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Archive for January, 2007

IMC präsentiert … Raga CDs des Montas (12/2006, 02/2007): pentatonische Ragas – 5-Ton-Skalen

Posted by ElJay Arem (IMC OnAir) on January 30, 2007

Die pentatonischen Ragas (Notenskalen mit fünf Tönen) sind in Indien die am weitest verbreiteten Ragas, gleichermassen in der nordindischen (Hindustani) wie südindischen Musik (Carnatic). Sie schaffen ein vielschichtes, musikalisches Spektrum und sind für den Hörer einfach zu erkennen. Ihnen werden auch magische Kräfte zugeschrieben …

Sendetermine…
25. Dezember 2006 – 15:00-15:58 p.m. (CET)
Wiederholung: 6. Februar 2007 – 21:00-21:58 p.m. (CET)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Das Notenmaterial wurde ursprünglich, wie in vielen Kulturen unserer Welt, für religiöse Zeremonien und Riten verwendet … sie bestanden zunächst aus nur zwei Tönen, entwickelten sich zu 3-Ton-Skalen und wurden im alten Griechenland zu 4-Ton-Skalen (Tetra-Chord-System).

………..
Ustad Salamat (1934-07/11/2001) andUstad Nazakat Ali Khan (died in 1983) in the 60th at a Radio Pakistan broadcasting show.
………..
Pandit Rajan (1951) & Sajan Mishra(1956), represantatives of the Benaras Vocal Gharana.

Die differenziertere Skalierungsform der 5-Ton-Musik (s.g. Pentatonik) bildete sich besonders in Ost- und Südasien, allen voran in China, Japan und Indien. Auch im Blues und der afro-amerikanischen Musik findet das 5-Ton-Schema seine Anwendung.

Die indische Klassik, zielt, anders als unsere westliche Musikkultur, durch ein improvisatorisches Spiel, auf dem Instrument oder im Gesang, auf ein atmosphärisches Klangbild, das sich mit bestimmten Gefühlen, Stimmungsbildern und einem emotionalen Ausdruck, den s.g. Rasa-s verbindet.

Der 5-Ton-Raga Malkauns beispielsweise portraitiert das Stimmungsbild des Dunklen, Geheimen und soll zu einer menthalen Stärkung verhelfen. Der Raga Durga trägt den Namen der ambivalenten, halbschrecklichen hindustischen Göttin Durga. Dem penthatonischen Raga Bhupali wird eine heilende, positive Wirkung zugesprochen, die den Zuhörer in eine leichte, freudvolle, entspannte Spannung versetzt.

Posted in DE (German) | Leave a Comment »

From North and South: Towards a musical cause …

Posted by ElJay Arem (IMC OnAir) on January 24, 2007

The first of it’s kind both in stature and venture, renowned musicians from the North and the South of India came together on January 24th 2007 at Mumbai, to voice their concerns on the needs and the fostering of the musical fraternity. This would be tabled to the Government and the representatives would then take forward the assistance and grants, for the betterment of the music community.

The first step of the All India Musicians Group was to convene and speak out for the common cause. Subsequently, the identified areas needing immediate assistance would be listed and represented, following which the team will chalk out strategies to carry forward the mission and to meet on a continual basis to keep the spirit of service alive.

It was a pleasure and a great feeling of fulfilment to see all the renowned musicians on a single platform, having left their daily schedules behind, and coming together in single mindedness for the cause.

 Towards a musical cause …

(Source: Jan2007 – Sudha Ragunatham (Vocalist | Carnatic Music))

Posted in Culture (news), News from India | Leave a Comment »

Moderation Script (01/2007): All Day Ragas (Raga CDs of the Months)

Posted by ElJay Arem (IMC OnAir) on January 22, 2007

+++

Posted in DE (German) | Leave a Comment »

Sendetermin: GANZTAGESRAGAS – 22.1.07 (15:00) + PodCasting (7dx24h)

Posted by ElJay Arem (IMC OnAir) on January 22, 2007

IMC – India meets Classic präsentiert in seiner ersten 2007-Sendung Ganztagesragas wie den Raga (Mishra) Pilu oder Raga Kafi – mit Hörbeispielen im indischen Gesang (Thumri – Hori), auf der Sarod, Sitar und Tabla …

In verschiedenen Literaturquellen werden die Ragas Pilu (o. Piloo), Kafi, Mand, Dhani oder der Raga Bhairavi als Ganztagesragas genannt. (Anm.: Den Raga Bhairavi stellte IMC OnAir bereits in seiner 2006-Sendung „Morgenragas” vor.)

Raga Pilu ist ein 5-Ton-Raga, in einer pentatonischen Skala und Raga Kafi ein 7-Noten-Raga (Sa, Re, Ga, Ma, Pa, Dha, Ni und das um eine Oktave höher liegenden Sa), ein vollständiger Raga, sanpoorna …

Kennzeichnend für alle Ganztagesragas ist, dass sie der leichten Klassik (Indian Light Classical Music) zugeordnet werden.

Neben der Instrumentalmusik in Hindustani, in der nordindischen Klassik, gibt es die indische Vokalmusik. Der Gesang, die menschliche Stimme, ist das führende Instrument Indiens. Auch hier finden wir die Form der Ganztagsragas wieder. Beispielsweise im Thumri-Gesang und im Dadra, einer Nuancierung des Thumris. Thumri und Dadra gehören wie die Ragas Pilu und Kafi der leichten indischen Klassik an. Thumri-s werden für den romantischen Ausdruck verwendet.

IMC – India meets Classic präsentiert dazu die Königin der Thumris: Samanta Shobha Shirodkar Gurtu mit dem Gesangsbeispiel „Main To Kheloongi Un Sang Hori”, eine Hori-Komposition (Anm.: Hori-Kompositionen beschreiben den Spass und die Fröhlichkeit des farbenfrohen Holi-Festes (= indisches Frühlingsfest).) Shobha Gurtu wird begleitet von dem unvergleichlichen Purushottam Walawalkar auf dem Harmonium, Sultan Khan auf der Sarangi und Sabir Khan, Tabla.

Im Weiteren spielen die Sarod-Legende Ali Akbar Khan, als Solist und in einem Jugalbandi (indisches Duett) mit Pandit Ravi Shankar auf der Sitar. Ihn begleitet in einem weiterne Hörbeispiel der indische Johann Sebastian Bach, wie Allah Rakha von Sir Yehudin Menuhin bewundert genannt wurde. – Ein langjähriger Weggefährte von Shankar bei unzähligen Bühnenauftritten, u.a. das legendäre Woodstock-Festival in 1969.

(22.1.2007 – IMC OnAir/IMCRadio.NetPodCasts | Sendetermine | Archiv | Hoerproben )

Posted in IMC OnAir - News | Leave a Comment »

Raga CDs of the months (07/01): All Day Ragas

Posted by ElJay Arem (IMC OnAir) on January 22, 2007

In different sources of literature the Ragas Pilu (o. Piloo), Kafi, Mand, Dhani or the Raga Bhairavi are listed as the so called >>all day ragas<< (notes: IMC OnAir already presented the Raga Bhairavi in on of its broadcasting shows in 2006 morning ragas).

date of broadcasting:
Monday, 22nd January 2007 – 03:00 p.m. (METZ)

broadcasting planstreaming (Internet Radio & Mobile Radio) | podCast

Raga Pilu is a five tone raga, with a pentatonical scale (see broadcasting on 25th December 2006) and Raga Kafi is a seven note raga (SA, Re, Ga, Ma, Pa, Dha, Ni and the SA on octave higher), a complete Raga, so called sanpoorna …

For the >>all day ragas<< it is characteristic to be assigned to the light classical period (Indian Light Classical Music). Apart from the instrumental music in Hindustani, in the North Indian Classical style, there exists the Indian Vocal Music.

Singing, the human voice, is the most prominent instrument of India. Here we also regain the form of the >>all day ragas<<. For example in the Thumri singing and Dadra, a nuance of the Thumri-s. The same as Raga Pilu and Kafi both Thumri and Dadra belong to the Light Indian Classical music. Thumri-s are used for the romantic expression.

Ali Akbar Khan
– CD Ali Akbar Khan (Sharod – Vol. 5)
(All India Radio Archival Release)
– CD Jugalbandi Ali Akbar Khan & Ravi Shankar
Ali Akbar Khan Ravi Shankar
(Sarod & Sitar Legends)
Smt. Shoba Shirodkar Gurtu
– CD Shobha Gurtu (Light Classical Vocal)
Saiyaan Nikas Gaye – Thumri,Dadra,Jhoola,Hori
Shobha GurtuUstad Sultan Khan
Sabir KhanPurushottam Walawalkar
(Vocal, Sarangi, Tabla, Harmonium)

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Chandralekha – A pioneer of new Indian dancing

Posted by ElJay Arem (IMC OnAir) on January 16, 2007

A pioneer of new Indian dancing

‘A life lived entirely on one´s own terms´ aptly describes the life and work of the dancer and choreographer Chandalekha (1929-2006), born in southern India. The most controversial of Indian choreographers, and now a legend not only in India but also abroad, she is an innovator of Bharatnatyam, one of the five classical Indian styles of dancing. In transforming an old tradition she is in search of the roots of womanliness.
The first public performance of a young dancer in India is known as her arangetram and is a great feast and important event for her. Chandralekha recalls hers with mixed feelings. The context was a welfare performance for victims of catastrophes. Without paying much attention to the occasion, Chandralekha presented the old ritual dance Mathura Nagarilo, a representation of the river Yamuna, but suddenly in front of her mind’s eye she saw the earth opening and swallowing victims, and for the first time she experienced a contradiction between art and life. This experience was to leave its mark on her whole artistic career.

Chandralekha was already a bharatnatyam star at the time when she broke off her solo career and abandoned dancing for twelve years. The style of bharatnatyam, in its traditional guise, seemed to her to be stilted and out of date. In the following years she earned her living by writing, designing posters and books, and by working on multi-media projects. She also took part in movements for women and the environment.

The turning-point came in 1984, as Chandralekha took part in an east-west encounter of Indian and European dancers in the Max-Mueller Bhavan, a subsidiary of the Goethe Institute, in Bombay. This event proved to be the start of her new career, and a year later she produced her first new choreography Angika. It is now said to have been a milestone in the history of Indian dancing, in blending classical bharanatyam with kalarippayyat, which is a martial arts’ dance-style from Kerala, and with yoga.

As in all later productions, Chandralekha was especially in search of female and male energy. She calls her performances ‘celebrations of the human body’, since she believes that the body is as important as the spirit.

In the following years came new productions, which made her well known for her clear and radical attitudes. In India her innovative ideas and works caused a furore. Conservative critics accused her of breaking the rules and of rendering bharatnatyam banal. This made her India’s most controversial choreographer but did not prevent her from further influencing and renewing classical Indian dance.

Chandralekha’s dancers do not wear the classical bharatnatyam make-up and are dressed as simply as possible. Her style is based on bharatnatyam but blends it with other Indian styles of dancing and also with features which Chandralekha has developed in working with European dancers like Pina Bausch and Susanne Linke. Interactions between women and men play an important role in her work. As a sign of her distance from traditional Indian dancing, Chandralekha does not have her dancers perform the traditional pranam, prayer, at the start.

Chandralekha lives her life according to her own rules. She is for instance still single, which is unusual for members of the Indian middle-class. She counts as being a feminist, even if she herself disagrees: ‘I am not a feminist; I am a woman – and therefore feel responsible for women´s equality.)

Her work Sri, shown in the House of World Cultures in Berlin in 1992 during the Indian Festival, is about equal rights for Indian women. On three levels this choreography shows ancient myths about women’s power. It is about equal rights during mating or the act of creation, about women’s loss of power and about regaining self-confidence.

Yantra, produced three years later, shows the essence of Chandralekha’s notion of dancing. ‘It´s a piece about sexuality, sensuality, spirituality and the female principles of our culture.’ she said. Yantra, according to Jochen Schmidt in the magazine Ballett international in September, 1994, ‘has for Indian dancing a new message of beauty, which springs from the erotic interplay of female and male bodies. If Chandralekha sets an example as influential as Pina Bausch’s was in Germany, Indian dancing may indeed be renewed.’

In 1999, for the Hamburg Festival, Chandralekha developed a meditative dance-poem about the continual renewal of female energy in the bodies of women and also of men. In this dance, Chandralekha, who demands openness more than anything else from her dancers, breaks another taboo of bharatnatyam, insofar as two men embrace each other affectionately. This does not suggest homosexuality as much as brotherly love, compassion, comfort and understanding. Womanliness, said the choreographer before a performance, is to be found ‘deep down in the bodies of men, waiting to be evoked, waiting to be invoked.’

Chandralekha has received for her work many prizes like the Sangeet Natak Academy Award in 1992 , the international Time Out/Dance Umbrella Award for the best dance-performance in Great Britain, and the GAIA Award in Italy.

Even today, Chandralekha is controversial in India, though she has long since been internationally acclaimed. Her newest work Sharira – Fire and Desire, in which she again focuses on the relationship between body and feelings, has been shown at the German Festival in India as well as within the framework of a prestigious international conference in Chicago.

‘Chandralekha is a legend. Loved, hated, admired, criticised. You could brand her work obscene, or revere her as a priestess of erotic. But you can´t forget her. Somewhere, those intensely alive eyes in a face well past it’s prime leave their mark. Much like the embers that remain long after the fire is gone,’ wrote Anupama Bhattacharya in 1999.

Events at the HKW:
27th September, 1992
Indian Festival
Sri
Contemporary Dance from Indian

Organiser: House of World Cultures together with the Ministry of Human Resource Development, New Delhi, and the Indian Council for Cultural Relations, New Delhi

The Chandralekha Group
Contemporary Dance from India

Saturday, 3rd June, 1994
Yantra – Dance Diagrams

Sunday, 4th June, 1995
Lecture demonstration

Monday, 5th June, 1995
Mahakal – Invoking Times

Organiser: House of World Cultures
Author: Anna Jacobi

(Source: May 21, 2003 – Culturebase.net
Chandralekha 1st time in U.K. (short profile of UK TV)

Posted in Live around the globe | 1 Comment »

IMC präsentiert … Raga CDs des Montas (01/2007): Ganztagesragas

Posted by ElJay Arem (IMC OnAir) on January 15, 2007

In verschiedenen Literaturquellen werden die Ragas Pilu (o. Piloo), Kafi, Mand, Dhani oder der Raga Bhairavi als Ganztagesragas genannt. (Anm.: Den Raga Bhairavi stellte IMC OnAir bereits in seiner 2006-Sendung “Morgenragas vor.)

Sendetermine…
22. Januar 2007 – 15:00-15:58 p.m. (CET)
Wiederholung. 03. Juli 2007 – 21:00-21:58 p.m. (MEST)
broadcasting planstreaming (Internet Radio & Mobile Radio) | podCast

Raga Pilu ist ein 5-Ton-Raga, in einer pentatonischen Skala (s.a. Sendung v. 25.12.2006) und Raga Kafi ein 7-Noten-Raga (Sa, Re, Ga, Ma, Pa, Dha, Ni und das um eine Oktave höher liegenden Sa), ein vollständiger Raga, sanpoorna …

Kennzeichnend für alle Ganztagesragas ist, dass sie der leichten Klassik (Indian Light Classical Music) zugeordnet werden.

Neben der Instrumentalmusik in Hindustani, in der nordindischen Klassik, gibt es die indische Vokalmusik. Der Gesang, die menschliche Stimme, ist das führende Instrument Indiens. Auch hier finden wir die Form der Ganztagsragas wieder.

Beispielsweise im Thumri-Gesang und im Dadra, einer Nuancierung des Thumris. Thumri und Dadra gehören wie die Ragas Pilu und Kafi der leichten indischen Klassik an. Thumri-s werden für den romantischen Ausdruck verwendet.

Ali Akbar Khan
– CD Ali Akbar Khan (Sharod – Vol. 5)
(All India Radio Archival Release)
– CD Jugalbandi Ali Akbar Khan & Ravi Shankar
Ali Akbar Khan Ravi Shankar
(Sarod & Sitar Legends)
Smt. Shoba Shirodkar Gurtu
– CD Shobha Gurtu (Light Classical Vocal)
Saiyaan Nikas Gaye – Thumri,Dadra,Jhoola,Hori
Shobha GurtuUstad Sultan Khan
Sabir KhanPurushottam Walawalkar
(Vocal, Sarangi,, Tabla, Harmonium)

Posted in DE (German) | Leave a Comment »

Magazin “Kultur in Hamburg” (Edition 01/2007) …

Posted by ElJay Arem (IMC OnAir) on January 2, 2007

IMC – India meets Classic presents … | der Redaktion, 1/2007
Fuer den Grossraum Hamburg ist seit Fruehjahr 2006 ein Ganzjahresprogramm …

html | Acrobat Reader - PDF

(02/01/2007 – Magazin “Kultur in Hamburg” – www.in-cultura.com)

Posted in IMC OnAir - News | Leave a Comment »

Indian Music Festival Calendar – 2007

Posted by ElJay Arem (IMC OnAir) on January 1, 2007

 

January

Date

Festivals

Place

1 – 13 Saptak Music Festival Gujarat
6 – 12 Swati Tirunal Music Festival Kerala
6 – 7 Banganga Festival Maharashtra
10 – 20 Thyagaraja Music Festival Tamil Nadu
22 – 26 Dover Lane Festival and music conference West Bengal
27 – 28 Gunidas Sangit Sammelan North India
 

February

Date

Festivals

Place

Barsi of Ustad N. Faiyazuddin Dagar Delhi
7 – 14 Spring Music Festival Karnataka
10 – 11 ITC Sangeet Sammelan All over India
 

March

Date

Festivals

Place

Shankarlal Music Festival Delhi
20 – 26 Ananya Ugadi Music Festival Karnataka
30 – 1 Gharana Music Festival Tamil Nadu
 

April

Date

Festivals

Place

Urs of Hazrat Nizamuddin Awliya Delhi
6 – 10 Sankat Mochan Music Festival Uttar Pradesh
14 – 15 Fireflies Festival of Music Karnataka
 

May

Date

Festivals

Place

Barsi of Ustad N. Zahiruddin Dagar Delhi
 

August

Date

Festivals

Place

Vishnu Digambar Jayanti Samaroh Delhi
 

September

Date

Festivals

Place

Bhatkhande Uttar Pradesh
Chembai Music Festival Kerala
 

October

Date

Festivals

Place

Sadarang West Bengal
Ananya Festival Delhi
Soorya Dance & Music Festival Kerala
 

November

Date

Festivals

Place

Sur-Singar Maharashtra
1 – 30 Kalidas Festival Maharashtra
3 – 5 Hampi Utsav Karnataka
 

December

Date

Festivals

Place

Urs of Amir Kushrau Delhi
Shanmukhananda Maharashtra
Sharad Utsav Delhi
Tansen Sangeeth Sammelan Madhya Pradesh
7 – 7 Sri Krishna Gana Sabha Tamil Nadu
10 – 12 Sawai Gandharva Sangeet Mahotsav Maharashtra
11 – 17 Sangat Music Festival Maharashtra
20 – 24 Harballabh Sangeet Sammelan Punjab

 

 

(Source: WebIndia123.com)

 

Posted in FestivalReport | Leave a Comment »

 
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