As I trekked through the rainforest in Sarawak, on the island of Borneo, the last thing that I expected to hear were guitars, violas and electric fiddles. But those are exactly what my surprised ears enjoyed as I spent two days at the First Annual Sarawak Rainforest World Music Festival (SRWMF). The festival brought together a potpourri of well known international musicians and lesser known regional musical groups to create an eclectically good time.

Unlike so many music festivals, which compress crowds into industrial amphitheaters, SRWMF allowed music lovers to enjoy the resounding rhythms in the heart of the one of the world's oldest rainforests, and specifically in a living museum dedicated to preserving the indigenous cultures of Borneo.

The 17-acre Sarawak Cultural Village served as the venue for the two-day event, so the typical cramped concert experience remained nonexistent. Situated below imposing Mt. Santubong at the edge of the South China Sea, the village provided an interesting location that lacked a touristy ambiance.

Unlike other festivals, which usually have one of two stages of constant stage performances, this festival allowed music fans to choose from a variety of daytime workshops, mini recitals, master classes and interactive ethnomusicology lectures in the afternoon. They took place in cozy daytime venues – longhouses (which look just what they sound like) and traditional native dwellings – that allowed fans to gather closely.

The intimate surroundings brought fans together and the musical energy often brought smiles to the crowd. The joyful mood often became infectious, and soon small gatherings would break into clapping, and sometimes dancing. The bands got into the groove as impromptu jam sessions often broke out with one band joining another.

After the set ended, the uplifting mood continued as the crowd mingled with the bands. There was no rock star mentality here. The festival provided a great chance to strike up a conversation with band members and locals. I learned about various instruments and influences after rapping with the musicians.

And they even signed autographs.

Many of the bands I describe below will return to this year’s festival, When the sun went down, the various groups hit the main indoor stage and the outdoor stage and each band or performer performed for about 30 minutes. The music filled the air until around midnight. It's was worth sticking around. Last year the high-octane Scottish band Shooglenifty, which blends traditional Celtic music with modern grooves, wouldn't even let a tropical downpour (it is a rainforest) dampen the festivities. Their electric fiddler scorched the strings as the rains came down and drenched the crowd. I joined a mass of people who hit the dirt dance floor, and joined in a muddy, but festive, dance.

Besides Shooglenifty, many other bands that performed in the festival were worth a listen. I checked out Setona, which brought its Nubian rhythms all the way from Sudan. Led by singer Setona Ali Adam and her husband Ahmed Abdel Kerim, the band offered lush arrangements with touches of Zairian and Nigerian influences to create gorgeous Arabian music.

Another crowd favorite was Los Laneros, who specialized in music of the Llanos (savannahs) along the Orinoco River in Colombia. It was a rare treat to hear this authentic style outside of the Llanos, as it remains one of that region’s special secrets. The group Börte arrived from the other end of the world (Mongolia) and wowed the crowd. Their falsetto lead singer and their unusual instruments, such as a horsehair string instrument, provided a mesmerizing sound.

I made sure not to miss The Ensemble, which brought its stellar international reputation from nearby Vietnam. The pair of Hoang Ngoc Bich and Ho Khac Chi had traditional orchestra backgrounds but played uncommon instruments. Chi created remarkable sounds on the dan bau, a one-string zither. Bich added the sounds of the ko ni, a two-string stick fiddle where the strings are attached to a disk that is held in the mouth.

As for local talent, there were many Sarawak groups which also appeared. Sayu Ateng used instruments that sometimes only appear in museums. They also used traditional Borneo brass gongs, a distinctive string instrument called the sape, and several historic drums. It was a great opportunity to check out the sound of instruments that are rarely heard these days.

Of course the festival provided other distractions such as food stalls that offered local Sarawakian treats and handicraft booths. If you needed a tattoo, Setona Ali Adam would create henna tattoos (or permanent Orang Ula tattoos) in her own stall when she wasn’t playing.

This year’s festival will be held July 9-11. For information, go to the festival web site.

When Keith isn't jamming to tunes in Malaysia he sometimes finds time to work on his screenplays and TV pilots. He contributes to Conde Nast Traveler, Budget Travel, The Christian Science Monitor and several other publications.