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Festival Musicas do Mundo Sines' Logo

28 July - Friday


Parvathy Baul


Centro de Artes de Sines - Auditório

The Baul are a group of mystic musicians from Bengal. They believe that when the universe was created there was only the "OM" sound, the same as the sound produced by the ektara chordophone, which they hold in the right hand, close to the ear, when they sing. It is this primordial sound that guides them in a type of yoga that understands music as a direct channel to the divine. Mausami Pairal was 16 when, on a train trip, she first heard a Baul minstrel. Her life changed that day. At an ashram in Khayerbani, she met a guru who would teach her the spiritual art of the Baul chant. Today, she travels the world to spread this tradition, which is part of the Intangible Cultural Heritage of Humanity.

Sopa de Pedra



They sing the sun and the frost. They sing the sunset and the sky at dawn. They sing blackberries and looms. They sing the working of flax. They sing a cappella a time that has passed, of simpler gestures, of a closer relationship with nature. They are ten young women from Oporto who met in 2012 around the Portuguese songbook. Their origins are diverse, but in Sopa de Pedra they gain harmony. Portuguese tradition with ears to polyphonies from other centuries and geographies. Music of great purity, but also of contemporary arrangements that explore all its richness and complexity. Their album will be released this year, "from the bosom to the ears and hearts of the world".

Benjamim / Barnaby Keen (c) Vera Marmelo


Av. Vasco da Gama

An encounter with a well-defined chronology. In 2008, English musician Barnaby Keen move to Brazil, where he fell in love with samba, bossa nova and singing in Portuguese. In 2009, Benjamim left Portugal to study sound engineering in London. In 2012, back to England, Barnaby meets Benjamin as the sound engineer of his band. A friendship is sealed by their mutual love of Chico Buarque. The fruit of this friendship is the album whose title is the year in which both were born. "1986" is an exercise of "reciprocity and sharing": songs written in their languages, with the best of each other in choirs and instrumental accompaniment. The first live performance of the album will be in Sines.

BCUC (c) Jeanne Abrahams



BCUC stands for Bantu Continues Uhuru Consciousness. In their own definition: human beings who seek to continue the freedom of consciousness. Formed by seven musicians from Soweto, together since 2003, they tell stories of their homeland, in Zulu, Sotho and English. Bantu music (which they call Africa Ngungungu), but which recognises the connection to all humanity - without considering geography, culture, social condition. Afro-psychedelic music, that is, free music: traditional languages and drums in communion with South African jazz, church songs, blues, rock, rap. Music of the present, with which the "street man" from any part of the world can identify himself.

Fatoumata Diawara & Hindi Zahra



They met in Paris when only a few people knew who they were. They shared the stage of the Olympic Café, in the Goutte d'Or borough. They are reunited now, with established careers. Fatoumata, a Malian national, born in Ivory Coast. Hindi, a Moroccan of Berber and Tuareg origin. Singers, guitarists, composers, actresses, activists. In Bamako, they recorded an album that destils the essence of this Olympic Café Tour, where they share songs, styles and emotions. An Africa full of world, like the two of them. A collaboration that is an example: "If two women come together, from the north and the south of Africa, whoever is smart gets the message. We seek the strength of union".

Mário Lúcio



He defines funaná as "a libertine music of libertarian vocation, and liberating energy." He discovered it when he was six, when he first heard the accordion in his native village, on the island of Santiago. As an adult, he was surprised to realise what the funaná shared with reggae, ska, rock and jazz. "Funanight", an album released this spring, is the homage of Mário Lúcio to the most dancing rhythm of Cape Verde. Mario is one of the central figures of the arts of his country. He was also Minister of Culture between 2011 and 2016 and this is his full return to records and stage. "A transcending Funaná," as his compatriot Vasco Martins wrote.

Orlando Julius & Bixiga 70



In 1958, he welcomed Louis Armstrong on his visit to Nigeria. In 1964, he was told that his mix of highlife, soul, R&B and African sounds was "40 years ahead of his time." It was also by this time that a young musician named Fela Kuti went to his club to listen to and play with him. We remain in the 60s and do not need to go any further. We just need to know that saxophonist and singer Orlando Julius is a legend and, at age 74, he retains the smile and energy of a boy. In this concert, he meets Bixiga 70, formation of São Paulo in love with the African orchestras and with a bag full of jazz and popular music. A shared heritage and a mutual respect bring them together.

Thomas de Pourquery (c) Flavien Prioreau


Av. Vasco da Gama

After the album dedicated to Sun Ra that earned him one of the greatest French jazz awards, Thomas de Pourquery was in a dilemma. He did not want to turn Supersonic into a tribute band, but he lacked confidence as a composer. "After this guy, who am I to write music?" In 2016, a dream came to his aid: in an abandoned hangar, his band played and he walked around, "like a mouse," watching everything. I had found the sound of the band. Composing has become a "playing field," where they line up with jazz, progressive rock, electronic music. The result of this process was "Sons of Love," an album of originals with a track from Sun Ra - because that reverence and exorcism were necessary.

Chico Trujillo


Av. Vasco da Gama

They began with punk and ska, but by the year 2000 cumbia took over. What resulted from this metamorphosis is one of the best orchestras in South America, Pan-American cumbia dominated by the sounds of the Andean plateau - north of Chile, Peru, Bolivia. As the mission of their life is to make dance, they incorporate other styles that still give them more power, such as reggae and Balkan music. On stage, they maintain the punk attitude and always stretch beyond limits. "The more tired I am, the more energy I get," says lead singer and orchestra leader Aldo Asenjo. After 15 years of playing in the night scene of Santiago, they are the banner of the New Chilean Cumbia in the world.