The Migration Music Festival (流浪之歌音樂節) created by the independent music label Trees Music and Art (大大樹音樂圖像) has, since its inception in 2001, been a much-anticipated public event, most notable for its outdoor concerts at Taipei’s Da-an Forest Park (大安森林公園). Over the years, however, the musical part of the festival has suffered huge disruptions due to bad weather; this year, it will find a new home in Zhongshan Hall (台北市中山堂). And, in a break from tradition, this year’s concerts will not be free.
In an interview on Monday, Trees Music and Art director Chung She-fong (鍾適芳) expressed confidence that this shift in venue — and the sale of tickets — would not have a significant effect on the nature of the festival. “Unlike when we first started, there are many outdoor musical events these days,” she said. “Our emphasis is on carrying on the spirit of the festival,” which for her is to be a starting point of a debate on broader issues, rather than just musical entertainment. “Those who are interested will still come,” she said.
The concerts are just one part of a series of events that include film screenings, talks and workshops. The festival opens tomorrow with a screening of the documentary Firekeepers (2007) about the development of the joik singing style of the Sami people, which has received some exposure on the popular music scene through the efforts of the Norwegian band Adjagas. A second film, When Your Hands Are Tied (2006) explores how American Indians are finding ways to express themselves in the modern world. There will also be a talk given by pipa (琵琶) performer Chung Yufeng (鍾玉鳳), a traditional musician who performed and composed music in the German town of Apfelhof as part of the Music Beyond Borders project earlier this year.
Speaking of Chung Yufeng’s experience, Chung emphasized the role that events such as the Migration Music Festival play in fostering musical development. “She comes from a very classical tradition that emphasizes skills over creativity, and the opportunity to work closely with performers from other traditions had a profound impact. She started to think more about creating music and her relationship to the music she performed,” Chung said. “As a result, she now has a repertoire of her own compositions.”
Chung believes that migration, both enforced and voluntary, is one of the most important factors in the development of music. “I believe that most music, both established forms and musical styles that are still being developed, is the result of migration of one sort or another,” she said. Chung pointed to STriCat from the Netherlands, a group of young musicians who draw inspiration from Romanian music in their efforts to break free of the constraints of traditional folk, as an example of voluntary migration. New types of music can also result from forced migration, as with chanteuse Huong Thanh, born into a family of musicians who fled to France after the Vietnam War.
The point of departure for this year’s theme — “city borders” — is the 60th anniversary of the creation of the state of Israel. The cultural and political complexities of this event are represented at the festival by two musicians from Jerusalem, who specialize in traditional Arabic, classical Turkish and Andalusian music. Sameer Makhoul and Itamar Doari will perform at two concerts at Zhongshan Hall and give two music classes, one to introduce Arabic songs, the other an introduction to the oud, a kind of Middle Eastern lute.
The key for Chung is to get people talking, not just about the music, but the cultural, social and historical changes that are the music’s generative force.
“In terms of social activism, we are not active (on the front line), but I think that through a music festival such as this one, we are able to bring certain topics forward for consideration and discussion,” Chung said.
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