Swakopmund Musikwoche returns, “Building Bridges” through music

The Swakopmund Musikwoche returned to the coastal town this month, continuing its nearly six-decade tradition of uniting musicians and students under the theme: “Building Bridges, Connecting Communities.”

The festival concluded with a series of performances from 12 to 14 December, showcasing the talents developed during the week.

Since its inception in 1965, the annual week-long event has served as a critical platform for musical exchange, bringing together learners, educators, and professional musicians from across Namibia and the international community.

Director Ailly Namupala emphasised the festival’s vision to use music as a unifying force, reminding participants that music remains one of the strongest tools to bridge communities.

With the youngest participant being ten years old and the oldest over 60 years old, the 2025 festival attracted over 200 participants from Namibia and abroad. Under the musical direction of Hendi Krog, the programme offered masterclasses, one-on-one coaching, orchestral and ensemble training, and exposure to a wide range of musical genres.

The focus was on discipline, confidence, and collaboration, with professional lecturers providing mentorship to both emerging and established artists.

During the performances, the stage was set for a journey through melodies and rhythms, each ensemble ready to share its unique voice.

First, the gentle sounds of flutes and recorders filled the air. The audience was transported by the whimsical “Kanon of the Honest Malt” by R. Brown, the playful “Raggy Flutes” by T. Wye, and the charming “A Humble Bird Catcher” by W.A. Mozart. Each note seemed to flutter and dance, painting vivid pictures in the minds of listeners.

Next, the choir took their place, their harmonies rising like a wave. They began with the uplifting “A New Noel” by Travis Boyd, followed by the moving “Lamb of God” by Keith Lancaster. The spiritual “Witness” by Jack Holloran resonated deeply, and the choir paid tribute to Namibian heritage with compositions by Herold !Owoseb and Zikii Hangero.

The concert band then brought a burst of energy. They performed the inspiring “When You Believe” from The Prince of Egypt, the adventurous “Carpathia” by William Owens, the heartfelt “You Raise Me Up” by B. Graham, and the lively “Mambo No.5” by R. Loulani. Each piece showcased the band’s versatility and spirit.

Finally, the youth orchestra took centre stage, ready to close the evening with grandeur. They swept the audience through time and space with classics: the thrilling “William Tell Overture” by G. Rossini, the elegant “Symphony No. 36, the Linz” by W.A. Mozart, and the dramatic “Romeo and Juliet Overture” by P.I. Tchaikovsky.

The orchestra continued with the enchanting “The Blue Danube Waltz” and the rousing “Radetzky March” by Johann Strauss II, the sparkling “Thunder and Lightning Polka” by Johann Strauss II, the spirited “Can Can” by J. Offenbach, and, as a grand finale, the iconic “Star Wars Main Theme” by John Williams. As the last notes faded, the audience rose in applause, grateful for an evening where music told its own unforgettable story.

The Swakopmund Musikwoche has affirmed its role as a cornerstone of Namibia’s arts industry, delivering cultural, educational, and economic benefits.

Besides its commitment to developing Namibian talent, beyond artistic growth, the Musikwoche stimulates the local economy by attracting participants and audiences who support local businesses, including hotels, restaurants, and cultural venues. This demonstrates the tangible value of arts events as drivers of tourism and urban cultural life.

The festival also promotes the preservation and evolution of Namibian cultural identity by showcasing diverse musical traditions alongside contemporary and classical forms. This inclusive approach strengthens national pride and positions Namibian arts within a global context.

The event is made possible through the support of sponsors like Bank Windhoek and the backing of local government and community leaders. Bank Windhoek’s Strategic Communication Manager, Samuel Linyondi, who attended the concerts, said that the Musikwoche is especially important for young Namibians.

He said the festival’s inclusive ethos ensures that every participant, regardless of background, is empowered to grow as a musician and community member.

As the Swakopmund Musikwoche looks toward its jubilee anniversary in 2027, it continues to build bridges that connect hearts, communities, and generations through music. Namupala expressed deep appreciation to Bank Windhoek, whose ongoing support has been instrumental in the festival’s growth and sustainability.

Original article by Namibia Economist