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Mystifying Yet Mystified
It was such a unique instrument, which a sound quite unlike anything she�d ever heard before. Malou would end up doing an instrumental with Fanu on balaphone.
�It was orgasmic!� Cynthia gushes. �The harmony, the sound just merged, creating something that feels like long-lost lovers who had found each other.�
Cynthia and her band did several workshops, while doing guest spots at others. She would play at �Beat This,� a percussion workshop, then head over with Malou to do a gongs and bass seminar smartly entitled �Heavy Metal.�
�It was simply incredible,� Cynthia remembers, �I can�t quite find the words to express the sheer feeling of being there, seeing all these wonderful musicians coming together. We couldn�t speak the others� languages, but when the music started, it became all that mattered. Music is really the language of the world,� she adds, sipping her tea.
Cynthia�s unique sound
Cynthia made sure that the repertoire she brought with her would adequately showcase her own unique sound while becoming an adequate representative of the Philippine music scene in general.
�We performed �Malaya,�� she says, referring to a track from her first album, as well as �Halik Ng Ulan,� which was originally a poem by Al Santos, set to music by Cynthia herself. The group played on the third evening while attending and holding workshops on the first and second days.
�[The band and I were] stunned by all the musical giants we were with,� Cynthia says. �It was a good source of inspiration. Take the percussion music for example. Seeing Africans and whites play Cuban musical patterns! It�s very thought-provoking.�
�Africans are perfect,� she adds. �They�ve got the moves, they have the passion, Africans are bursting with life. So you have these black people being watched by Asians, fellow Africans, Caucasians from Europe, Canadians, it�s heart-warming. And the best part of the entire three-day festival was that it was open to everyone,� she adds.
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