As these performers list the professional or political obstacles facing their work, a nostalgia develops for intuitive, pre-adult experience. Those earliest years harbored some nameless values.
As performers make plans for the future, a tension arises between subjective desire and public crudity. The best way to foster hope (again) is to leave those heartless civic realms behind.
Four women from Moscow, Yekaterinburg, and Saratov offer new narratives on the ongoing struggle for self-determination. Those tales of increasing dignity stretch all the way to Los Angeles.
Moscow's Anise Project is fronted by Anna Volkova. She speaks of how adult experience tempers youthful fantasy. Some causes of that local fatalism are sought by other collectives in folklore.
As the Baltic press lists some promising names for the forthcoming musical year, a key question poses itself. Should younger artists promote their uniqueness or similarity with existing trends?
Four instrumental producers from Minsk and St. Petersburg see their newest works as an alternative to frustrating, if not awful reality. The worse actuality appears, the more they fantasize.
Using the ecosphere, Orthodox Christianity, an isolated address, and other reference points, these musicians suggest there's much to be gained from abandoning the chutzpah of Moscow life.
These four new releases from Russia and Ukraine all lean towards a validation of smallness. There are various reasons not to be loud, arrogant, and self-assured. Local history is one of them.
The "Put' k Sebe" folk festival is held in Russia's Kaluga region each autumn. Some of the performers from this year's lineup suggest how ancient practice might correct various failings within modernity.
The Sketis organization continues to champion а crisscrossing of folk traditions. Not only is canonical practice forced to incorporate novelty; peripheral locations are also paid major attention.