Music spoken in Portuguese (more commonly known as Lusophone) often stems from Brazil, Mozambique and Cape Verde. From bossa nova, to MPB to Tropicalia, learn and listen in this article on some amazing musical traditions.
Read MoreBefore the Sex Pistols, There Was Peruvian Punk Rock
Western punk groups have taken credit for starting the punk movement, but a small group in 1960s Peru would say otherwise.
Peruvian punk band Los Saicos. TravelingMan. CC BY-NC-ND 2.0
Punk music has been used for decades as a means to express discontent about numerous topics, including politics and controversial events. But where does the genre come from? While it is easy to claim Western influences, like the Sex Pistols and The Clash to be the forefathers of the punk scene, the Peruvian rock band Los Saicos, formed in 1964, is a strong contender for the position of “Originators of Punk.”
In order to make comparisons between Los Saicos and Western punk bands, a definition of punk music is in order. Punk music consists of fast beats and often aggressive lyrics that seek to critique certain ideas or systems of power. A recent academic article discusses how the lyrics to the Sex Pistol’s “Anarchy in the U.K.” were a critique of the U.K.’s foreign policy in Ireland, a period known as The Troubles. The Los Saicos song “Demolición” lacks a specific reference to Peruvian politics at the time, but clearly expresses discontent with government infrastructure.
The members of Los Saicos were likely influenced by the political turmoil within Peru during their upbringing. Guitarist and vocalist Erwin Flores and drummer Francisco Guevara had just graduated high school and were grappling with unprecedented political strife, drastically affecting how they prosper as adults. The group was established in 1964, with “Demolición” being one of the country’s biggest songs that year. Amidst massive inflation under President Fernando Terry’s land redistribution policy, economic hardship increased for Peruvians. The lyrics are representative of a future that was promised to them with Terry’s liberal redistribution policies, but one that ultimately drowned with the Peruvian sol’s value. ‘Demolición’ expresses hatred at the government for promising a future and delivering inflation.
Los Saicos broke up in 1966, but its influence was picked up by garage rockers throughout Peru and abroad in the U.K. The punk genre’s grungy and generally angsty music did not necessarily originate from the members of Los Saicos, but they were critical in the genre’s explosion in popularity, especially in areas where there was a discontent with state functions.
“Nobody invented the wheel, we were obviously building off of what others have done,” said Flores in an interview.
The band’s desire to express themselves within a country in turmoil ranges across languages and generations, effectively changing how the music scene functioned as ‘angry’ music started becoming mainstream and profitable.
Clayton Young
Clayton is an aspiring photojournalist with a Bachelor's in Liberal Studies with a minor in History from Indiana University - Bloomington. In his free time, he enjoys hikes, movies, and catching up on the news. He has written extensively on many topics including Japanese incarceration in America during World War II, the history of violence, and anarchist theory.
The Nasir ol Molk Mosque in Shiraz, Iran: Islamic architecture is one of the gems of Persian culture, as is its traditional music. Wikimedia Commons
Why Traditional Persian Music Should be Known to the World
Weaving through the rooms of my Brisbane childhood home, carried on the languid, humid, sub-tropical air, was the sound of an Iranian tenor singing 800-year old Persian poems of love. I was in primary school, playing cricket in the streets, riding a BMX with the other boys, stuck at home reading during the heavy rains typical of Queensland.
I had an active, exterior life that was lived on Australian terms, suburban, grounded in English, and easy-going. At the same time, thanks to my mother’s listening habits, courtesy of the tapes and CDs she bought back from trips to Iran, my interior life was being invisibly nourished by something radically other, by a soundscape invoking a world beyond the mundane, and an aesthetic dimension rooted in a sense of transcendence and spiritual longing for the Divine.
I was listening to traditional Persian music (museghi-ye sonnati). This music is the indigenous music of Iran, although it is also performed and maintained in Persian-speaking countries such as Afghanistan and Tajikistan. It has ancient connections to traditional Indian music, as well as more recent ones to Arabic and Turkish modal music.
It is a world-class art that incorporates not only performance but also the science and theory of music and sound. It is, therefore, a body of knowledge, encoding a way of knowing the world and being. The following track is something of what I might have heard in my childhood:
Playing kamancheh, a bowed spike-fiddle, is Kayhān Kalhor, while the singer is the undisputed master of vocals in Persian music, ostād (meaning “maestro”) Mohammad Reza Shajarian. He is singing in the classical vocal style, āvāz, that is the heart of this music.
A non-metric style placing great creative demands on singers, āvāz is improvised along set melodic lines memorised by heart. Without a fixed beat, the vocalist sings with rhythms resembling speech, but speech heightened to an intensified state. This style bears great similarity to the sean-nos style of Ireland, which is also ornamented and non-rhythmic, although sean-nos is totally unaccompanied, unlike Persian āvāz in which the singer is often accompanied by a single stringed instrument.
A somewhat more unorthodox example of āvāz is the following, sung by Alireza Ghorbāni with a synthesised sound underneath his voice rather than any Persian instrument. It creates a hypnotic effect.
Even listeners unfamiliar with Persian music should be able to hear the intensity in the voices of Ghorbāni and Shajarian. Passion is paramount, but passion refined and sublimated so that longing and desire break through ordinary habituated consciousness to point to something unlimited, such as an overwhelming sense of the beyond.
Beyond media contrived images
The traditional poetry and music of Iran aim to create a threshold space, a zone of mystery; a psycho-emotional terrain of suffering, melancholy, death and loss, but also of authentic joy, ecstasy, and hope.
Iranians have tasted much suffering throughout their history, and are wary of being stripped of their identity. Currently, economic sanctions are being re-applied to Iran’s entire civilian population, depriving millions of ordinary people of medicine and essentials.
Traditional Persian music matters in this context of escalating aggression because it is a rich, creative artform, still living and cherished. It binds Iranians in a shared culture that constitutes the authentic life of the people and the country, as opposed to the contrived image of Iran presented in Western media that begins and ends with politics.
This is a thoroughly soulful music, akin not in form but in soulfulness with artists such as John Coltrane or Van Morrison. In the Persian tradition, music is not only for pleasure, but has a transformative purpose. Sound is meant to effect a change in the listener’s consciousness, to bring them into a spiritual state (hāl).
Like other ancient systems, in the Persian tradition the perfection of the formal structures of beautiful music is believed to come from God, as in the Pythagorean phrase, the “music of the spheres.”
Because traditional Persian music has been heavily influenced by Sufism, the mystical aspect of Islam, many rhythmic performances (tasnif, as opposed to āvāz) can (distantly) recall the sounds of Sufi musical ceremonies (sama), with forceful, trance-inducing rhythms. (For instance in this Rumi performance by Alireza Eftekhari).
Even when slow, traditional Persian music is still passionate and ardent in mood, such as this performance of Rumi by Homayoun Shajarian, son of Mohammad-Reza:
A Persian woman playing the Daf, a frame drum, from a painting on the walls of Chehel-sotoon palace, Isfahan, 17th century. Wikimedia Commons
Another link with traditional Celtic music is the grief that runs through Persian music, as can be heard in this instrumental by Kalhor.
Grief and sorrow always work in tandem with joy and ecstasy to create soundscapes that evoke longing and mystery.
Connections with classical poetry
The work of classical poets such as Rumi, Hāfez, Sa’di, Attār, and Omar Khayyām forms the lyrical basis of compositions in traditional Persian music. The rhythmic structure of the music is based on the prosodic system that poetry uses (aruz), a cycle of short and long syllables.
Singers must therefore be masters not only at singing but know Persian poetry and its metrical aspects intimately. Skilled vocalists must be able to interpret poems. Lines or phrases can be extended or repeated, or enhanced with vocal ornaments.
Thus, even for a Persian speaker who knows the poems being sung, Persian music can still reveal new interpretations. Here, for example (from 10:00 to 25:00 mins) is another example of Rumi by M.R. Shajarian:
This is a charity concert from 2003 in Bam, Iran, after a horrendous earthquake destroyed the town. Rumi’s poem is renowned among Persian speakers, but here Mohammad-Reza Shajarian sings it with such passion and emotional intensity that it sounds fresh and revelatory.
“Without everyone else it’s possible,” Rumi says, “Without you life is not liveable.”
While such lines are originally drawn from the tradition of non-religious love poems, in Rumi’s poems the address to the beloved becomes mystical, otherworldly. After a tragedy such as the earthquake, these lyrics can take on special urgency in the present.
When people listen to traditional music, they, like the singers, remain still. Audiences are transfixed and transported.
According to Sufi cosmology, all melodious sounds erupt forth from a world of silence. In Sufism, silence is the condition of the innermost chambers of the human heart, its core (fuad), which is likened to a throne from which the Divine Presence radiates.
Because of this connection with the intelligence and awareness of the heart, many performers of traditional Persian music understand that it must be played through self-forgetting, as beautifully explained here by master Amir Koushkani:
Persian music has roughly twelve modal systems, each known as a dastgah. Each dastgah collects melodic models that are skeletal frameworks upon which performers improvise in the moment. The spiritual aspect of Persian music is made most manifest in this improvisation.
Shajarian has said that the core of traditional music is concentration (tamarkoz), by which he means not only the mind but the whole human awareness. It is a mystical and contemplative music.
The highly melodic nature of Persian music also facilitates expressiveness. Unlike Western classical music, there is very sparing use of harmony. This, and the fact that like other world musical traditions it includes microtonal intervals, may make traditional Persian music odd at first listen for Western audiences.
Solo performances are important to traditional Persian music. In a concert, soloists may be accompanied by another instrument with a series of call-and-response type echoes and recapitulations of melodic phrases.
Similarly, here playing the barbat, a Persian variant of the oud, maestro Hossein Behrooznia shows how percussion and plucked string instruments can forge interwoven melodic structures that create hypnotic soundscapes:
Ancient roots
The roots of traditional Persian music go back to ancient pre-Islamic Persian civilisation, with archaeological evidence of arched harps (a harp in the shape of a bow with a sound box at the lower end), having been used in rituals in Iran as early as 3100BC.
Under the pre-Islamic Parthian (247BC-224AD) and Sasanian (224-651AD) kingdoms, in addition to musical performances on Zoroastrian holy days, music was elevated to an aristocratic art at royal courts.
Centuries after the Sasanians, after the Arab invasion of Iran, Sufi metaphysics brought a new spiritual intelligence to Persian music. Spiritual substance is transmitted through rhythm, metaphors and symbolism, melodies, vocal delivery, instrumentation, composition, and even the etiquette and co-ordination of performances.
A six-string fretted lute, known as a tār. Wikimedia Commons
The main instruments used today go back to ancient Iran. Among others, there is the tār, the six-stringed fretted lute; ney, the vertical reed flute that is important to Rumi’s poetry as a symbol of the human soul crying out in joy or grief; daf, a frame drum important in Sufi ritual; and the setār, a wooden four-stringed lute.
The tār, made of mulberry wood and stretch lambskin, is used to create vibrations that affect the heart and the body’s energies and a central instrument for composition. It is played here by master Hossein Alizadeh and here by master Dariush Talai.
Traditional Persian music not only cross-pollinates with poetry, but with other arts and crafts. At its simplest, this means performing with traditional dress and carpets on stage. In a more symphonic mode of production, an overflow of beauty can be created, such as in this popular and enchanting performance by the group Mahbanu:
They perform in a garden: of course. Iranians love gardens, which have a deeply symbolic and spiritual meaning as a sign or manifestation of Divine splendour. Our word paradise, in fact, comes from the Ancient Persian word, para-daiza, meaning “walled garden”. The walled garden, tended and irrigated, represents in Persian tradition the cultivation of the soul, an inner garden or inner paradise.
The traditional costumes of the band (as with much folk dress around the world) are elegant, colourful, resplendent, yet also modest. The lyrics are tinged with Sufi thought, the poet-lover lamenting the distance of the beloved but proclaiming the sufficiency of staying in unconsumed desire.
As a young boy, I grasped the otherness of Persian music intuitively. I found its timeless spiritual beauty and interiority had no discernible connection with my quotidian, material Australian existence.
Persian music and arts, like other traditional systems, gives a kind of “food” for the soul and spirit that has been destroyed in the West by the dominance of rationalism and capitalism. For 20 years since my boyhood, traditional Persian culture has anchored my identity, healed and replenished my wounded heart, matured my soul, and allowed me to avoid the sense of being without roots in which so many unfortunately find themselves today.
It constitutes a world of beauty and wisdom that is a rich gift to the whole world, standing alongside Irano-Islamic architecture and Iranian garden design.
The problem is the difficulty of sharing this richness with the world. In an age of hypercommunication, why is the beauty of Persian music (or the beauty of traditional arts of many other cultures for that matter) so rarely disseminated? Much of the fault lies with corporate media.
Brilliant women
Mahbanu, who can also be heard here performing a well-known Rumi poem, are mostly female. But readers will very likely not have heard about them, or any of the other rising female musicians and singers of Persian music. According to master-teachers such as Shajarian, there are now often as many female students as male in traditional music schools such as his.
Almost everyone has seen however, through corporate media, the same cliched images of an angry mob of Iranians chanting, soldiers goose-stepping, missile launches, or leaders in rhetorical flight denouncing something. Ordinary Iranian people themselves are almost never heard from directly, and their creativity rarely shown.
The lead singer of the Mahbanu group, Sahar Mohammadi, is a phenomenally talented singer of the āvāz style, as heard here, when she performs in the mournful abu ata mode. She may, indeed, be the best contemporary female vocalist. Yet she is unheard of outside of Iran and small circles of connoisseurs mainly in Europe.
A list of outstanding modern Iranian women poets and musicians requires its own article. Here I will list some of the outstanding singers, very briefly. From an older generation we may mention the master Parisa (discussed below), and Afsaneh Rasaei. Current singers of great talent include, among others, Mahdieh Mohammadkhani, Homa Niknam, Mahileh Moradi, and the mesmerising Sepideh Raissadat.
Finally, one of my favourites is the marvelous Haleh Seifizadeh, whose enchanting singing in a Moscow church suits the space perfectly.
The beloved Shajarian
Tenor Mohammad-Reza Shajarian is by far the most beloved and renowned voice of traditional Persian music. To truly understand his prowess, we can listen to him performing a lyric of the 13th century poet Sa’di:
As heard here, traditional Persian music is at once heavy and serious in its intent, yet expansive and tranquil in its effect. Shajarian begins by singing the word Yār, meaning “beloved”, with an ornamental trill. These trills, called tahrir, are made by rapidly closing the glottis, effectively breaking the notes (the effect is reminiscent of Swiss yodeling).
By singing rapidly and high in the vocal range, a virtuoso display of vocal prowess is created imitating a nightingale, the symbol with whom the poet and singer are most compared in Persian traditional music and poetry. Nightingales symbolise the besotted, suffering, and faithful lover. (For those interested, Homayoun Shajarian, explains the technique in this video).
As with many singers, the great Parisa, heard here in a wonderful concert from pre-revolutionary Iran, learned her command of tahrir partly from Shajarian. With her voice in particular, the similarity to a nightingale’s trilling is clear.
Nourishing hearts and souls
The majority of Iran’s 80 million population are under 30 years of age. Not all are involved in traditional culture. Some prefer to make hip-hop or heavy-metal, or theatre or cinema. Still, there are many young Iranians expressing themselves through poetry (the country’s most important artform) and traditional music.
National and cultural identity for Iranians is marked by a sense of having a tradition, of being rooted in ancient origins, and of carrying something of great cultural significance from past generations, to be preserved for the future as repository of knowledge and wisdom. This precious thing that is handed down persists while political systems change.
Iran’s traditional music carries messages of beauty, joy, sorrow and love from the heart of the Iranian people to the world. These messages are not simply of a national character, but universally human, albeit inflected by Iranian history and mentality.
This is why traditional Persian music should be known to the world. Ever since its melodies first pierced my room in Brisbane, ever since it began to transport me to places of the spirit years ago, I’ve wondered if it could also perhaps nourish the hearts and souls of some of my fellow Australians, across the gulf of language, history, and time.
THIS ARTICLE WAS ORIGINALLY PUBLISHED ON THE CONVERSATION
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DARIUS SEPEHRI
Darius is a Doctoral Candidate for Comparative Literature in the Religion and History of Philosophy at the University of Sydney.
VIDEO: The Sounds of Kenya
Kenya, located in East Africa, is home to a diverse collection of tribes, cultures, and religions that all intermingle to create the country that over 52 million people call home. While it has undergone development in the late 20th and 21st century, it still has vast swathes of untouched land that is as varied as the people that live on it. This video gives viewers a glimpse of the many different people, places, and landmarks in Kenya, with a focus on the daily joy that residents experience and share with those close to them. While the Kenyans appearing in the video may be from different tribes, they all share the same appreciation for their community and the land that surrounds them.
Vienna Rocks On at the World’s Largest Music Festival
Austria’s Danube Island Festival attracts around 3 million visitors annually. The festival spans three days, offers all kinds of music, and is completely free to attend.
Crowd at Danube Island Festival 2018. Andreas Jakwerth posted by Donauinselfest. CC BY-SA 2.0
Each year at the end of June, millions of people flock to an island in Vienna for a three-day musical event. The Danube Island Festival, as the event is known, is the world’s biggest open-air music festival, attracting over 3.3 million visitors every year. The festival hosts more than 2,000 musicians across three days and 19 stages, contains numerous food and souvenir stalls, and essentially turns the island into a giant, booming party—and admission is free.
The Danube Island Festival is held on Danube Island, a 13-mile man-made island located between the Danube River and a parallel, excavated channel known as the New Danube. When the island was created in 1972, its primary function was to serve as part of Vienna’s flood prevention system; the Danube crosses the city, so flooding is a major concern. Now Danube Island is a hub of recreation, complete with beaches, a trampoline center, a climbing park, a network of trails, and a few bars and restaurants. Danube Island is also full of wide green spaces, which easily become the venues for the Danube Island Festival. The island is located only a few minutes away from Vienna’s city center, making it a wonderful venue, as festivalgoers can stay in the city and sightsee while still having quick access to the festival grounds.
What would grow into the world’s biggest music festival began as a promotional event for Danube Island. In 1983, Austrian politician Harry Kopietz introduced the idea of a one-day party on Danube Island to demonstrate its value as a recreational area. Event organizers expected around 15,000 people to show up and were stunned when the party had over 160,000 attendees. Since the event was wildly successful, it was held again the following year, and the number of visitors nearly doubled. The Danube Island Festival has been an annual event ever since, and has steadily grown in popularity to reach the millions of visitors it has today. The festival also increased in length from one day to three, to accommodate the number of visitors and to provide more performances.
The festival offers music for everyone, from little-known local bands to world-famous headliners and everything in between, in a multitude of genres. In past years, there have even been performances from the Vienna Symphony Orchestra. Headliners have also included the Backstreet Boys and Simple Minds, as well as a number of artists famous among German speakers.
Even the COVID-19 pandemic couldn’t put a stop to the Danube Island Festival, which occurred in alternate form in 2020. Instead of one large three-day event, the 2020 festival took place over 80 days and throughout Vienna; a double-decker bus with an open-air stage on top toured the city, bringing over 200 live performances to the Viennese people. For 2021, the festival is scheduled to take place from Sept. 17-19 in a hybrid format. The double-decker performance bus will be back roaming the city from August to September, and festival organizers hope to hold a scaled-down version of the festival with mostly local acts if public health permits.
Rachel Lynch
Rachel is a student at Sarah Lawrence College in Bronxville, NY currently taking a semester off. She plans to study Writing and Child Development. Rachel loves to travel and is inspired by the places she’s been and everywhere she wants to go. She hopes to educate people on social justice issues and the history and culture of travel destinations through her writing.
7 Dazzling Light Festivals
What better time to explore a new city than during a magnificent festival of lights? These seven festivals are annual events sure to immerse visitors in vivid lights and unique cultures.
Lights are an important part of culture and art around the world. They symbolize new beginnings, celebrate historic traditions and are glimmering, eye-catching sources of entertainment. Many countries host annual festivals with lights at their center. These seven light festivals display floating lanterns, light sculptures, intricate projections and even raging bonfires. The lights on display vary from festival to festival, as does the history behind each event, but every event is sure to dazzle visitors.
1. Las Fallas de Valencia, Spain
Each year over a million revelers gather in Valencia, Spain, for this five-day fire festival. Las Fallas begins on March 15, when more than 700 “ninots,” towering statues made of cardboard, papier mache, wood or plaster, are set up around the city. The ninots are eye-catching: often multiple stories tall, colorful and exaggerated depictions of current events and satirical scenes. Las Fallas originates from an old carpenter's tradition of burning materials on March 19 to celebrate the arrival of spring. The carpenters’ bonfires of old wood and rags developed into the elaborate ninots seen today. On the final day of the festival, March 19, all but one of the ninots are set ablaze in the festival's dramatic climax. The ninot that is spared from the fire, known as the “ninot indultat,” is chosen by popular vote and preserved in Valencia’s Fallas Museum alongside ninot indultats from years past. While the ninots and their burning are the festival’s main attraction, they are far from all that Las Fallas has to offer. Daily firework shows light up the sky, and music, parades and delicious authentic food are sure to keep visitors entertained.
2. Festival of Lights, France
France’s Festival of Lights, a tradition in the city of Lyon, is a pre-Christmas celebration dating back to 1852. In 1852, a statue of the Virgin Mary was scheduled to be erected on Sept. 8, but the statue’s delivery was delayed by flooding. The event was postponed to Dec. 8, the date of the Feast of the Immaculate Conception. Due to inclement weather, the official ceremonies again had to be postponed. But as night fell, the weather cleared, and citizens of Lyon placed lit candles on their windowsills and balconies in a show of unity. Since then, Dec. 8 has become a day known for illumination in Lyon. The tradition escalated in the 1960s, when shops began window-lighting competitions, making the lights in Lyon more elaborate and widespread. The illumination of the city has spread in the years since, and every year around Dec. 8, light displays spotlight city squares, streets, bridges and even rivers. Much of the light at the festival comes in the form of projections on building facades, created by visual artists, that transform Lyon into a dreamlike world of glittering color.
3. Lantern Festival, China
China’s Lantern Festival, held on the 15th day of the first lunar month, typically falling in February or March, marks the end of the Chinese New Year (Spring Festival). As the name suggests, glowing lanterns are the centerpiece of the festival. During the festival, lanterns in all shapes and sizes adorn China’s cities. The lanterns display artwork depicting traditional Chinese images like animals, fruits, flowers and people. The lighting of lanterns represents illuminating the future. The Lantern Festival dates back over 2,000 years, to the Western Han dynasty. Emperor Wen made the 15th a national holiday in celebration of the return to peace, and every household began to light candles and lanterns. A later ruler, Emperor Ming of the Eastern Han, was a devout Buddhist, and learned that monks would light candles for the Buddha on the 15th. Emperor Ming ordered that the palace and temples light candles on the 15th as well, and that citizens hang lanterns. The two events combined to form the Lantern Festival that is celebrated today. In addition to the lighting and admiration of the lanterns, visitors to China’s Lantern Festival can watch lion dances, eat “tangyuan” traditional dumplings, and try to solve riddles affixed to lanterns in order to win a prize.
4. St. Martin’s Day, Netherlands
St. Martin’s Day is a children’s festival celebrated every Nov. 11 in honor of St. Martin, who was traditionally regarded as the patron saint of the poor and a friend to children. Nov. 11 is the day of St. Martin’s passing, but the atmosphere of the festival is joyful, not somber. The festival is similar to American Halloween, with children going door to door to collect treats such as candy, fruits or pancakes. Unlike Halloween, however, children do not dress up in costumes. Instead, they carry lanterns and parade around the neighborhood. Adults place similar lanterns outside their homes to show that they are offering treats to the revelers. Historically, children’s lanterns were made out of hollowed-out turnips and sugar beets hanging from a stick. These days, most children make and decorate their own paper lanterns at home or school, or lanterns can be purchased at grocery stores. Rather than saying “trick or treat,” children in the Netherlands sing songs to earn their treats. There are a few common songs for the festival, but children can sing any song they like, even ones of their own creation.
5. Loi Krathong, Thailand
On the evening of the 12th lunar month, which usually falls toward the beginning of November, the whole country celebrates Loi Krathong, Thailand's Festival of Lights. Loi Krathong translates to “floating basket,” and it is a celebration of renewal, leaving behind the old and welcoming in the new. Thousands of lotus-shaped boats made from banana leaves called “krathong” are lit with candles and set afloat in waterways. In the north of Thailand, the krathong are joined by lanterns released into the sky for another light festival, Yi Peng, which often coincides with Loi Krathong. Most Loi Krathong celebrations are concentrated around waterways, since they are necessary to float the krathong. According to legend, Loi Krathong originated with Nang Nopphamat, a beautiful lady of the court in an ancient city. Wanting to catch the attention of the king, Nopphamat constructed a boat out of lotus leaves, placed a candle inside, and floated it down the river, creating the krathong. Today, the festival includes beauty contests in honor of Nopphamat, as well as parades, fireworks and, of course, the floating of the krathong.
6. Bonfire Night, England
This celebration, also known as Guy Fawkes Day, takes place each year on Nov. 5. Bonfire Night marks the anniversary of the discovery of the Gunpowder Plot of 1605, a plan by Catholic conspirators to blow up the British Houses of Parliament. Guy Fawkes was one of the conspirators. He was captured and taken into custody the night before the attack and eventually tried, convicted and executed. The other conspirators met the same fate, or were killed resisting arrest. Today, Guy Fawkes Day is celebrated with fireworks, food, parades and bonfires, hence why the celebration is also called Bonfire Night. Effigies of Guy Fawkes, made from old clothes stuffed with paper and straw and commonly called “The Guy,” are thrown on the bonfires. The bonfires are also used to heat soup and cook potatoes to feed the crowds that gather to watch the brilliant fireworks displays.
7. Vivid Sydney, Australia
Vivid Sydney is billed as a festival of light, music and ideas. Each year, more than 2 million visitors flock to Sydney to watch live music performances, attend creative workshops, talks and conferences, and see some of the city’s historic sites go up in lights. The festival lasts for 23 days, and the Sydney Opera House, Customs House and Taronga Zoo, among others, are all illuminated nightly at 6 p.m. Over the course of the festival, Sydney becomes a work of art, displaying light sculptures, large-scale projections and light installations. To best take in the massive array of lights, visitors to Vivid Sydney can follow the Vivid Light Walk, a route that stretches from The Rocks, a historic neighborhood by the Sydney Harbour Bridge, to the Sydney Opera House, winding through a number of attractions on the way. Several of the light installations are typically interactive, adding another dimension to the fun.
Rachel Lynch
Rachel is a student at Sarah Lawrence College in Bronxville, NY currently taking a semester off. She plans to study Writing and Child Development. Rachel loves to travel and is inspired by the places she’s been and everywhere she wants to go. She hopes to educate people on social justice issues and the history and culture of travel destinations through her writing.
Khoomei: Mongolian Throat Singing As Art and Action
Khoomei, otherwise known as Mongolian throat singing, enjoys a wide international audience thanks to inventive local artists looking for ways to share and save their culture.
Mongolian throat singers holding a horsehead fiddle. Alan Fieldus. CC BY-NC 2.0.
Across the steppes of Central Asia, the almost eerie but melodic droning of “khoomei” still echoes. Khoomei, more commonly known as throat singing, is the practice in which a singer can produce two or more notes simultaneously. By utilizing the jaw and larynx, as well as precise lip movements, the singer can produce unique harmonies using only their body.
Khoomei, which translates to “throat” in Mongolian, has origins with the Tuva people, an Indigenous group found in parts of Siberia, Mongolia and China. A 1999 Scientific American article traced back both the techniques of khoomei and its rich history. According to Tuvan legends, throat singing was the first way humans learned to sing. Throat singing was also designed to mimic the natural sounds of the surrounding wind and water. Coupled with their animistic beliefs, the Tuvan people believed that throat singing also served a spiritual purpose. Khoomei eventually proliferated and evolved among the Turko-Mongol tribes.
During the first half of the 20th century, however, throat singing was restricted. Communist governments considered the art as “backward” due to its heavy ritual and ethnic legacies. It was not until the 1980s that throat singing was restored to its former glory and preserved as a national art form. In 2010, UNESCO inscribed khoomei on the Representative List of the Intangible Cultural Heritage of Humanity. This honor was conferred to officially acknowledge the unique oral histories and philosophies that khoomei harbors. Despite its difficult history and almost seemingly jubilant ascent, khoomei and its singers are still under threat.
Mongolia’s wide-open steppes made it the ideal sound room for practicing and perfecting khoomei. Vince Gx. Unsplash.
Mongolia is a country that is landlocked between two geopolitical giants, China and Russia. The government has feared that both countries’ economic and diplomatic influences will overwhelm its own affairs. In 2010, Mongolian throat singers sought to defend the tradition against China. UNESCO mistakenly listed China as the sole country of throat singers, a misprint that angered the Mongolian community.
In 2013, China announced its ambitious Belt and Road Initiative, a plan meant to enhance infrastructure connectivity and deepen financial cooperation, among several other aims. While China poured billions of dollars into creating trade routes and industries, the Mongolian people remain unappeased.
With these economic gains also came renewed cultural conflicts. When visiting the Mongolian capital of Ulaanbaatar this past September, Chinese Foreign Minister Wang Yi was greeted by protesters who accused Beijing of suppressing the Mongolian language in China’s Inner Mongolia autonomous region. The former Mongolian president Tsakhiagiin Elbegdorj condemned the Chinese government’s policy that replaced Mongolian with Mandarin in school curriculums. Elbegdorj condemned the action as “cultural genocide” and urged Mongolians to persist in preserving their culture at home and abroad. A part of this resistance also includes using khoomei as a way to reclaim and reassert identity.
Enter The HU. Through music, this heavy metal band uses its Mongolian roots as a way to share the country’s culture with the world. Its most popular pieces, “Wolf Totem” and “Yuve Yuve Yu,” have garnered nearly 111 million YouTube views combined. The HU has charted millions of listeners on Spotify and even covered songs for the video game, Star Wars Jedi: Fallen Order. In an interview, The HU shared that its music stays true to form, mimicking natural sounds in certain tracks. The members hope that they can continue to be cultural ambassadors for their country and its culture. In 2019, The HU was honored with the Order of Genghis Khan, a presidential award recognizing special merits to society.
While music may not solve political conflicts, its influence and reach has given many Mongolians something to be proud of. Khoomei especially has proven to be both a restricted and a revolutionary form of art. As this contested expression continues to endure and flourish, it is clear that the people need their music as much as a song requires a voice.
Rhiannon Koh
Rhiannon earned her B.A. in Urban Studies & Planning from UC San Diego. Her honors thesis was a speculative fiction piece exploring the aspects of surveillance technology, climate change, and the future of urbanized humanity. She is committed to expanding the stories we tell.
A female-dominated protest moving to "Un Violador en Tu Camino" (“A Rapist in Your Path”). Wotancito. CC BY-SA 4.0
The Chilean Roots of a Global Anti-Gender-Based Violence Movement
On the 2019 International Day for the Elimination of Violence Against Women, over 10,000 women gathered outside Chile’s Santiago National Stadium, a former detention and torture center from Chile’s military dictatorship. “Patriarchy is our judge/That imprisons us at birth/And our punishment/Is the violence you DON’T see” the group chanted, their clothes and bodies marked with anti-violence slogans. “It's femicide!” they shouted into the frigid air. “It's not my fault, not where I was, not how I dressed!” They placed their hands behind their heads, then squatted up and down, mimicking the movements that Chilean police officials and prison wardens force females to perform while naked.
This is the movement that has globally spread, dismantling the structural forms of gender violence set in place by police and judiciary systems. The protests feature the Chilean song “Un Violador en Tu Camino,” or “A Rapist in Your Path.” Created by the Valparaíso feminist collective Las Tesis, it challenges the gender violence so prominently institutionalized by political structures. Las Tesis works closely with various activists and scholars to demystify rape as an act of pleasure. Specifically, “Un Violador en Tu Camino” is based on the work of Argentine-Brazilian anthropologist Rita Segato, one of Latin America’s most celebrated anthropologists of gender violence. Las Tesis also investigates the sexual violence, homicide and rapes within Chile that are left unaddressed in the criminal justice system.
The song was first publicly performed in front of a Valparaíso police station. As the initial protest, women merely sought to impose small-scale street interventions. However, as the visceral lyrics moved through global media, they inspired similar demonstrations throughout Latin America and beyond.
Thousands of women performed the piece at the Zócalo, Mexico City’s main square, on November 29, 2019, roughly a week after the Valparaíso protest. Since then, Las Tesis’ song has spurred movements in Latin American countries such as Colombia, Venezuela, Peru and Argentina, and has even spread to global protests in London, Berlin, Paris, Madrid, Barcelona, Tel Aviv, New Delhi, Tokyo, Beirut, Istanbul and New York City.
Each protest site transforms the musical base, adapting the movements and song to their national identity. Within Latin America, green scarves represent the campaign for legal abortion. Black blindfolds acknowledge the ways that women are made vulnerable by Chilean police. Brazilian activists add the lyrics, “Marielle is present. Her killer is a friend of our president.” They reference Marielle Franco, an assassinated city council member from Rio de Janeiro. An ongoing investigation will determine if Brazilian President Jair Bolsonaro was involved in her killing.
“It’s the cops. It’s the judges. It’s the system. It’s the president. The rapist is you.” This phrase has been chanted around the world, demanding rectification for years of human rights violations. As female protesters gather in urban areas and repeat these words, they point— physically and metaphorically—to the courthouses, police headquarters, and presidential palaces that have systematically dehumanized women, promoting gender violence and oppression. Media, movement and song give women the platform to insert their collective power and instill political change.
Anna Wood
is an Anthropology major and Global Health/Spanish double minor at Middlebury College. As an anthropology major with a focus in public health, she studies the intersection of health and sociocultural elements. She is also passionate about food systems and endurance sports.
Curves of Iran
“Curves are everywhere in Eastern culture: our writing, our architecture, our instruments, the way we dance; even the tone of our language is curved. The West was built on angles. The East was built on curves.”
Rhythms of Peru
There is so much more to Peru than Machu Picchu. From the heart of Lima to deep in the Sacred Valley, 'Rhythms of Peru' takes you not only to Peru's most iconic, but also far off the tourist trail for a chance to experience a more intimate view of this beautiful country.
Reinventing Electronic Music With Dubai’s Cellist DJ
When classical cellist Aaron Kim was diagnosed with critical hearing loss, he had two choices: to keep creating music or to stop altogether. Kim chose the former and has since discovered a passion for electronic music. Combining his classical training with new sounds, Kim produces unconventional electronic beats for the emerging underground music scene in Dubai. The freedom to create music on his own terms, without any rules or structures, has helped Kim break and overcome barriers that once held him back.
The Hawaiian Rain Dancers Who Summon Storms
On the island of Hawaii, the rain dancers of Waimea perform their art for the only audience that matters: their ancestors. When they call for rain and snow, they dance not to entertain, but to feed and nourish their land. Each performance is a physical manifestation of the spiritual world, a chance to connect with the natural land we inhabit. Practicing a centuries-old form of hula rarely seen in public, these dancers carry on generations of tradition with every graceful move and each handmade kapa garment.
PERU: Saving an Ancient Language Through Pop Music
Renata Flores is a 16-year-old singer from Peru who is using her voice to save an ancient Incan language. Though Quechua is the second-most spoken language in Peru, native speakers have suffered from discrimination and social stigma for generations, and today, many young people aren’t learning the language at all. But with her powerful vocals to covers of pop songs by Michael Jackson and Alicia Keys in her native tongue, Flores is sparking a renewed celebration of Quechuan language and culture.
Tibet was invaded by China in the 1950s. Tibetan independence is still a fiercely debated topic in Asia and abroad. (WT-en) SONORAMA at English Wikivoyage - Own work. Public Domain.
Masters of Ceremony: Hip-Hop’s Influence in the Tibetan Diaspora
Ask a person for their opinion on rap and they may tell you that it’s all about money and material possessions- they would be right. More precisely, it is all about money and material possessions that the rapper never thought he or she would have when he or she was poor, and the “haters” who want to harm the rapper, emotionally, physically, or both. Rap in America tells the story of social advancement in low-income neighborhoods, where anyone doing anything that might take them to a new landscape or living standard will incur the resentment of their peers. The lyrics often fly over the heads of middle and upper-class listeners, who can reach the same the stature as the rapper they are listening to, but without the same arc. Hip-Hop tends to find its voice among the lower classes, and not just in the US. The genre is finding an audience among Tibetans as well, and they are using the music to tell the story of their own struggles inside and outside of their homeland.
The Tibetan autonomous region lies in the southwest part of China, bordering India, Nepal, and Bhutan. It is considered to be the traditional home of the Tibetan people, though some members of the Tibetan community have also asserted rights to parts of the Qinghai, Sichuan, Yunnan and Gansu Provinces. Tibetans viewed their homeland as an independent country, governed by spiritual and temporal leaders known as Dalai Llamas, but in 1950 the Chinese Communist party asserted its sovereignty over Tibet, sending troops to crush the Tibetan army and annex the land. A failed revolt against the Chinese forces in 1959 prompted the 14th Dalai Lama to flee Tibet and establish a government in India. From there he continued to push for Tibetan independence from China. Even today, Tibet is a very touchy subject in China and one best avoided by foreigners visiting the country.
After the occupation, much of the Tibetan community was scattered, with some remaining in the autonomous region while others spread to neighboring countries or left Asia entirely. As American Hip-Hop became more popular and international it was adopted by the Tibetan community but modified to reflect Tibetan cultural values. In 2009, Swiss-Tibetan rapper Shapaley ’s single “Made in Tibet” called for Tibetans around the world to stay strong and remember where they came from. Shapaley spent his childhood years in Lhasa, an experience that profoundly shaped his views on the condition of Tibet and Tibetan people under the Chinese Communist regime. The song was banned by Chinese authorities. In 2017, female rapper TibChicks won international fame when she released several songs on the internet without the backing of a record label. Singles like “Fearless” reflected a new bolder ideology that is spreading among the Tibetan youth. There is a belief now that anything is possible, and through music, Tibetans are not only preserving their identity but evolving it.
JONATHAN ROBINSON is an intern at CATALYST. He is a travel enthusiast always adding new people, places, experiences to his story. He hopes to use writing as a means to connect with others like himself.
Heavy Metal Hijabis
The town of Garut in Western Java, Indonesia is a quiet place—that is, until Voice of Baceprot takes the stage. While most people in the town live tranquil, pastoral lives, teenagers Firdda, Widia and Euis thrash out and rock hard. The band has shot to fame for playing heavy metal in the religiously conservative country. After gaining popularity, VoB began to face criticism for performing while wearing hijabs. Still, they continue to shred—an inspiration for everyone with a little bit of music and a little bit of hardcore rebellion in their souls.
Unlikely Emcees: The Muslim Hip-Hop Artists Bridging Worlds
Poetic Pilgrimage is a hip-hop duo from the U.K., and their music is influenced by their Muslim faith, Jamaican background and British upbringing. Not only is their music giving a voice to Muslim women, it's become an unexpected bridge between the global hip-hop community and Islam.
Feel The Sounds of Senegal
A 3 week trip in Senegal allowed Cee-Roo to capture the culture of a people and feel the power and importance of music in a country where the joy of living takes over poverty.
This Rapper Wants to Challenge Your Asian Stereotypes
Dumbfoundead (real name Jonathan Park) is a Korean American rapper who has never backed down from a battle—rap or otherwise. He sings about the Asian American experience in his work and is vocal about the lack of Asians in popular culture. Once he took the mic, he never looked back.
Feel The Sounds of Senegal
A 3 week trip in Senegal allowed filmmaker Cee-Roo to capture the culture of a people and feel the power and importance of music in a country where the joy of living takes over poverty.
ALBAN ENDLOS – UMDA
To measure up to the electro-acoustic sound and the diversity of Alban Endlos' first album "Goldene Welt / Golden World," filmmaker David Aufdembrinke and his team let their camera travel into another world. During a six week journey from the highest north into the deepest south of India over ten hours of video-footage were generated and combined through an ambitious editing-concept allowing only to use match-cuts. To adapt the analogue nature of the music and the images, the final effects and colortunings were done with a magnet on an old VHS Tape and were composited in an extensive post-production to achieve the effect of a VHS Image in Full-HD Resolution.