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Igor Otxoa and Harkaitz Martinez have a dream that leads them to make a trip in search of the world's last remaining nomadic tribes. Through encounters with other musicians: a Mongol musician, Hindu taxi driver, Sami singer and an aging Saharan lady, the txalaparta becomes more than a musical instrument; it is a tool for cutural communication. NOMADak TX captures an extraordinarily fluent and dynamic conversation across borders and languages, articulated through music. |
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Nomadak TX Friday, February 29 Presented in 35mm Director: Country of Origin: Country of Focus: Length: |
"The music does the talking in "Nomadak Tx," an exhilarating, feverishly globe-hopping doc that follows Basque musical duo Oreka Tx as they seek out fellow artists in far-flung nomadic societies. Very possibly the Next Big Thing for world music mavens and hipster armchair travelers alike, pic confidently relies on images and rhythms to demonstrate how small the world can be. It's hard to imagine a more ideal festival film, appealing as it does to cinema, music and exotica fans in equal measure, pointing to terrific worldwide theatrical and vid biz with certain CD tie-ins." VARIETY "Nomadak TX was screened at AFI Silverdocs as the music documentary award winner. The movie has an interesting paradigm: two Basque men, master musicians of the Basque percussion instrument called the txalaparta (constructed of carefully cut and cured lumber pieces), travel the world, looking for nomadic peoples and introducing their instrument, using a “rough science” approach to make their instruments for local peoples out of local materials. They visit India (around Mumbai), then Lapland (from Norway through Sweden and Finland to Russia), then north Africa (unspecified countries in the original French West Africa, perhaps Mali), and Mongolia, leading again into Russian Siberia. In cold climates, they make their musical instruments out of ice. The on -ocation photography, in nearly full wide screen (it looked like a 2.0 to 1 aspect) is breathtaking, with remote areas of the world never seen before in a commercial film. Particularly effective were the subtle colors in the scenes with late autumn frost and snow in the northern areas, as were the African desert areas, with a kind of “Lawrence of Arabia” look." JOHN BOUSHKA |
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