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Archive for 2008

Art Exhebition: Routes Through Bengal To The Roots of India (Prague)

Posted by ElJay Arem (IMC OnAir) on November 4, 2008

Art Exhbition by Prakash Karmakar, Papia Ghoshal & Yakoub Chitrakar

Výstava trojice těchto bengálských uměců má společné základní téma ‘Hinduistická mytologie a její kořeny’. Všichni tři tito umělci žijí v indickém státě Západní Bengálsko a jejich cesty, kterými neustále křižují tuto zemi, živí jejich inspiraci, a zakořeňují je hluboko jak ve hmatatelné, tak v duchovní podobě jejich země. Přesto každý z nich používá jiného média ke ztvárnění stejné mytologie. Prakash Karmakar využívá svých obrovských zkušeností a silných kresebných linií k vykreslení Indie ze svého pohledu umělce tvořícího v Bengálsku. Yakub maluje svoje svitky domácími přírodními barvami. Papia používá svůj jedinečný styl k tomu, aby přetvořila vlastní mytologické a tantrické kořeny do soudobých forem, kterými zachycuje nejen současnou krizi dnešní společnosti jako takovou, ale i imanentní sílu společnosti tuto krizi překonat, ať je to v Indii nebo kdekoli na světě.

routes-through-bengal-to-the-roots-of-india-poster-04112008-1

Three eminent Bengali artists are coming together to show, how the various routes they take through their art, reflect the life and culture of contemporary Bengal and how their roots take the routes of India and abroad through their cultural journey.

Start Time: Wednesday, November 4, 2009 at 10:00am
End Time: Friday, November 20, 2009 at 6:00pm
Location: GALERIE LAPIDARIUM
Street: RÁMOVÁ 6
City/Town: 110 00 Prague, Czech Republic

(Source: 11/04/08 – Cultural Circle of Kolkata (@Facebook) / OASIS CF-41 Sector I Salt Lake City – @: Aniruddha Bose )
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Posted in Culture (news), News from India | Leave a Comment »

Raga CDs des Monats (11/08): Mikrotöne im Hindustani Sangeet. – Die mikrotonale Struktur indischer Ragas.

Posted by ElJay Arem (IMC OnAir) on November 2, 2008

Die Förderinitiative “IMC – India meets Classic” präsentiert mit IMC OnAir – IMCRadio.Net in seiner Novembersendung das Thema “Mikrotöne im Hindustani Sangeet – die mikrotonale Struktur indischer Ragas“.

Die mikrotonale (Intervall-)Struktur war in der mittelalterlichen Musik des Westens und im Zeitalter des Barocks, bis in’s 18. Jahrhundert hinein präsent. – Und verschwand erst nach den mathematischen Entdeckungen in der Musik durch den Schweizer Physiker und Mathematiker Leonhard Euler (1707-1783). Im Jahre 1739 verfasste Euler das “Tentamen novae theoriae musicae“.

Die indisch klassische Musik ist mit dem Begriff “Mikrotöne” seit mehr als 2000 Jahren auf’s Engste verbunden. Der erste im Sanskrit verfasste Text mit Benennung von mikrotonalen Intervallen ist das Natya Sastra von Bharata Muni, datiert zwischen 200 Jahre vor und etwa 200 Jahre nach Christi Geburt.
Bharata beschreibt einen Raga nicht als Skala, sondern als “tonale Färbung”, die das Herz und den Verstand des Menschen berührt. Hier kommt die Bedeutung der Noten mit Zuweisung von 8 definierten Stimmungen zum Ausdruck. “Santa“, d.h. friedfertig wurde später von AbhinavaGupta hinzugefügt. Wir verweisen dazu auf unsere Sendung “Nava Rasa-s – die neun Stimmungsbilder der indischen Ragas“.

Sendetermin: 4. November 2008 – 21:00 Uhr (MESTZ)
(Sendewiederholung: 6. November 2008 – 03:00 Uhr (MESTZ))
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Die Mikrotöne haben seit Jahrhunderten einen massgeblichen Einfluss auf die Entwicklung indischer Instrumente. Zur künstlerischen Ausgestaltung eines Ragas in seiner modalen Form (vgl. Jazz) werden bewusst klangakkustische Phänomene von Konsonanzen und Dissonanzen eingesetzt, um für den Zuhörer die Referenzebene, die Tonika als Grundton verständlich zu machen, auf die eine Ragaskala in ihrer aufsteigenden und absteigenden Form (Modus) aufbaut. Die Ursache für die Klangcharakteristik der indischen Musik haben wir in unserer Sendung “indische Dronen” ein wenig beleuchtet.
In einem fest vorgegebenen tonalen Rahmen – innerhalb eines Tonumfangs von drei (3) Oktaven – bewegt sich der Interpret eines Ragas, Vokalist oder Instrumentalist… und gestaltet diesen Modus (Jati) durch eine Ornamentik, Alankar.

Alankars erfüllen in zwei Ausprägungen die strukturellen und ästhetischen Anforderungen: Varnalankar – das sind vier (4) Formen des Notenarrangements und Shabdalankar, eine Klassifizierung von Gesangs- und Spieltechniken für die melodische und rhythmische Gestaltung. Das Sangeet Ratnakar von Sharangdev und Ahobal’s Sangeet Parijat – es sind musikalische Abhandlungen aus dem 13. und 17. Jahrhundert – benennen 63 bzw. 68 Alankars. Diese hohe Zahl ornamentischer Elemente ist sympthomatisch für die Komplexität indischer Ragas.

Eine aufsteigende oder absteigende Ragaskala kann innerhalb einer Oktave aus 5, 6 oder 7 Hauptnoten bestehen. Es gibt tausende von Kombinationen der aufsteigenden und absteigenden Skala.
Die Hauptnoten der nordindischen Ragas korrespondieren mit den Ragams des Carnatic Sangeet, den 72 Ragams der südindischen Klassik. Die Ragams sind mit ihren Ableitungen im Melakarta-System seit dem 19. Jahrhundert auf’s Genaueste definiert. Dagegen bildet sich die nordindische Klassik (Hindustani) nur ungenau in dem s.g. Thaat-Sytem ab, mit 10 Hauptraga-s (männl. Typus) und ihren Ableitungen, den Ragini-s (weibl. Typus).

Die gesamte Raga-Grammatik baut auf die mikrotonalen Intervalle auf. Dem Hindustani und Carnatic Sangeet liegt das Konzept von “Raga Sangeet” zugrunde. – Sangeet bedeutet “gemeinsam singen” oder “Gesang mit instrumentaler Begleitung”. Umgangssprachlich darf man mit diesem Termini “Ragamusik – Raga Sangeet”, und die “Musik der nordindischen und südindischen Klassik – Hindustani und Carnatic Sangeet” verstehen.

Für die Vorstellung der miktrotonalen Struktur können wir uns der westlichen Musik, der gleichstufigen, gleichtemperierten Stimmung bedienen. Wie es sich auf der Klaviertastatur abbildet, teilt man den Oktavraum in zwölf Halbton-Schritte ein, mit 7 Haupt- und 5 Halbtonschritten.
Die sieben (7) Hauptnoten, Sapta Swaras, finden wir gleichermassen in den Ragaskalen wieder, den Moorchana-s. Fünf (5) dieser sieben (7) Hauptnoten können bis zu 3x erniedrigt und 2x erhöht gespielt werden, mit Ausnahme der 1. (Sa) und 5. Stufe (Pa).

22 Shruti-s in einer Oktave (aufsteigende Skala: S (Shadja) – S’ (Tara Shadja))

Insgesamt ergeben sich 22 s.g. Shruti-s, eine “natürliche Skala” in einer mikrotonalen Struktur mit Frequenzabständen geringer als die uns bekannten Halbtonschritte, für das menschliche Ohr aber noch wahrnehmbar und unterscheidbar. Shruti bedeutet im Sanskrit: “das was man hört” (that which is heard).

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In der Novembersendung hören Sie Beispiele auf dem Santoor, der Sitar und Sarangi, der indischen Fiddel, auf der Sarode, der indischen Flöte Bansuri, dem Harmonium und der Violine und in den indischen Gesangsstilen Khayal und Thumri.

Auf spezielle Ausprägungen mikrotonaler Strukturen wie im Dhrupadgesang, dem ältesten Gesangsstile in der indischen Klassik, wollen wir in einer eigenen Sendung näher eingehen.

Posted in DE (German), IMC OnAir - News | 2 Comments »

Raga CDs of the Months (11/08): Microtones in Hindustani Sangeet – the Microtonal Structure of Indian Ragas.

Posted by ElJay Arem (IMC OnAir) on November 2, 2008

IMC OnAir – IMCRadio.Net of the promotion initiativeIMC – India meets Classic” presents it’s November show and the topic “Microtones in Hindustani Sangeet – the microtonal Structure of Indian Ragas“.

The micro-tonal (interval) structure existed in the medieval Western music and in the age of Baroque till the 18th century – and disappeared after the mathematical discoveries in music by the Swiss physicist and mathematician Leonhard Euler (1707-1783). In 1739 Euler wrote his “tentamen novae theoriae musicae“.

The Indian classical music is connected closest with the term of “micro tones” for more than 2000 years. First Sanskrit text with designation of micro-tonal intervals is the Natya Sastra of Bharata Muni, dated 200 B.C. – 200 A.C..
Bharata describes a Raga not as scale, but as a “tonal colouring”, which affects the heart and human mind. The meaning of the notes is assigned by eight (8) defined emotions (expression of moods). “Santa” = peaceful was added later by AbhinavaGupta as the 9th emotion (rasa). We refer in addition to our broadcasting “Nava Rasa-s – the nine moods of Indian Raga-s”.

date of broadcasting: 4th November 2008 – 09:00 p.m. (CETZ)
(repetition: 6th November 2008 – 03:00 a.m. (CETZ))
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

The microtones have a relevant influence onto the development of Indian instruments for centuries. For the artistic arrangement of a raga in it’s modal form (see Jazz) consciously sound acoustic phenomena are used by consonances and dissonances for offering the listener a referencial level, the tonica as basic tone (1st pitch) on which a raga scale in it’s ascending and descending form is developed. We lit up the sound characteristics of Indian music in our broadcasting “Indian Drones“.
Within a firmly given tonal framework of three (3) octaves the interpreter of a raga  – vocalist same as instrumentalist – arranges this modus (Jati) by a specific ornamentic, Alankar.

The alankars fulfill the structural and aesthetic requirements by two maintypes: Varnalankar – four (4) forms of the note arrangement and Shabdalankar, a classification of singing and playing techniques for the melodic and rhythmic arrangement. The Sangeet Ratnakar of Sharangdev and Ahobal’s Sangeet Parijat – musical treatises of the 13th and 17th century – designate 63 and 68 alankars. This high number of ornamental elements is symptomatic for the complexity of Indian Ragas.

An ascending or descending raga scale can consist of 5, 6 or 7 main notes within an octave. There are thousands of combinations of the ascending and descending scales.

The entire Raga grammar develops on the micro-tonal intervals. The Hindustani and Carnatic Sangeet are based on the concept of “Raga Sangeet“. – Sangeet means “singing together” or “singing with instrumental accompany“. Colloquially one may understand with the terms “Raga music – Raga Sangeet“, “classical music of Northern India” (Hindustani Sangeet) and “classical music of South India” (Carnatic Sangeet).

The main notes of the North Indian Ragas (Hindustani) correspond to the 72 Ragams of the Carnatic Sangeet. Since the 19th century the Ragams are defined in details with their derivatives in the so called Melakarta system. The North Indian Classics (Hindustani) is described inaccurately in the so called Thaat system, with 10 main raga-s (male) and their derivatives, the ragini-s (female).

For the conception of the micro-tonal structure we can orientate us in the Western music system which is named “equal temperament” with a series of equal steps (equal frequency ratios). Visible on the piano keyboard, the octave is divided into twelve half-tone steps, with seven (7) main and (5) half tone steps.
The seven (7) main notes, Sapta Swaras, we regain equally in the raga scales, the Moorchana-s. Five (5) of these seven main notes can be played up to twice increased and up to triple degraded, with exception of the fixed 1st (Sa) and 5th (Pa) pitch.

22 shruti-s in an octave (ascending scale: S (Shadja) – S’ (Tara Shadja))

Altogether 22 so called shruti-s, a kind of “natural scale” of micro-tonal structure with frequency steps smaller than the half-tone steps are still perceptibly and distinguishable for the human ear. Shruti means in Sanskrit: “that which is heard“.

22-shruti-s-structure-102008-1

In the November show we present examples on the Santoor, the Sitar and Sarangi, the Indian Fiddel, on the Sarode, the Indian flute Bansuri, the Harmonium and the violin and in the vocal style of Hindustani Khayal and Thumri (Indian Light Classics).

Special developments of micro-tonal structures as exist in the Dhrupad, the oldest vocal style in North Indian Classics IMC OnAir – IMCRadio.Net will treat in details by another broadcasting.

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Indian Music @ EIGENARTEN | Festival der Kulturen 2008 (30th Oct – 9th Nov)

Posted by ElJay Arem (IMC OnAir) on November 1, 2008

Ein Tanz, der Sorgen abhängt

06. Nov 2008, 20.30 h | goldbekHaus

Das deutsch-indische Fusion-Projekt Mito besteht seit Spätsommer 2000. Mito ist die Synthese von Jazz und indischer Klassik. In Indien sowie in Deutschland verzaubert Mito sein Publikum bei zahlreichen Konzerten.

Die Fusiongruppe überzeugt mit einem Sehnsuchtsfaktor zwischen indischen Melodien und groovigen Rhythmen. Rasante Tabla-Rhythmen, anmutigwehmütige Bambusflöten-Solies, glitzernder Vibraphon-Regen, jazzige Gitarrenriffs und virtuose Bassläufe, das ist Mito.

Mito-Bandfoto-2006

Mito

Tabla: Subrata Manna; Bambusflöte: Dibak Sarma;Vibraphon: Rald Kamphuis; Gitarre: Torge Niemann; Bass: Martin Drees

Gast: Prosenjit Sengupta, Sarod

Web: www.mitomito.de

Anmeldung

Ort: Bühne zum Hof, 90 min, 12/10€

Organisator: peeng e.V.  – Winklers Platz 8, D-22767 Hamburg – Telefon/Fax +49 (0) 40 / 43 18 35 00
eMail: peeng@t-online.de

(Quelle: 10/2008 – eigenarten – interkulturelles Festival – www.festival-eigenarten.de)

Posted in Live around the globe | 2 Comments »

Ghazals in Concert… Kiran Ahluwalia on European Concert Tour

Posted by ElJay Arem (IMC OnAir) on November 1, 2008

kiran-ahluwalia-concert-in-paris-netherlands-belgium-112008-1

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HARMONYOM (N.Y.) presents East Indian Classical Music…

Posted by ElJay Arem (IMC OnAir) on October 26, 2008

East Indian Classical Music/2nd Annual Concert…


Lee Torchia and Polash Gomes celebrate the birthday of Lee’s Guru PANDIT PRAN NATH (Nov 3, 1918 – June 13, 1996). Lee Torchia is a Disciple of Pandit Pran Nath, India ‘s acknowledged Master of Kirana Gharana Vocal.

Lee Torchia (Vocalist)

Lee Torchia (Vocalist)

Lee Torchia came to New York as an actress, and was introduced to the Indian Raga Singer, Pandit Pran Nath, and his Disciples, La Monte Young, Marian Zazeela and the composer of “In C“, Terry Riley.

For the next twenty years, she studied Raga with Guruji, traveling to India with him many times, teaching and performing with him in Europe, and becoming his Initiated Disciple in January, 1996. She performs at colleges and festivals and lives and teaches in New York City.

Polash Gomes is an accomplished tabla player in New York area. He follows the line of the distinguished Lucknow baj a disciple of Dr. Mrinal Pal a senior disciple of Khanshaib Ustad Afaq Hussain Khan of Lucknow Gharana. He has also studied tabla under Pandit Swapan Chaudhri. He is the founder of Rageshree Music institute ( www.rageshreemusic.com ), a not-for-profit organization.

Date: 2nd November 2008
Time: 3:00pm – 4:00pm

Location: Manhattan Plaza – Ellington Room (2nd Floor)
Street: 400 West 43 Street (43 Street and 9th Avenue)
City/Town: New York, NY

Price: Free and Open to the Public

More: www.jazzraga.com ( Listen: http://www.cdbaby.com/leetorchia )

_____________________

Created by Veronique Lerebours in 2008, HarmoNYom is an organization based in New York and passionately dedicated to the love of Indian classical Music.

HarmoNYom’s aspiration is to promoting and building an awareness of Indian artists in the performing of music in New York and specifically of Indian Classical Music.
HarmoNYom’s mission is also to facilitate musicians, schools, teachers, promoters and organizations related to Indian Classical Music to connect.

coming soon: http://www.Harmonyom.org

Posted in Live around the globe | 1 Comment »

3. International Guitar Festival Münster – VISHWA MOHAN BHATT & SALIL BHATT

Posted by ElJay Arem (IMC OnAir) on October 22, 2008

pro Gitarre is a society that features music around the guitar. Diverse artistical and pedagogical events aim at a wide audience. Besides that world-famous guitar soloists are presented by pro Gitarre.
Most likely no other instrument gained so much popularity as the guitar thanks to the 60ies and 70ies rock and pop music. But beyond that there is a great variety of styles and traditions that give the guitar an important role in music. Presenting that variety is one of pro Gitarre’s main purposes.

3. International Guitar Festival Münster
– VISHWA MOHAN BHATT & SALIL BHATT – Mohan Veena

22. Oktober – 9. November
concerts in Münster, Ahlen, Oelde, Rheine und Stadtlohn

From 22 October to 9 November the great variety and versatility of the guitar will resonate in Münster: this instrument’s complete range of historical and contemporary styles, from early music to new music, from jazz to folk, will be represented. A guitar tour of twenty concerts will take us from Europe to South America and India; and since the featured instrument will have the opportunity to show us all its many sides, from solo interpretation to concerted virtuosity, it is certain: the extensive spectrum covered at the Third International Guitar Festival in Münster will now be even more extensive!
Reinbert Evers and the St. Christopher Orchestra will open the festival on October 22th with the premiere of three new compositions. The leading American lutenist Hopkinson Smith will offer a contrast with his fascinating insights into the historical performance style of plucked instruments. Two international ensembles, the Prague Guitar Quartet and the Brazilian Guitar Quartet, will also perform as guests in Münster.

The Joscho Stephan Quartet will dedicate itself to the jazz guitar, and Vishwa Mohan Bhatt will present the Indian slide guitar.

An exhibition of guitars and printed music as well as master classes led by Robert Aussel, Hopkinson Smith, and Jürgen Ruck will round out the festival offerings.

Artists:
Samira Aly | Roberto Aussel | Vishwa Mohan Bhatt | Salil V. Bhatt | Reinbert Evers | Elena Càsoli | Igor Dedusenko | Reinbert Evers | Vitaly Ganeev | Erhard Hirt | Camilla Hoitenga | Bernd Kortenkamp | Benjamin Kradolfer-Roth | Paul Lovens | Jung Min Lee | Maximilian Mangold | Laurence Maufroy | Nihar Mehta | Wolf Moser | Krisitan Nyquist | Richard Pilkington | Hans Reichel | Sebastian Reimann | Jürgen Ruck | Takeo Sato | Max Schaaf | Stephan Schomaker | Hopkinson Smith | Günter Stephan | Joscho Stephan | Eduardo Swerts | Martin Theurer | Kazuhisa Uchihashi | Gereon Voß | Jens Wagner

Brazilian Guitar Quartet | Guitar Quartet Prague | Joscho Stephan Quartett | St.Christopher Chamber Orchestra Vilnius, conducted by Donatas Katkus

pupils of Musikschule Beckum Warendorf, Städt. Musikschule Hamm, Westf. Schule für Musik, Münster, Musikschule “crescendo” Münster, Musikschule Ahaus, Musikschule Borken and students of music high school Münster

& workshops, exhibition & masterclasses

PROGRAM (PDF)

for all concerts in Münster (except Erbdrostenhofkonzert Oct. 27.)
WN Ticket-Shop Prinzipalmarkt 13-14, 48143 Münster,
phone. 0049 (0)251/690-593, Mo-Fr: 9.00-18.00 Uhr, Sa 9.00-13.00

& local ticket shops

Münster festival pass: 85,- / ermäßigt 45,- EUR
for all concerts in Münster except Erbdrostenhof

Online tickets: www.nrw-ticket.de

(Source: 10/2008 – pro Gitarre)

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DIWALI 2008… The ‘Row of Lights Festival’ starts 28th October

Posted by ElJay Arem (IMC OnAir) on October 21, 2008

Diwali: Festival of Lights

Light Up Your Life!

Deepawali or Diwali is certainly the biggest of all Hindu festivals. It’s the festival of lights (deep = light and avali = a row i.e., a row of lights) that’s marked by four days of celebration, which literally illumines the country with its brilliance and dazzles all with its joy. Each of the four days in the festival of Diwali is separated by a different tradition, but what remains true and constant is the celebration of life, its enjoyment and goodness.

(photo.net)

Historically, the origin of Diwali can be traced back to ancient India, when it was probably an important harvest . However, there are various legends pointing to the origin of Diwali. Some believe it to be the celebration of the marriage of Lakshmi with Lord Vishnu. Whereas in Bengal the festival is dedicated to the worship of Mother Kali, the goddess of strength. Lord Ganesha, the elephant-headed God, the symbol of auspiciousness and wisdom, is also worshipped in most Hindu homes on this day. In Jainism, Deepawali has an added significance to the great event of Lord Mahavira attaining the eternal bliss of nirvana. Diwali also commemorates the return of Lord Rama along with Sita and Lakshman from his fourteen year long exile and vanquishing the demon-king Ravana. In joyous celebration of the return of their king, the people of Ayodhya, the Capital of Rama, illuminated the kingdom with earthen diyas (oil lamps) and burst crackers.

These Four Days
Each day of Diwali has it’s own tale, legend and myth to tell. The first day of the festival Naraka Chaturdasi marks the vanquishing of the demon Naraka by Lord Krishna and his wife Satyabhama. Amavasya, the second day of Deepawali, marks the worship of Lakshmi, the goddess of wealth in her most benevolent mood, fulfilling the wishes of her devotees. Amavasya also tells the story of Lord Vishnu, who in his dwarf incarnation vanquished the tyrant Bali, and banished him to hell. Bali was allowed to return to earth once a year, to light millions of lamps to dispel the darkness and ignorance, and spread the radiance of love and wisdom. It is on the third day of Deepawali – Kartika Shudda Padyami that Bali steps out of hell and rules the earth according to the boon given by Lord Vishnu. The fourth day is referred to as Yama Dvitiya (also called Bhai Dooj) and on this day sisters invite their brothers to their homes.

The Significance of Lights & Firecrackers
All the simple rituals of Diwali have a significance and a story to tell. The illumination of homes with lights and the skies with firecrackers is an expression of obeisance to the heavens for the attainment of health, wealth, knowledge, peace and prosperity. According to one belief, the sound of fire-crackers are an indication of the joy of the people living on earth, making the gods aware of their plentiful state. Still another possible reason has a more scientific basis: the fumes produced by the crackers kill a lot of insects and mosquitoes, found in plenty after the rains.

The Tradition of Gambling
The tradition of gambling on Deepawali also has a legend behind it. It is believed that on this day, Goddess Parvati played dice with her husband Lord Shiva, and she decreed that whosoever gambled on Diwali night would prosper throughout the ensuing year.

From Darkness into Light…
In each legend, myth and story of Deepawali lies the significance of the victory of good over evil; and it is with each Deepawali and the lights that illuminate our homes and hearts, that this simple truth finds new reason and hope. From darkness unto light – the light that empowers us to commit ourselves to good deeds, that which brings us closer to divinity. During Diwali, lights illuminate every corner of India and the scent of incense sticks hangs in the air, mingled with the sounds of fire-crackers, joy, togetherness and hope. Outside India, Diwali is more than a Hindu festival, it’s a celebration of South-Asian identities. If you are away from the sights and sounds of Diwali, light a diya, sit quietly, shut your eyes, withdraw the senses, concentrate on this supreme light and illuminate the soul.

(Soure: 10/2008 | About Hinduism – Subhamoy Das (Hinduism Guide))

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

Konzert für Indische Klassische Musik mit dem Meisterschüler von Ravi Shankar…

Posted by ElJay Arem (IMC OnAir) on October 10, 2008

Shalil Shankar / Sitar & Swapan Bhattacharya / Tabla

shalil-shankar-sitar-swapan-bhattacharya-tabla-10102008-1

Termin: Freitag den 10.Oktober 2008 ab 20 Uhr
Eintritt: 10,- Euro

Musikschule Universum Alltona
Amàlia-Rodrigues-Weg 6
S-Bahn Diebsteich – zu Fuss Leverkusenstr.25
Anfahrt über Stresemannstr. – Schützenstr.

Vorbestellung:
Mobil +49 (0) 176 / 871 37 516
Office: +49 (40) / 181 68 255
E-Mail: swapantabla@gmx.net

Live-Konzert von Shalil Shankar & Pritam Singh

Konzert-Teilmitschnitt vom XIII Festival Hispanoamericano de la Guitarra

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SAIFF – South Asian International Film Festival 2008 (N.Y.C.)

Posted by ElJay Arem (IMC OnAir) on October 9, 2008

SAIFF 2008

SAIFF 2008

NEW YORK, NY – October 9, 2008 – HBO presents the fifth annual 2008 South Asian International Film Festival, SAIFF, with Official Founding Sponsor – SANA, from October 22-28 in New York City.
Featuring 50 of the most dynamic and acclaimed full-length films, shorts and documentaries, SAIFF will not only introduce a variety of ground-breaking independent South Asian cinema, but also discover new South Asian voices and celebrate established filmmakers across India, Pakistan, Nepal, Sri Lanka and Bangladesh.

This year’s seven-day festival kicks off Wednesday, October 22, 2008 with the feature film premiere of writer/director Nandita Das’ FIRAAQ and an opening night gala at the Ziegfeld Theatre at 141 West 54th Street at 6pm. The film is set over a 24-hour period, one month after carnage that took place in Gujarat, India, in 2002. It traces the emotional journeys of ordinary people – some who were victims, some perpetrators and some who chose to watch silently. FIRAAQ will be accompanied by a special post-film Q&A including Nandita Das, Paresh Rawal, and select members of the cast. And to close the 2008 Festival, SAIFF will screen RAMCHAND PAKISTANI, a true story from 2002 concerning the accidental crossing of the Pakistan-Indian border during a period of war-like tension between the two countries by two members of a Pakistani Hindu family.

Over the last five years SAIFF has surpassed all expectations with its superior track record of quality films and exploding attendance rates, with a record-breaking 8500 attendees in 2007, which is the largest festival of its kind in the US.

(Source: 10/09/2008 – South Asian International Film Festival 2008)

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