SOUTH AFRICA\nMahotella Queens
The Mahotella Queens are a trio of senior citizens from South Africa who will rock your American socks off. They hail from apartheid-stricken South Africa, where music as a means of survival propelled them into international recognition in the late '60s and early '70s. Once fronted by recently deceased legendary singer Mahlathini, the group toured South Africa and gained a reputation for being the foremost band in the emerging mbaqanga style of their time. \nMbaqanga is the style of dance music in the black townships of South Africa that emerged in the '30s, essential in coping with apartheid, but still popular today. The Mahotella Queens evolved from mbaqanga pioneers The Makhona Tsohle Band in the mid-'60s. The Queens encompassed everything that made mbaqanga music popular in South Africa then, and what allows them to continue to survive now. There is an incredible perseverance in their sound and in their performance. \nThe Mahotella Queens, if nothing else, are an icon of determinism. To be a black, all-female vocal group in South Africa during the thick of apartheid is tough -- to do it singing and dancing seems almost unimaginable. In 2000, the trio of singers lost three of their musicians: West Nkosi, Marks Mankwane and Simon Nkabindé Mahlathini. The group, healing from its collective loss, is back on the road. Stocked with a band of younger musicians from their homeland, the group looks as good as ever. \n"There is an incredibly joyous quality to their music. Their performance is infectious," says Lee Williams, executive director of the Lotus Education & Arts Foundation and organizer of Lotus Fest. \nAs they have performed for decades to the delight of audiences worldwide, the Mahotella Queens' color and rhythmic vibrancy will no doubt be one of Lotus Fest's most festive highlights.
IRAQ\nIraqi legend visits the Midwest
mar Bashir has strong facial features and a stronger lineage. He comes from a distinguished line of Iraqi musicians specializing in the Oud, a lute-like instrument distinctive to Arab music. Bashir's musical ties with the instrument have earned him the nickname 'Prince of Oud.' The title is more than a descriptive, it is almost a birthright. \nBashir was born in 1970 in Budapest, Hungary. His father, the legendary Iraqi musician Munir Bashir, was largely responsible for the development of the Oud as a soloist's instrument. Father and son began playing together when Omar was only five years old. \nAt age 7, Omar Bashir joined the Baghdad Music and Ballet School. He would eventually teach there, specializing in traditional Iraqi music. Although Saddam Hussein was a fan of his father's muisic, and is even rumored to have received music lessons from Munir, Iraq's political environment was not conducive to musical creativity and freedom. In 1991, Munir and son Omar left Iraq. Omar still lives in Hungary. \n"I am saddened by the state of affairs in Iraq … the bad regime, the wars with Iran and the U.S. and the depressing condition of the Iraqi people," says Omar. \nRemoved from the confines of Saddam Hussein's Iraq in 1991, Omar Bashir brought himself into the world view and established himself as one of the region's finest Oud musicians. He performed throughout Europe and exposed himself to a number of non-traditional Iraqi forms of music. \n"Closest to my heart is flamenco music which I studied, because its development was greatly influenced by Arab music in Spain," he says.\nHe also enjoys Indian music and classical Western music, particularly Bach, whose first string instrument was the Oud. Bashir now plays a bit of Western piano and guitar as well.\nBashir's father passed away in 1997 on the eve of their first tour of North America, and his performance at Lotus Fest is dedicated in his memory. It will be the Bashir family's first visit to the American Midwest. \n"His father was his father, friend and teacher, which implies an exceptional close relationship," says friend and manager Basil Samara.\nOmar Bashir, who often performs only a few songs but for 75 minutes or longer, has the instinct for improvisation of a jazz musician and, most importantly, the rooted traditions of Iraqi music instilled in him by his father.
PAPUA NEW GUINEA / SOUTH PACIFIC\nDrum Drum
hey are fully clad in palms, flowers, dried grass, shells and native prints. With faces and bodies painted, their hearts fill with passion as their performance memorizes an wide-eyed audience. Native pride takes over as they belt out their song with rhythms of ancient instruments, exploding into a traditional Papua New Guinea beat. They are Drum Drum, and they are one of the biggest urban Pacific bands emerging. \nMade up of eight members, Drum Drum has become known to be one of the most influential, contemporary South Pacific groups. With an indescribable energy, Phillip Eaton, Anna Faehse, Airileke Ingram, Paia Ingram, lead singer Tau Ingram, Ranu James and Mark Smith bring together amazing talent and flair to an exotic show of Australian history. \nThe foundation of Drum Drum comes from a small village, Noutubuna, in Papua New Guinea. The Aroma clan, living eight miles southeast of the Noutubuna village, sparked the interest of many young Noutubunan men. The "Word of Ubi," the traditional dance of the neighboring region, quickly spread around the country as the newly educated Noutubunan men taught the new form of expression to other villages and clans.\nNoutubuna began to overcrowd, due to the growing interest of the "Word of Ubi," and the village became known as Gaba Gaba or "Drum Drum," known for the singing, drumming and dancing of a rich, growing lifestyle. \nThe diversity fills their music to reflect the culture of where they have all come from. Tribal rhythms and dance model their ancestors with the use of traditional log drumming and chants. \nDrum Drum has been known to amaze audiences all around the world.\n"Drum Drum's contemporary music ranges from hypnotic and invigorating rhythms of the log drums, to a funky dance fusion, where ancient traditional instruments and chants are reborn with an influence of Funk, Ska, and Soul," said ABC Radio National.\nNow established in Darwin, Australia, the group began a summer tour in July at the University of Darwin and continue through Oct. 1 in the United States. They will be performing at Lotus Fest in Bloomington Sept. 27.
\nAFRO-CARRIBEAN / EAST INDIAN\nFunkadesi
ombining East Indian sounds, reggae, African/Caribbean funk grooves and improvisation, Funkadesi will be bringing more than a few funky horns to this year's Lotus Fest. They've got heart. Together for what will be seven years in December, Funkadesi's passionate and unique vibe is due majorly to its members.\n"Everybody in this band is a cultural/musical ambassador bringing their mix to the sound," says Rahul Sharma, the group's leader.\nTouring like mad to promote their latest release, Funkadesi's love for sharing their music with enthusiastic crowds is certain to be reflected when they take on the stage at Lotus Fest. So why would an "average college Joe" want to check out Funkadesi?\n"C'mon, who wouldn't want to see dreadlocks and turbans, men and women, all having a blast together?" says Sharma. "Our love show is a sight to see, and folks who ordinarily don't prefer world music have let us know they loved our show. That blows us away"
