On Dikanda, or How to arrange the East

In Poland, interest in world music is quite alive, and has managed to foster a sizable array of oh-not-so-bad artists during the last twenty years: the Kroke group from Krakow, just to mention one example, is very successful in mixing Klezmer and Balkan flavours with a decent jazzy box of tricks. Varsovian singer Katarzyna Szczot, also known as Kayah, co-authored with Goran Bregović one of the bestselling albums in Poland (Polish: Kayah i Bregović, 1999; 700 thousand copies sold); later on, she has proven an excellent evangelist of the Ladin, Yiddish, Arabic, Hebrew, Macedonian, Roman, and Polish musical traditions (Transoriental Orchestra, 2013). The Dikanda ensemble was founded in Szczecin in 1997. Its reference “space” is still the East, this time in an even more comprehensive meaning, as a semi-mythical place that extends well beyond the purely geographic scope and acquires a historical as well as an anthropological connotation.

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Dikanda. Come arrangiare l’Oriente.

In Polonia l’interesse per la world music è piuttosto vivo, e ha prodotto negli ultimi vent’anni emergenze di un certo rilievo: celebre è, ad esempio, il gruppo cracoviano Kroke, il quale mescola efficacemente influenze di ascendenza orientale, klezmer e balcaniche ad un jazz di buona scuola. Di Varsavia è invece Katarzyna Szczot, in arte Kayah, già coautrice insieme a Goran Bregović di uno tra gli album di maggior successo di pubblico in Polonia (Kayah i Bregović, 1999; 700 mila copie vendute), e poi interprete di musiche della tradizione ladina, yiddish, araba, ebraica, macedone, romani e polacca in Transoriental Orchestra (2013).

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