{"id":2423,"date":"2022-01-26T22:16:36","date_gmt":"2022-01-26T22:16:36","guid":{"rendered":"https:\/\/krakowmusic.com\/blog\/?p=2423"},"modified":"2023-02-19T16:20:54","modified_gmt":"2023-02-19T16:20:54","slug":"african-duo-enchant-and-enthral-all-at-villa-decius","status":"publish","type":"post","link":"https:\/\/krakowmusic.com\/blog\/african-duo-enchant-and-enthral-all-at-villa-decius\/","title":{"rendered":"African Duo Enchant and Enthral All at Villa Decius: A dark midwinter’s evening is the setting for a slice of summer sunshine"},"content":{"rendered":"

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??
\nConcert organised by the 2Act Foundation<\/a> in collaboration with Villa Decius.
\nTranslation into Polish by Bartosz Sowi\u0144ski.
\nPhotos by Adelina Krupski Photography for Krak\u00f3w Music.<\/h6>\n

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??
\nKoncert zorganizowany przez Fundacj\u0119 2Act<\/strong><\/a> we wsp\u00f3\u0142pracy z Will\u0105 Decjusza.
\nT\u0142umaczenie na j\u0119zyk polski Bartosza Sowi\u0144skiego.
\nZdj\u0119cia Adeliny Krupski Photography dla Krak\u00f3w Music.<\/h6>\n

[\/nk_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=\u201dmodern\u201d color=\u201dwhite\u201d active_section=\u201d2\u2033 no_fill_content_area=\u201dtrue\u201d][vc_tta_section title=\u201d?? Read in English\u201d tab_id=\u201deng\u201d][vc_row_inner][vc_column_inner][nk_title like=\u201d\u201d style=\u201d\u201d]A dark midwinter\u2019s evening is the setting for a slice of summer sunshine<\/strong><\/em>[\/nk_title][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=\u201dyes\u201d css=\u201d.vc_custom_1643191822424{background-position: 0 0 !important;background-repeat: repeat !important;}\u201d][vc_column_inner width=\u201d2\/5\u2033 css=\u201d.vc_custom_1643191838252{background-image: url(https:\/\/krakowmusic.com\/blog\/wp-content\/uploads\/sites\/7\/2022\/01\/Ablaye_Badji_Ethan_Smith_VD_Krakow-Music_bkg1.png?id=2441) !important;}\u201d][nk_text dropcap_color=\u201d#7f1919\u2033 vc_css=\u201d.vc_custom_1643217102712{padding-top: 10px !important;padding-bottom: 10px !important;background-color: #ffffff !important;}\u201d]<\/p>\n

Resplendent and grand, nestled at the foot of the primeval expanse of Wolski Forest, Villa Decius<\/strong> was the setting for an intimate concert by <\/span>Ablaye Badji<\/a><\/strong> on the kora <\/span>(Senegal)<\/span> \u2013 a multi-stringed harp from West Africa \u2013 and <\/span>Ethan Smith<\/a><\/strong> on bass, alto sax and piano (South Africa). The villa has morphed and been adapted down through the centuries \u2013 from its inception in the 16<\/span>th<\/span> century as a rural manor house, to a military barracks during the war, a training centre, boarding school and even a tuberculosis ward. During that time, it has withstood the ravages of calamity, terror, fire, disrepair and neglect; today fully restored, it survives as a cultural beacon of the city and the seat of the Villa Decius Association. Tonight, it\u2019s a concert venue and an occasion that would delight and entertain all fortunate enough to be present, as we were regaled by <\/span>two sons of Africa, far away from the lands of their birth.<\/span><\/h5>\n

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I\u2019ve seen the Senegalese musician perform several times over the last few years, but I feel his recent playing of this sublime and magical instrument has reached a new zenith \u2013 his finger-picking is fluid and flawless, there is passion and power, restraint and rawness.<\/em><\/strong><\/h4>\n

\u2014 Shaun O\u2019Neill<\/p>\n

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Ablaye opened the evening with <\/span>Keita<\/i><\/strong>, a song as delicate as a spring flower, exciting like the touch of a long-absent lover\u2019s kiss. The tender, gentle strokes of his kora are mesmerising as is the look of intensity and <\/span>joy radiating <\/span>from his face during the performance. I\u2019ve seen the Senegalese musician perform several times over the last few years, but I feel his recent playing of this sublime and magical instrument has reached a new zenith \u2013 his finger-picking is fluid and flawless, there is passion and power, restraint and rawness. There is so much<\/span> lineage <\/span>and love bursting forth from the man\u2019s playing, His hallowed griot ancestry lines, like rivers that carve deep canyons in the side of ageless mountains, can be traced back through the centuries in his homeland. His ancestors played for royalty. You can see why. His kora is as complex and brimming with melody and rhythmic invention as any classical baroque harpsichord performance. Smith\u2019s bass is the solid low-end that <\/span>grounds <\/span>many of the tunes here with a confident yet understated contribution. In second number, <\/span>Kuma<\/strong>, <\/span><\/i>he is the foundation that allows the myriad shades of expression of the kora to fully and unselfconsciously take flight. <\/span>Badi Ya <\/span><\/i>has a carefree and youthful heart, and Ablaye encourages us to engage, move, interact, \u201cdancing is for free\u201d<\/em> he teases. Some people take him up on the offer, <\/span>masked audience members <\/span>shaking their hips and swaggering to the music\u2019s soft lilt is a bizarre but much needed injection of normality in our times; the heart-felt clapping and giddy interaction of the audience with the musicians, in<\/span> a setting that might be regarded as a bit stiff and somewhat intimidating, <\/span>proves how much we need joy, humour, contact with other each \u2013 how much we need music.\u00a0\u00a0<\/span><\/h5>\n

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Go Change Your Mind<\/i><\/strong>, a number composed by Smith, sees a change of mood and direction for the set with its angsty socio-political commentary and plea not to just \u201clook the other way\u201d. The song sees the duo <\/span>share vocal duties <\/span>as they sing about recognising our collective similarities and looking away from perceived differences.\u00a0<\/span><\/h5>\n
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\u201cOh my people, don\u2019t give it in to all the pretence
\n<\/i>If we want a better world and time
\n<\/i>Then it starts with us in every sense\u201d<\/i><\/strong><\/h4>\n

\u00a0<\/p>\n

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The broad, boyish smile on Ablaye\u2019s face as he plays is like a manifestation of the music flowing through his veins, eventually finding an outlet into the physical world. You cannot have one without the other: his smile is his music, the music is his smile.\u00a0<\/strong><\/em><\/h4>\n

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Moussou Gnimma <\/i><\/strong>is a eulogy to all the beautiful women in our lives. It sees the kora blend with the alto sax \u2013 an atypical combination of sounds \u2013 yet it still transports me to the west of the African continent, travelling in a train across a flat expanse with a<\/span>n enormous sky overhead, <\/span>blurs of <\/span>baobab <\/span>and acacia trees dotting the horizon<\/span>. <\/span>This time it is Ablaye\u2019s kora that provides the<\/span> spine,<\/span> a slick propulsive loop of finger-picking that props up the <\/span>spiky ostentatious sax bursts <\/span>of Smith, its thrusts of melody punctuating the dulcet drone of the kora. It\u2019s a great jam and I am so glad to be there.<\/span><\/h5>\n
The next song, <\/span>Sunshine<\/i><\/strong> in English, is just so gorgeous,<\/span> like falling into the deepest of naps <\/span>in a beautiful foreign land, only to be awakened in a reverie as the first drops of the rainy season douse your hair. It\u2019s straight out inspired by some of the best of <\/span>kora maestro Toumani Diabat\u00e9 <\/span>\u2013 like 2006\u2019s seminal work with Ali Farka Toure, <\/span>In the Heart of the Moon.<\/span><\/i><\/a> If you want to be influenced \u2013 be influenced by the best. <\/span>Harit <\/span><\/i>and <\/span>Soutoukon<\/span><\/i> are spilling over with joy as the call and response between the kora and sax attest to. The <\/span>broad, boyish smile<\/span> on Ablaye\u2019s face as he plays is like a manifestation of the music flowing through his veins, eventually finding an outlet into the <\/span>physical <\/span>world. You cannot have one without the other: <\/span>his smile is his music, the music is his smile<\/span>.\u00a0 If ever there was music to delight and seduce the senses, this is it \u2013 hearing it, seeing it, feeling it \u2013 the audience lap it all up hungrily.\u00a0<\/span><\/h5>\n
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Die Stem (The Voice of South Africa)<\/strong>,<\/span><\/i> a poem written in 1919 by C. J. Langenhoven originally celebrating the beauty and majesty of South Africa, is an incongruous twist to the set that steers things off-kilter somewhat. Of course, it is curious to see how poetry can be co-opted by more nefarious political elements \u2013 the lyrics were later used as the national anthem for the apartheid regime and their infamous white minority rule. That said, I do not think that this was the setting for such a sharp left turn at the end of the set \u2013 particularly with regards to the light and playful mood of inclusiveness that had been conjured up to that point. The song did give multi-instrumentalist, Smith, a chance to flex his fingers and play a majestic grand piano which, he admitted, was a real treat. The translation in Polish and English was skilfully provided by Ma\u0142gorzata Szypura.<\/span><\/h5>\n
Prayer for the Social Heroes<\/strong>, <\/span><\/i>another sung piece composed on the piano in the darkness of a Norwegian winter when he was an exchange student, is pensive and heart-felt; its longing and melancholy draws us in and the combined layers of vocal with Ablaye work very well.<\/span><\/h5>\n

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Closing number <\/span>Kelefaba <\/i><\/strong>again sees the kora assume centre-stage and is a fitting finale that encapsulates the majority of the set\u2019s vibe and feeling. How I would love to see these two musicians sit down and record an album of original compositions that meld kora, bass, sax etc. The prospect remains tantalising; the palette of moods they can inspire is infinite and their combined skills remarkable, as is the chemistry and intuitive musical awareness that exists between their irrepressible summertime smiles. In the meantime, try to catch them in their natural habitat \u2013 live.\u00a0<\/span><\/h5>\n

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Willa Decjusza<\/strong> to budynek ol\u015bniewaj\u0105cy i wspania\u0142y. To w\u0142a\u015bnie ten znajduj\u0105cy si\u0119 u podn\u00f3\u017ca prastarego Lasku Wolskiego<\/strong> zabytek pos\u0142u\u017cy\u0142 za scen\u0119 dla kameralnego koncertu, podczas kt\u00f3rego publiczno\u015b\u0107 czarowali Senegalczyk <\/span>Ablaye Badji<\/a><\/strong> na korze, wielostrunowej harfie z Afryki Zachodniej, oraz <\/span>Ethan Smith<\/a><\/strong> z Po\u0142udniowej Afryki na basie, saksofonie altowym oraz fortepianie.<\/span> Przez stulecia Willa Decjusza zazna\u0142a wielu przemian i przebud\u00f3w. Budynek, kt\u00f3ry powsta\u0142 w XVI wieku jako dw\u00f3r wiejski, w czasie wojny zamieniono w koszary, ale s\u0142u\u017cy\u0142 on r\u00f3wnie\u017c jako centrum edukacyjne, szko\u0142a z internatem, a nawet oddzia\u0142 dla chorych na gru\u017alic\u0119. Zabytek przetrwa\u0142 pomimo zniszcze\u0144 i kl\u0119sk, lat trwogi, ognia, zaniedba\u0144 i ruiny. Dzi\u015b jest on w pe\u0142ni odrestaurowany \u2013 prawdziwy klejnot na kulturalnej mapie Krakowa oraz siedziba Stowarzyszenia Willa Decjusza. Dzisiejszego wieczoru willa przeobrazi\u0142a si\u0119 w scen\u0119, na kt\u00f3rej dwaj muzycy, synowie afryka\u0144skiej ziemi, rzuceni daleko od ich rodzinnych stron, mieli okazj\u0119 podj\u0105\u0107, ucieszy\u0107 i zabawi\u0107 wszystkich, kt\u00f3rzy mieli szcz\u0119\u015bcie, aby si\u0119 tam znale\u017a\u0107.\u00a0<\/span><\/h5>\n

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W poprzednich latach mia\u0142em okazj\u0119 kilka razy zobaczy\u0107 senegalskiego muzyka na \u017cywo. Wydaje mi si\u0119 jednak, \u017ce ostatnio jego panowanie nad tym wznios\u0142ym oraz magicznym instrumentem osi\u0105gn\u0119\u0142o nowe wy\u017cyny mistrzostwa \u2013 jego palce w\u0119druj\u0105 po strunach w spos\u00f3b p\u0142ynny i bezb\u0142\u0119dny, a jest w tym wszystkim pasja i moc, pow\u015bci\u0105gliwo\u015b\u0107 i \u017cywio\u0142owo\u015b\u0107.<\/strong><\/em><\/h4>\n

\u2014 Shaun O\u2019Neill<\/p>\n

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Ablaye rozpoczyna wiecz\u00f3r od <\/span>Keity<\/i><\/strong>, piosenki delikatnej jak wiosenny kwiat, ekscytuj\u0105cej jak poca\u0142unek od dawna wyczekiwanego kochanka. Delikatne i \u0142agodne brzmienia kory s\u0105 r\u00f3wnie hipnotyzuj\u0105ce, co przej\u0119cie oraz rado\u015b\u0107 rysuj\u0105ce si\u0119 na twarzy artysty. <\/span>W poprzednich latach mia\u0142em okazj\u0119 kilka razy zobaczy\u0107 senegalskiego muzyka na \u017cywo. Wydaje mi si\u0119 jednak, \u017ce ostatnio jego panowanie nad tym wznios\u0142ym oraz magicznym instrumentem osi\u0105gn\u0119\u0142o nowe wy\u017cyny mistrzostwa \u2013 jego palce w\u0119druj\u0105 po strunach w spos\u00f3b p\u0142ynny i bezb\u0142\u0119dny, a jest w tym wszystkim pasja i moc, pow\u015bci\u0105gliwo\u015b\u0107 i \u017cywio\u0142owo\u015b\u0107. W grze Badjiego us\u0142ysze\u0107 mo\u017cna pasj\u0119 oraz dziedzictwo przodk\u00f3w. W Senegalu, ojczy\u017anie muzyka, \u015bwi\u0119te linie genealogiczne griot\u00f3w, afryka\u0144skich artyst\u00f3w muzyki i s\u0142owa, licz\u0105 sobie setki lat, tak jak rzeki wymywaj\u0105ce przepastne kaniony w zboczach odwiecznych g\u00f3r. Jego przodkowie grali dla koronowanych g\u0142\u00f3w. Zaraz zrozumiemy dlaczego. Pod palcami artysty kora, jej bogactwo brzmienia, melodyka oraz inwencja rytmiczna w niczym nie ust\u0119puj\u0105 klasycznym barokowym wykonaniom klawesynowym. Bas Smitha, oszcz\u0119dny w \u015brodkach i pewny siebie, s\u0142u\u017cy za solidn\u0105 podbudow\u0119 dla wielu utwor\u00f3w zaprezentowanych podczas koncertu. W drugiej piosence, zatytu\u0142owanej <\/span>Kuma<\/i><\/strong>, basista tworzy fundament dla bogactwa \u015brodk\u00f3w wyrazu, kt\u00f3re Badji wydobywa z kory w ca\u0142ej pe\u0142ni i bez najmniejszego skr\u0119powania.<\/span> W<\/span> Badi Ya<\/span><\/i>, kawa\u0142ku m\u0142odzie\u0144czym i swobodnym, senegalski muzyk zach\u0119ca s\u0142uchaczy, aby ci do\u0142\u0105czyli do artyst\u00f3w, poruszaj\u0105c si\u0119 i ko\u0142ysz\u0105c. Artysta kusi publik\u0119, pokrzykuj\u0105c <\/span>dancing is for free<\/span><\/i> [ta\u0144czy\u0107 mo\u017cna za darmo]. Niekt\u00f3rzy s\u0142uchacze nie daj\u0105 si\u0119 zbyt d\u0142ugo namawia\u0107. Publiczno\u015b\u0107 w maseczkach, poruszaj\u0105ca biodrami oraz rozhu\u015btana do delikatnych d\u017awi\u0119k\u00f3w muzyki, to widok dziwaczny, ale te\u017c niezb\u0119dna zapowied\u017a potrzebnej nam tak bardzo normalno\u015bci. S\u0142uchacze wyklaskuj\u0105 rytm oraz daj\u0105 si\u0119 porwa\u0107 muzykom, i to w przestrzeni cokolwiek przyt\u0142aczaj\u0105cej i troch\u0119 dla sztywniak\u00f3w. To doskonale pokazuje, jak bardzo potrzebujemy rado\u015bci, humoru, kontaktu z drugim cz\u0142owiekiem \u2013 jak bardzo potrzebujemy muzyki. <\/span><\/h5>\n

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Go Change Your Mind<\/i><\/strong>, kawa\u0142ek skomponowany przez Smitha, przynosi zmian\u0119 nastroju, proponuj\u0105c s\u0142uchaczom pe\u0142en niepokoju komentarz spo\u0142eczno-polityczny oraz nawo\u0142ywanie, aby \u201enie odwraca\u0107 wzroku\u201d. W piosence arty\u015bci \u015bpiewaj\u0105 na zmian\u0119 o odkrywaniu zbiorowych podobie\u0144stw oraz zakopywaniu dziel\u0105cych nas r\u00f3\u017cnic.\u00a0<\/span><\/h5>\n

Oh my people, don\u2019t give it in to all the pretence
\n<\/i>If we want a better world and time
\n<\/i>Then it starts with us in every sense <\/i><\/strong><\/h4>\n

[Cz\u0142owieku, nie daj si\u0119 zwie\u015b\u0107 pozorom \/\u00a0Chcesz \u017ceby by\u0142o lepiej na tym \u015bwiecie \/\u00a0To zacznij najpierw od siebie]<\/span><\/em><\/p>\n

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Szeroki, ch\u0142opi\u0119cy u\u015bmiech na twarzy graj\u0105cego na korze Badjiego to najlepszy dow\u00f3d na to, \u017ce muzyka p\u0142ynie w jego \u017cy\u0142ach, znajduj\u0105c zarazem wyraz w \u015bwiecie fizycznym. Jedno nie mo\u017ce istnie\u0107 bez drugiego: u\u015bmiech wybrzmiewa muzyk\u0105, muzyka rysuje u\u015bmiech na twarzy. <\/em><\/strong><\/h4>\n

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Moussou Gnimma <\/i><\/strong>to pean na cze\u015b\u0107 wszystkich pi\u0119knych kobiet w naszym \u017cyciu. D\u017awi\u0119ki kory mieszaj\u0105 si\u0119 tu z d\u017awi\u0119kami saksofonu altowego, co jest nietypowym po\u0142\u0105czeniem, kt\u00f3re jednak przenosi mnie do Afryki Zachodniej, zabieraj\u0105c w podr\u00f3\u017c kolej\u0105 przez rozleg\u0142\u0105 r\u00f3wnin\u0119 pod bezkresnym niebosk\u0142onem. Na horyzoncie majacz\u0105 rozmazane sylwetki akacji i baobab\u00f3w. Tym razem to kora nadaje struktur\u0119 muzyce. Artysta biegle wygrywa pe\u0142en energii powtarzalny rytm s\u0142u\u017c\u0105cy za t\u0142o dla szarpanych i ostentacyjnych wybuch\u00f3w saksofonu, kt\u00f3rego agresywna melodyka przecina szczebiotliwe d\u017awi\u0119ki kory. \u015awietna improwizacja. Ciesz\u0119 si\u0119, \u017ce mog\u0119 tu by\u0107. <\/span><\/h5>\n
Kolejna piosenka, o angielskim tytule <\/span>Sunshine<\/i><\/strong>, jest po prostu cudowna, jak najg\u0142\u0119bsza drzemka w pi\u0119knym obcym kraju, kt\u00f3r\u0105 przerywaj\u0105 pierwsze krople pory deszczowej spadaj\u0105ce na w\u0142osy. Wida\u0107 tu wyra\u017an\u0105 inspiracj\u0119 jednym z najwi\u0119kszych wirtuoz\u00f3w kory <\/span>Toumanim Diabat\u00e9m. Na my\u015bl przychodzi tu cho\u0107by jego kultowy album nagrany w 2006 r. z Alim Fark\u0105 Tourem, <\/span>In the Heart of the Moon.<\/span><\/i><\/a> Je\u015bli ulega\u0107 wp\u0142ywom, niech b\u0119dzie to wp\u0142yw najlepszych. <\/span>Harit <\/span><\/i>oraz <\/span>Soutoukon<\/span><\/i> przepe\u0142nia rado\u015b\u0107, kt\u00f3r\u0105 rozbrzmiewa dialog mi\u0119dzy kor\u0105 a saksofonem. Szeroki, ch\u0142opi\u0119cy u\u015bmiech na twarzy graj\u0105cego na korze Badjiego to najlepszy dow\u00f3d na to, \u017ce muzyka p\u0142ynie w jego \u017cy\u0142ach, znajduj\u0105c zarazem wyraz w \u015bwiecie fizycznym. Jedno nie mo\u017ce istnie\u0107 bez drugiego: u\u015bmiech wybrzmiewa muzyk\u0105, muzyka rysuje u\u015bmiech na twarzy. Je\u015bli istnieje muzyka, kt\u00f3ra uwodzi zmys\u0142y i daje im rozkosz, to w\u0142a\u015bnie jest ta muzyka, a publiczno\u015b\u0107 z entuzjazmem ws\u0142uchuje si\u0119 w muzyk\u0119, wpatruje w artyst\u00f3w, odczuwa te same wibracje.<\/span><\/h5>\n

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Die Stem van Suid-Afrika (The Voice of South Africa)<\/strong>,<\/span><\/i> wiersz napisany w 1919 r. przez C. J. Langenhovena, powsta\u0142y jako pean na cze\u015b\u0107 pi\u0119kna i wspania\u0142o\u015bci Po\u0142udniowej Afryki, gryzie si\u0119 z reszt\u0105 wybranego na wiecz\u00f3r repertuaru. Tekst ten to rzecz jasna ciekawostka oraz przyk\u0142ad na to, jak mo\u017cna zaprz\u0105c poezj\u0119 do realizacji niegodziwych cel\u00f3w politycznych \u2013 wiersz ten \u015bpiewano jako hymn narodowy w czasach apartheidu oraz niechlubnych rz\u0105d\u00f3w bia\u0142ej mniejszo\u015bci. Nie jestem jednak pewien, czy ten utw\u00f3r by\u0142 najlepszym akcentem na zako\u0144czenie wieczoru, zw\u0142aszcza \u017ce poprzedzaj\u0105ce go utwory, radosne i pe\u0142ne lekko\u015bci, m\u00f3wi\u0142y o \u015bwiecie otwartym i pozbawionym uprzedze\u0144. Piosenka stanowi\u0142a okazj\u0119 dla Smitha, aby ten wykaza\u0142 si\u0119 jako multiinstrumentalista i popisa\u0142 zr\u0119czno\u015bci\u0105 palc\u00f3w przy fortepianie. Jak sam przyzna\u0142, zasi\u0105\u015b\u0107 przy tym wspania\u0142ym instrumencie to by\u0142a prawdziwa gratka. Tekst utworu na j\u0119zyk polski i angielski \u015bwietnie przet\u0142umaczy\u0142a Ma\u0142gorzata Szypura.<\/span><\/h5>\n
Kolejn\u0105 piosenk\u0119 na fortepian, <\/span>Prayer for the Social Heroes<\/i><\/strong>, Smith skomponowa\u0142 w mrokach norweskiej zimy, kt\u00f3r\u0105 sp\u0119dzi\u0142 tam w ramach wymiany studenckiej. S\u0142uchaczy wci\u0105ga zaduma i autentyczno\u015b\u0107, t\u0119sknota i melancholia, a nak\u0142adaj\u0105ce si\u0119 na siebie partie wokalne Smitha i Badjiego doskonale si\u0119 uzupe\u0142niaj\u0105.<\/span><\/h5>\n

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Kora znalaz\u0142a si\u0119 ponownie w centrum uwagi w<\/span> Kelefabie<\/strong>, <\/span><\/i>numerze zamykaj\u0105cym wiecz\u00f3r, \u015bwietnym podsumowaniu ca\u0142ego koncertu i panuj\u0105cych w jego trakcie nastroju i wibracji. Chcia\u0142bym zobaczy\u0107, jak ci dwaj muzycy nagrywaj\u0105 album wype\u0142niony oryginalnymi kompozycjami, w kt\u00f3rym mieszaj\u0105 si\u0119 d\u017awi\u0119ki kory, basu, saksofonu. To kusz\u0105cy scenariusz \u2013 paleta nastroj\u00f3w ewokowanych przez artyst\u00f3w wydaje si\u0119 nie mie\u0107 ko\u0144ca, a mieszanka ich umiej\u0119tno\u015bci niespotykana, tak jak chemia oraz intuicyjna muzyczna \u015bwiadomo\u015b\u0107, kt\u00f3r\u0105 wida\u0107 w letnich u\u015bmiechach, nie chc\u0105cych znikn\u0105\u0107 z twarzy artyst\u00f3w. Zanim to jednak nast\u0105pi, warto zobaczy\u0107 muzyk\u00f3w w ich naturalnym \u015brodowisku \u2013 podczas wyst\u0119p\u00f3w na \u017cywo.<\/span><\/h5>\n

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Listen to Ethan Smith and Ablaye Badji on the Music Matters podcast series talking about their music, influences and current projects.\u00a0<\/span><\/h4>\n

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On 12 December 2021 the Villa Decius Cultural Institute hosted a unique performance which brought together for the first time two sons of Africa: Ablaye Badji (Senegal) and Ethan Smith (South Africa). Their first collaboration in Krak\u00f3w, it captivated an audience eager for live world music.<\/p>\n","protected":false},"author":5,"featured_media":2425,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_seopress_robots_primary_cat":"none","_seopress_titles_title":"African Duo Enchant and Enthral All at Villa Decius - Krak\u00f3w Music Blog ?? ??","_seopress_titles_desc":"On 12 December 2021 the Villa Decius Cultural Institute hosted a unique performance which brought together for the first time two sons of Africa: Ablaye Badji (Senegal) and Ethan Smith (South Africa). Their first collaboration in Krak\u00f3w, it captivated an audience eager for live world music.","_seopress_robots_index":"","_seopress_analysis_target_kw":"","footnotes":"","_wpscppro_dont_share_socialmedia":false,"_wpscppro_custom_social_share_image":0,"_facebook_share_type":"","_twitter_share_type":"","_linkedin_share_type":"","_pinterest_share_type":"","_linkedin_share_type_page":"","_instagram_share_type":"","_medium_share_type":"","_threads_share_type":"","_google_business_share_type":"","_selected_social_profile":[],"_wpsp_enable_custom_social_template":false,"_wpsp_social_scheduling":{"enabled":false,"datetime":null,"platforms":[],"status":"template_only","dateOption":"today","timeOption":"now","customDays":"","customHours":"","customDate":"","customTime":"","schedulingType":"absolute"},"_wpsp_active_default_template":true},"categories":[361,33],"tags":[239,56,314,315,317,45,143,4,318,313,316,282,240,48],"class_list":["post-2423","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-event-photography","category-music-reviews","tag-2act","tag-ablaye-badji","tag-africa","tag-african-music","tag-die-stem","tag-ethan-smith","tag-kora","tag-krakow","tag-las-wolski","tag-senegal","tag-senegalese-music","tag-south-africa","tag-villa-decius","tag-world-music"],"acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-05-21 20:09:15","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/krakowmusic.com\/blog\/wp-json\/wp\/v2\/posts\/2423","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/krakowmusic.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/krakowmusic.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/krakowmusic.com\/blog\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/krakowmusic.com\/blog\/wp-json\/wp\/v2\/comments?post=2423"}],"version-history":[{"count":5,"href":"https:\/\/krakowmusic.com\/blog\/wp-json\/wp\/v2\/posts\/2423\/revisions"}],"predecessor-version":[{"id":2508,"href":"https:\/\/krakowmusic.com\/blog\/wp-json\/wp\/v2\/posts\/2423\/revisions\/2508"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/krakowmusic.com\/blog\/wp-json\/wp\/v2\/media\/2425"}],"wp:attachment":[{"href":"https:\/\/krakowmusic.com\/blog\/wp-json\/wp\/v2\/media?parent=2423"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/krakowmusic.com\/blog\/wp-json\/wp\/v2\/categories?post=2423"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/krakowmusic.com\/blog\/wp-json\/wp\/v2\/tags?post=2423"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}