Access All Areas: Researcher
The Galle Music Festival was an intense whirlwind of activity. For me it started with the “Inspiration” workshop that Sevalanka asked me to lead – this was a session for all the artists the day before the Festival, designed to welcome them and get them interacting and relaxing together. Some of them had been travelling many hours and Galle Music Festival would be their first major event. They were tired, very serious, and not sure what to expect from it all. But the games and creative tasks I introduced worked a treat, getting them singing, clapping, sharing rhythms, songs, and other musical ideas from their traditions and their imagination, as well as laughing and connecting with each other.
Then there were soundchecks for me to do. I’d spent the last few days observing a drumming collaboration between two all-female drumming groups (one from the North, one from the South), and I’d ended up being roped in to play as part of the act. That was enormous fun, and a very different way to connect with the musicians in the group than simply as an outside observer.
The Festival began with the Morning Program, held in a lovely market square in Galle where a weekly artisan market is held. Stalls were created for the different performing groups where they could display their instruments and costumes, and they gave informal performances in front of their stalls or on the small stage at one end of the market square. The Morning Program at the market had a lovely, chilled vibe, and I was happy to see that it also gave the musicians a chance to interact with each other a bit more, check out each other’s instruments, performances, and so on.
At the Festival I had two particular researcher tasks – I had a small team of volunteers to help me administer an Audience Survey, and I remained backstage throughout the evening concert to ask each group of performers to complete Performer Surveys. This meant that I was part of the energy and excitement of the performers, as they gathered at the side of the stage waiting for their turn, and afterwards, as they milled about, buzzing with adrenaline, but also (for many) rushing to get their equipment together and their costumes packed away in order to start their long journeys home as soon as possible.
I therefore never really got to see the Festival from the audience’s perspective. That night, it started raining heavily (in fact the rains that came continued unabated and were the cause of Sri Lanka’s devastating floods just a few days later), so the audience was mostly seated further back from the stage under weather-proof awnings. I wonder how it was for them, seeing these performers of diverse folk traditions, many of whom were only experienced in performing for rituals in their own communities? There was an impressive amount of elaboration. I loved these leopard costumes, from a folk theatre group from Mullaitivu District.
My role backstage, and following on from the ‘Inspiration’ workshop on Friday, enabled me to interact closely with all of these musicians. After attending my workshop, many of the artists greeted me warmly when they saw me backstage, wanted to chat and to have photos taken with me.
Some of the groups that I’d spent quite a lot of time with – like the all-girl drumming group from Kilinochchi – were particularly sad to say good-bye. One of the girls gave me her pottu (Tamil word for the forehead decoration). We’d first met about 7 weeks earlier, when I came to see one of their village performances and interviewed them about their experiences in the previous year’s festival.
In the end, I had a satisfying amount of Audience Survey completions, and an even more pleasing number of Performer Surveys. My backstage pass for the Festival said “Researcher” on it, which was a definite highlight of my whole time in Sri Lanka! How many researchers can boast such Rock Star-like validation?