I knew that I was in for a spiritual experience when I walked into the Harris Theater on Sunday. The stage was set with candles, a swathe of multicolored silk, and instruments I do not encounter every day. After 85 minutes of the Silkroad Ensemble’s Sanctuary: The Power of Resonance and Ritual, I made a point of making the music I experienced part of my daily listening. Note that I said “experienced” because this concert was more than just music.
It was a ritual from the start as the artists marched in like a choir to the altar for Sunday services. Silkroad artistic director Rhiannon Giddens was one aisle over, leading a line of musicians. Niwel Tsumbu from the Democratic Republic of Congo led the aisle next to my seat. His voice led the chant, and after everyone in the ensemble reached the stage, Giddens turned to the audience and motioned for us to join in. The auditorium was filled with the language of music.
I grew up Catholic, but consider myself a person of the universe with free will made from the same stuff as the people around me and on the stage. This was an invitation for all open hearts and minds to be part of the sanctuary, a safe and reverent place.
What followed the march-in was a stream of glorious music featuring artists from at least six countries. Giddens is known for her work in reclaiming folk music as a Black cultural touchstone, drawing on elements of gospel, blues, and rural music sung on porches, at cookouts, and at roots gatherings. Cellist Yo-Yo Ma founded Silkroad in 1998 to bring a cross-cultural perspective to music. Every culture has its version of moans, blues, and folk music outside of the mainstream.
When you listen to Silkroad, you will hear the roots of instruments, phrasing, and subject matter. Sanctuary: The Power of Resonance and Ritual featured tabla player Sandeep Das from India alongside the soulful violin and vocals of Mazz Swift, which garnered some whoops from the audience. They also led a fantastic call-and-response sing-along with the ensemble and the audience. Giddens played banjo, which originated in West Africa, and also jammed on the violin, which originated in Italy. Down the line was Mauro Durante, stirring in Italian Taranta with all of the soul of an R&B master. He never stopped moving with tamburello, violin, and amazing vocals. On stage left was Kaoru Watanabe, bringing the sounds of the forest with Japanese wood flutes and the heart-rumbling Taiko drums, rooted in ritual, noh, and kabuki theater.
Guest artist Mehdi Nassouli sang and accompanied the ensemble on guembri from Moroccan Gnawa music. His voice held the spirit of mosque calls to prayer, which is very similar to the deacon’s moan during a Baptist church altar call. On stage right was Haruka Fujii from Japan, bringing sounds of the rainforest on the marimba, shimmering drums, cymbals, and a shaking gourd. It was a beautiful melding of Japanese and African traditions. Japan has a tradition of reverence for ancestors, reverence for balance, and nature.
Tsumbu brought the electrifying sounds of Soukous on his acoustic guitar, and with his beautiful voice that brought the ancestral reverence from Africa, the Motherland. Next to Tsumbu was Karen Ouzounian, with origins in Armenia and the ancient traditions of sacred chants and the spirits of nature. Ouzounian’s cello grounded the music along with Shawn Conley on the upright bass. Conley is from Hawaii and even though it is considered part of the USA, indigenous spirituality is woven into the culture. Conley was laying down bass from the many entities from the South Pacific.
At the front of stage right, Francesco Turrisi was playing the accordion, weaving an Italian folk-music sound. I also associate the accordion with Romani and Klezmer music, which is a different scale that runs counterpoint to the traditional European scale. Turrisi’s accordion was more of a voice without lyrics; to me, it sings. The audience was invited to provide percussion with clapping patterns as Giddens whirled barefoot, like getting the spirit at church. I imagined the Sufi Semazen twirling in deep concentration and connected to their higher consciousness.
These are the times when every soul needs sanctuary, peace, and acceptance beyond mere tolerance. The Silkroad Ensemble represents cultures that have been under duress for centuries, who have found common ground in music. The folk traditions have the same genesis: grounding to earth and nature with reverence, drumming or clapping to push away bad energy/spirits, and losing yourself in the music and rhythms. The songs played were not listed or announced. There was no "written by" or formal credit given. It was a shared experience, with each artist contributing.
The concert concluded with a benediction calling the audience to sing a singular tone similar to the sacred AUM (Om). The ensemble exited the stage, and the audience continued with AUM. We looked each other in the eyes as we left. It was a blessing to be present at this that went beyond entertainment. I highly recommend you attend a Silkroad performance at the next opportunity. I cannot guarantee a transcendent experience like the one I had and others in the audience had. That depends on where your head is in the chaos of this world. But you will definitely have a hand-clapping, foot-stomping great time.
Silkroad Ensemble's Sanctuary: The Power of Ritual and Resonance was presented on March 15 at the Harris Theater for Music and Dance, 205 E Randolph St. Please visit www.silkroad.org and harristheaterchicago.org for more information.
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