INTERZONEfest

PROGRAM ZA 2011.

20.oktobar SINAGOGA
Gabriella Benak 20:00 h
Boris Kovač & David Yengibarjan 21:00h

21.oktobar NOVOSADSKI NOVI TEATAR
Katja Cruz 20:00h
POLAR BEAR 21:10h

22.oktobar POZORIŠTE MLADIH
Limpe Fuchs & Gerard Herman 20:00h
Dresch Mihály Trio 21:30h

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Od te, sada već davne 1997. godine, do sada je održano 8 festivala na kojima su nastupile stotine muzičara iz, može se reći, skoro svih krajeva sveta. Ma koliko se finansijske i kulturne okolnosti u kojima se festival održava menjale (na lošije), on je ipak po 9. put pred nama, nadamo se, dovoljno svež, urban, različit i autentičan. Promene, odnosno transformacije, vremenom su postale zaštitni znak ovog festivala. Iz godine u godinu - promena vizuelnog identiteta, lokacije na kojima su održavani koncerti, različite muzičko-stilske koncepcije i muzičari... A tome ni ove godine nismo stali na put. Naprotiv. Interzone je uprkos svim promenama kojima nije odoleo zadržao nešto svoje, nešto lično, od samog početka. I dalje, Interzone kroz aktuelne muzičke sadržaje, predstavlja različitost, otvorenost, kritičnost i nepristajanje. Iako je muzika efektan način komunikacije i predstavlja odgovor vremenu i društvenom kontekstu u kome nastaje ili se prenosi, promene koje smo načinili u koncepciji festivala, uvodeći još ne-muzičkih sadržaja, videli smo kao neophodne. Nadamo se da Interzone tako postaje malo složeniji i kvalitetniji diskurs, jedna festivalska-komunikativna-praksa koja će osim aktuelne muzike iz različitih muzičkih sfera komunicirati i različite teorijske i vizuelne sadržaje. Otvorili smo prostor za THEORYZONE i VIDEOZONE i nadamo se da je to samo početak, koji će omogućiti bolji, angažovaniji, sadržajniji i kvalitetniji festivalski program.

Dušan Ristić

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INTERZONE:
Releasing new World music

When between the two World Wars the great Kafka wrote as a Jew in ethnically Czech Prague in German, his artistic act was recognised as not only a contribution of a gifted writer to world literature, but also as a symptom-of radical alienation: a sort of a "mission impossible" to join together that which is in its roots culturally, nationally and linguistically irreconcilable and get a pure quality, an expression of different worlds which at the time separated, glancing at each other with contempt. Perhaps that is why his novels are even today read with so much nausea in the stomach. Of course, his art went by far beyond narrow confines of the time, space and tragic truth of an incurable nonconformist. "Ars longa, vita brevis" is said laconically, disregarding the gravity of Kafka's experience as an outcast. Today, however, when a musician shapes the sound on traditional instruments of Senegal. mbira and ngomi, singing in an ancient sub-Saharan dialect, accompanied by an Indian percussionist and assisted by Russian jazzers, graduates of the classical academy "Rimski Korsakov" who founded their band in Holland with a certain Tuman performer- what sort of fusion do we get? Or what results when a Bulgarian folk-baroque band named after Tolkien's fairy tales, makes a bland with English ethno sound, caustic "new age" and diverse techniques of jazz, rock and pop music? What is obtained when a graduate engineer from Mali adapts electric guitar strings to an African instrument kamala ngoi, and dancing and singing with the sound of tum and bai shapes a general style which comprises local cultures of Bamara, North Takambe and Songai region? Or when a lady from Moravia in Czech Republic sings in Polish because the sounds are softer and richer in expressive variety? Well, here we are confronted with serious dilemmas which are confusing ethnomusicologists, because of their need to recognise something in this music about which the above mentioned musicians have never heard. It is confusing aestheticians and critics who cannot decide which kind, genre and value should be allotted to it. It is confusing performers and composers who stick to the paved ways of the music desert which lead through concert halls, radio and available media surroundings. What sort of identity is being established here? Will this "estranged" music, removed from its own locale and centre have the destiny of Kafka's agony? The opposite is true. What .is obtained is a diversity of appealing exotic tastes blended with the traditional and modern, the classical and post-classical, ethno, folk, waltz and tango, even salsa, Sting and reggae, samba, kolo, Arabic and Sufic music, not to mention free improvisations and "real time composing". Experimenting and avant-garde allowed in small doses only, more as a casual sign of an open form. To put it in a nutshell, we get "new World music." It is something that resists classification, something which is not only Russian, American, Indian or African, high or low, left, right or midway, which opens to the new horizons in the huge ocean of sound. Something offering a real option for the cultural difference between the city and the country because it Is urbanising musical province, bringing to light all the precious, richness of expression which, according to the standard procedure, gets swallowed by concrete greyness of a large city. Now we can see the light at the end of the tunnel, because at least in a small part of this world there is a pattern of common sensibility, no matter how stratified it may be. Something that Is simultaneously multinational, multicultural, multilingual, which comes on the beat in local, universal and individual style of each artists intimate confession. Finally, it is something that is coming to Novi Sad with the renewed "Interzone", the festival which has finally secured its place on the cultural map of the town and which will annually present what it has to offer, This is a unique chance to be grabbed. Don't miss it.
Relja Knezevic