Fez - Ballake Sissoko and Debashish Bhattacharya stunned the audience on the fourth day of the Fez Festival of Sacred Music, performing beautiful artistic pieces that mesmerized the spectators.
Fez – Ballake Sissoko and Debashish Bhattacharya stunned the audience on the fourth day of the Fez Festival of Sacred Music, performing beautiful artistic pieces that mesmerized the spectators.
After heavy rain on Sunday, organizers worked hard to make the Batha Museum suitable to host the concert. The entire morning was spent mopping to prepare the venue.
At 4:30, audiences witnessed what might turn out to be one of the best performances of the Festival.
Ballake Sissoko, a professional Kora player from Mali, opened the concert with a piece of music that calmed the soul, leaving the audience in a trance. They were completely inthralled, transcending the limits of time and space to enjoy the music.
Sissoko yielded the stage to Debashish Bhattacharya, an artist deeply inspired by nature and considered the master of Indian raga with his self-designed steel guitar and table beats. His performance transported the audience on a magic carpet thousands of miles to India.
Zineb Alaoui, a 30-year-old teacher, told Morocco World News that after listening to Debashish, she couldn’t stop dreaming of visiting India.
Debashish and Sessoko then joined forces sending the audience voyage on a voyage from Mali to India, in one of the best performances of the Festival so far.
Differences of color, religion, and ethnicity evaporated, leaving a sense of unity and wholeness, especially when the duo played Dance of The Camel in the Desert Rain.
Debashish told Mass Media that he has not rehearsed extensively with Sessoko prior to the concert. They simply went with the flow of the music, driven by their deep passion.
Asked about the sacred music at the Festival, Debashish said, “if we believe we are children of God, sacredness comes to us because we become divine.”
Edited by Sara Gomez. Photos credit: Omar Chennai
© Morocco World News. All Rights Reserved. This material may not be published, rewritten or redistributed without permission