An Evening of Music — from Asia to Africa arranged and hosted recently in Karachi by the Agha Khan University Hospital made me agree with what the famous artist Richard Kamler once said 'Art is our one true global language. It knows no nation, it favors no race and it acknowledges no class. It speaks to our need to reveal, heal and transform. It transcends our ordinary lives and lets us imagine what is possible.'

The show, as predicated, proved an entertaining conceit which turned a hypothetical evening into a happening act. Starting on its slated time and staged to raise funds for the AKUH's patient welfare programme, the event had a noble cause. Incorporating two major forms of arts dancing and singing, it was scrupulously entertaining where the breathtaking performances of the artistes from both countries didn't let the audience feel that they are exposed to cultures which are discrete. The concept was designed to educate people about how art could transform into a global language of expression no matter how diverse the tradition and culture of two regions happen to be, in order to eradicate differences and bridge the barriers, besides bringing people closer.

The programme started with the dance acts of Masai and Kathak meticulously clubbed, blended and presented by Nighat Chaudhry from Pakistan and Fernando Anuang from Kenya. Representing the new generation of Kenyan contemporary choreographers, Fernando's expertise in blending African with other cultures of the world has been acknowledged internationally. Speaking to the audience he explained, 'This performance is a dialogue between Asia and Africa through Kathak and Masai, and despite all the difference that the both cultures inculcate they share one common language and that is dance.'

Born in Lahore and brought up in England, at age 16 Nighat Chaudhry's chance meeting with Kathak dancer Naheed Siddqui defined her future objectives with dance. Trained in professional Kathak dance from the institution of Kathak Kendra in Delhi, Nighat honed her dancing skills under the guidance of Pandit Durga Lal of the Jaipur gharana. She had also been a student of ballet and contemporary dance in London.

Briefing the audience about her act, Nighat said, 'Every part of our performance is a message of celebration that who we are, the fact that we do connect and we do love each other. So let's walk across and bridge all the gaps through dance.'

In their performance both the artistes blended Masai moves with Kathak ones and revitalised the interest of the sitting audience. Later, while talking to Images on Sunday, Fernando divulged, 'Masai dances are not confined to one particular occasion there are dances for celebration when warriors kill a lion, then there are dances for the blessing of cattle and dances performed at weddings. Traditionally, when singing and dancing, Masai rarely use instruments or percussion as all of their music is vocal, except for a large horn that is used for certain songs. Men and women wear beads which produce a jingling sound and rhythm while the Masai jump and dance. Bells or rattles that Masai women wear add more sounds to their singing.'

While delivering her performance, Nighat assured those present that her moves were not confined only to the basics of Kathak but also occasional improvisations complimented by footwork, facial expression and body gestures — as if narrating a tale or katha in a subtle manner. Whereas Fernando, in his traditional Masai ensemble, incorporated traditional moves highlighted with vocal percussion, followed by high jumps in air — a trademark of Masai dance.

Steeped in tradition, Masai tribes live in Kenya and Tanzania and their culture, though primordial to others, is still the same. Tall, lean warriors dressed in red and wearing beaded jewellery, the men as warriors protect their people and herd cattle while the women are confined to household work. Cattle have a central role and even wealth is measured in cows. Amongst the countless ethnic groups of Africa, the tribe of the Masai resist change and own their cultural heritage.

Besides impressing with his magnificent dancing skills, Fernando also brought laughter to the show when he said that the Masai feel that all the cows in the world belong to them — even the ones that are in Pakistan. Responding to a query from an enthusiast, Fernando explained the reason behind the high jumps in his dance performance, 'Masai men jump with two reasons in mind, as a part of festive celebration in dry season to jump as high as they possibly can showing as they could touch the clouds to get rains. Secondly, they jump when they are around women to impress them or, in plain words, to seduce them.'

The second part of the show was led by music composer Nizar Lalani and Njane Mugambi from Kenya who took the audience to a borderless voyage by infusing traditional yet contemporary sounds of two distinct regions. By employing the musical instruments of both sides with cutting edge aesthetics, and generating a highly electric and foot-stomping feel, they transformed the scene into a soaring energy live act.

Their performance included songs such as Jeray Mama, Molungo, Alif Allah, Yaar di Gharoli and Dama Dam Mast Qalandar, etc. As vocalist Thelma and Mohumad Ali did a fine job while musicians Ramond on African Drums, Eha on zumari, Mehmood Ali on tabla, Rahat Ali on flute with Najne and Nizar controlling the whole act got accolades from the audience.

It was good to hear some rare African music instruments such as the zumari, bumo and the kering gongo. Their penetrating sounds coupled with those emanating from the eastern tabla, harmonium and bansuri (flute) became the focal point of the show. Each song had a beat, rhythm and feel of its own, but Nizar's fusion with our exuberant folk tunes — Yaar di Gharoli, Alif Allah and Dama Dam Mast Qalandar — got the audience on its feet, humming and banging heads and finally a standing ovation.