Choirs, Angels, Gospel End Sacred Music Fest

Transcendence and contemplation are certainly elements of sacred music. But so is direct and earthy engagement, and that was the focus of much of the World Festival of Sacred Music in its closing weekend, as a sampling found firmly rooted, vernacular expressions of faith and aspiration everywhere.

Not that the women of Zhena Folk Chorus could not sing like angels in terms of vocal production, blend, pitch and pointed inflection. But these were very human angels, experienced in loss and sorrow as well as in joy.

A small a cappella ensemble, Zhena Folk Chorus travels through Slavic village music from the Balkans and Eastern Europe. Its program Saturday evening at the Sepulveda Unitarian-Universalist Society had a sacred core--with pre-Christian songs through Orthodox liturgy, Christmas carols and a Muslim chant--but also a generous selection of secular folk songs. Introduced by director Eve Pericich, all were sung with conviction and perfect musical poise.

Sharing the program as hosts were the Onionaires, named for the society’s bulb-shaped worship space. A middling church choir of relaxed and obviously inquisitive spirit, the Onionaires sang groups of Native American and Caribbean songs, spirituals, assorted anthems and folk songs, directed by Marco Rambaldo.

Angels may well sing Bach around the throne of God and play Mozart at home, as a theologian once suggested, but if they want to dance--and are in particularly good shape--they probably start with West African drumming. Francis Awe and his Nigerian Talking Drum Ensemble offered Yoruban dances of peace and nurture, Friday at Wilshire United Methodist Church. These were not without lyrical aspects but infectious, high-energy drumming and aerobics-shaming dancing were the clear focus.

The ensemble also collaborated with the Gwen Wyatt Chorale in spirituals and the premiere of ‘Jubilee,” a joyful modern spiritual by Atlanta composer David Blake. On its own, the chorale sang gospel and traditional spirituals, capped by Albert McNeil’s powerful ‘John the Revelator” setting, with soloist Jesse Hamilton.

Sunday’s afternoon-to-evening survey of the evolution of gospel music at the Carpenter Center in Long Beach also began with West African drumming and dancing, courtesy of Peter Abilogu’s Oblinyanko group. Other than that, the first half of the long, loose program took in more contemporary manifestations of the gospel spirit, including Brent Jones’ hip-hop-influenced Total Praise Mobb, the expressive hand-dancing of the Mime Boyz and the emphatic gospel-blues of the Starlights. Living legends Clarence Fountain and the Blind Boys of Alabama and the Clara Ward Singers returned the program to traditional roots on the second half.