The heart of the Estonians that beat worthy of Maailmatrumm

Estonian Drum Festival, 11.–13.11.2010, “Maailmapäev” (Piia Põder - MuKriErikursus 2010 VKA)

November 11th–13th 2010 took place the first Estonian Drum Festival, which could be visited starting from the Rockcafe and finishing in the hall of the Kunstimuuseum (Art Museum). The festival began with the “Maailmapäev” (World day, in the club Rockcafe). To fill the night with crazy rhythms representatives from India (Arshad Khan – tablas, Pandit Mukesh Sharma – sarod), beauty and grace was added to their music by the bharatanatyam dancer Jamilia, and from Senegal (Ismaila Sane, Pape Sarr, Yamar Thiam) had been invited. In addition also Estonian Brian Melvin‘s East-West Rhythm Band performed their music.

First the audience was introduced to the Indian drum rhythms, which according to the musicians themselves, are created on the spot and according to the mood and needs of both the audience and the time. I completely understood how they try to connect to the audience and try to capture their feelings. And this would have remained unnoticed, if it had not been possible to listen to the musicians right beside the stage observing both the musicians and the audience. This gave the opportunity to perceive the trials of impressionism of the Indian musicians. With their strong but then again sincere and inviting eyes they were able to find the emotions of even people standing far back in the hall, which expectedly culminated with very calm rhythm performances. I do not find this surprising – the emotions of Estonians grow still and always first in their heads and only when they have found enough courage inside, they will allow these feelings to carry and guide themselves.

When the first connection between the Indian musicians and the Estonian audience was established, the bharatanatyami dancer Jamilia entered the stage, who with her already mentioned grace and beauty brought the rhythms of the tablas to the audience in an even more illustrative manner. An extra value was definitely added with the video art of Hille Karm, which supported the audience to imagine themselves into another part of the world and to feel to be carried by the rhythms to that exact place visually as well.

Relatively calmly, and to be precise physically calmly, the effect of the performance of the Indian musicians influenced the audience. Yes, I mention physical calmness because the following Senegal musicians turned the wellknown Estonian equanimity upside down. The edged, hot, passionate and captivating performance of these men whirled in my mind and tried to find a way out, and indeed they found. Some of the listeners found an application for these enormous and splendid emotions – dancing, in its most emotional form. The audience was surrendered to their feelings – hands, feet, heads – everything which the man is created to physiologically move, got moved. The time interval of the Senegal performance was unknown for me because euphoria did not give an opportunity to perceive time, it all seemed as if ten minutes of the best musical experience of my life are happening. Later on, checking the programme I saw that Senegal was on the stage for nearly one hour. Albert Einstein is right apprehending this time situation as follwed: “Physical time is what you read from your clock”.

Fortunately after the performance of the Senegal musicians Brian Melvin‘s Estonian/USA collective East-West Rhythm Band entered the stage, who, with their mild rhythms, balanced the heated audience. In comparison with traditional western music pieces  also this concert had its introduction and exposition (India), working out and culmination (Senegal), followed by a recapitulation or conclusion (Eesti/USA). But after the performance of the Brian Melvin’s band, the structure of the concert changed categorically – the audience was given an unexpected second and third culmination. Jam-Session. Three groups, three different worldviews and one big and „fiery ball of rhythm“, which was thrown from one musician to another – it scattered pieces of rhythm, like „sparks“. Those sparks flew to the audience and refused to fade out.

I am absolutely certain, that for Estonians it was necessary to build up their emotions, then let them flow and by doing this achieve the feeling of contentment for days, not to say for weeks. Thank you musicians, with your drum rhythms you melted the icy Estonians and reminded us that in the right place body language is a very powerful tool.

Piia Põder (UT VCA Student of Cultural Management)