Bulgarian, Macedonian, Serbian, Greek, Austrian music, contemporary classical melodies, and jazz improvisation on hurdy-gurdy. This exact instrument was made by Wolfgang Weichselbaumer from Austria.
Andrey participated at several prestigious folk festivals recently like Krutushka (Kazan, 2015), EuroFolk (Bulgaria, 2015), Medunarodni Festival Tradicijskih Glazbala (Croatia, 2015), Manor Jazz Rosa Khutor (Russia, 2016), Music on the river (Russia, 2016), and Pilsen Busking Fest (Czech Republic, 2016).
For about 4 years Alyona Minulina has been known as Alyona FolkBeat – a beautiful folk singer and beatbox musician from a rising star group FolkBeat. In February 2017 Russian label FireStorm production released their new album “I’m marching on my own” that was recorded and produced by Alyona but at the same time their fans were shocked by news about her leaving the project. Alyona tells us what happened and what’s next.
Q:How did the group FolkBeat get started?
Alyona Minulina: FolkBeat grew up from a student’s ensemble. It was called differently and consisted of a large number of participants. Later I began to study beatbox and electronic music, so I thought it was interesting to combine it with Russian folk songs. So FolkBeat has traditional Slavic polyphony, surrounded by electronic arrangement, which is close to the styles of EDM trap, dubstep, trance and crunk. The compositions are often performed with beatbox – imitation of drum machines and music effects using vocal apparatus and articulation organs.
Q: How would you describe your musical journey so far?
AM: When we started we made music for ourselves and gradually our music started to be interesting to other people. We didn’t think about genres, we were passionate about making music with each other, it was really awesome. When we went on stage the audience felt our special energy.
Q: Did you perform in Europe or only in Russia?
AM: In 2016 Folkbeat took part at EuroRadio Festival and had a concert in Viljandi (Estonia). Besides this we visited Madrid, Munich, Athens and Tallinn with festival of Russian cultural FeelRussia.
Q: As I know – you love collaborating with different music genres and bands: what are the features of Russian folk music that makes it possible for you to collaborate with other musicians?
AM: The most interesting thing for me is the fact that people connect with each other, share cultures, and different genres and traditions mix too. Now I have plans to record some songs together with the master of throat singing Alexei Chichakov from Mountain Altai. This will be the connection of his own Altai traditions and Slavic melodies.
In every collaboration I’m looking for special feeling when the spark runs between musicians (chemistry in our relationship), because then, every performance becomes memorable for listeners. This is the highlight for me. Of course with Folkbeat we often had this feeling. When the head is full with ideas – I always find the way to realize them. But sometimes I get tired and I need to allow some rest for myself. This is the most difficult thing for me.
Q: What music instruments do you use?
AM: Different electronic things (loop station, keyboards), sometimes folk wind instruments like kugikly and kaliuk, khomus.
Q: What can you tell us about the contemporary Russian folk scene?
AM: Despite the fact that the Russian folk scene is a real “folk star” and a budding young musicians, it hasn’t been formed yet. We do not have enough support and solidarity between each other. Although we have more opportunities for advancement than 10 years ago.
Q: How are your albums being received by audiences?
AM: Our first album «Joyful meeting» became favorite Russian-folk album on EBU Folk Festival in 2016. In Russia it was in the top twenty music albums of 2016. This year we released the album «Sama idu» (I’m marching on my own). We collaborated with different electronic musicians and DJs, so it can be classified as pop-folk.
Q: Who would you say are the leading influences in your musical career?
AM: My teachers, who always said something like this: pull yourself and work, work hard, if you really love it.
Q: So what happened to FolkBeat?
AM: With Folkbeat we are friends, but we do not work together anymore. If the world gives us a chance to sing together again, I will take this chance.
Now I work on original songs album with the texts of famous Russian poets from XX century. And together with Jewish, Armenian, Russian musicians and composer from Canada, Ivan Popov, we have created a world music project “Under The Same Sky” which intertwined tunes and melodies of different national cultures. In March we will have a concert of Slavic-Jewish music.
Q: Are Russian audiences, venues, labels and artists open to collaboration?
AM: It depends on various factors, but if you play interesting music, you can always find a way.
Q: Where do you see yourself 10 or 15 years from today?
AM: I see myself chewing pasta in my favorite little pizzeria in Italy, resting in a cozy wooden house on the Solovetsky Islands in Russia, and playing my set at the Burning Man.
Q: Do you also teach workshops for students and musicians?
AM: I opened vocal beatbox and body percussion workshops named “Pulse” in Moscow recently and it’s getting popular. I have a lot of new ideas and projects in my head and I hope my music experience with FolkBeat will help me to create something really unique and internationally interesting.
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion