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Archive for November, 2009

Elena Kubičková – Indická klasická hudba – esraj

Posted by ElJay Arem (IMC OnAir) on November 20, 2009

Srdecne zveme na koncert indické klasické hudby do cajovny U Dzoudyho v  centru Prahy

30.11. 2009 – 19:30
U Dzoudyho
Praha Jugoslávská 7

Elena Kubicková – esrádz
Fabrice Michel – tabla

Zahrajeme vecerní rágy a názorne vysvetlíme základní principy indické hudby



Elena Kubicková (Esraj) – Raga Ahir Bhairav (Early Morning Raga)

Elena Kubicková (Esraj) – Raga Puriya Dhanashri (extract)


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Profile Of Manipuri Personalities: Maharaj Kumari Binodini

Posted by ElJay Arem (IMC OnAir) on November 19, 2009

Maharaj Kumari (MK) Binodini
(Padmashree Awardee in the field of Literature and Social Work)

By Donny Meisnam Luwang *
(This article was webcasted at on 19 November 2009)

Maharaj Kumari Binodini is the rare royal blood of Manipur (Kangleipak during those days) who eyewitnesses the whole royal chronicle of Manipur from the 20th Century to the present. She carries with herself two forms of Manipur’s history; one of the by-gone years of the royal era and the other of present times.

She is known widely as “Imasi” by the people of Manipur. MK Binodini not only knows minutely the true and the very living style of kings and the nobles but also gives many contributions to the Manipuri society; and for this she is widely sung by the people of whole community of Manipur.

At Raj Bhavan

MK Binodini is the youngest daughter of the late Maharaj Sir Churachand Singh who was the then king of Manipur and Maharani Dhanamanjuri Ngangbi. She was born in the year 1922 on February 6th at “Sana Konung” (Manipur Palace). Among the five Maharajkumaris (Princess) sisters Tamphasana, Sanatombi, Tombisana and Angousana, Binodini, named Wangolsana, is the only one who is presently surviving.

Being a princess Binodini was brought up in the Palace where she received her early education through tutors, like the late Waikhom Selungba, and a British governess, Mrs. Jolly in her childhood. In those ancient days education for women was rare since it was assumed as big sin.

However, Maharaj Churachand being of a modern mindset was against the practice, and let her daughters to be educated in their life and every one of them started their studies under special tutors in the Palace. Later, when she grew older she went to Shillong for higher studies at Pine Mount School where she had a formal education.

Shillong, which is located in the Khasi Hills of the North Eastern Region of the country, was a hill station where the British and the Kings of the region including Manipur used to set up their Bungalows and other Rest Houses for their vacation during those days. It was a rich culture for royal families to send their children at Shillong for studies.

After the completion of her studies at Shillong MK Binodini again did her further studies at Smriti Mandir and did her secondary education at Tamphasana Girls School (popularly known as T.G. Higher Secondary School at present) which was built and dedicated in the name of her eldest sister Maharaj Kumari Tamphasana. She was again back to Shillong for higher studies at St. Marys’ College and later transferred to Vidyasagar College situated at Bengal which is now West Bengal, due to the disruptions of World War II.

At her yaiskul home during the 60s

Maharaj Kumari Binodini’s life took a most significant turn when she stepped into Vishwabharati University at Shantiniketan in Bengal for studies in art. Vishwabharati University was an ideal University which Gurudev Rabindranath Tagore, the renowned Nobel laureate, established to impart the students in the rich Literature, Philosophy and other Kala Sanskrit of India in a traditional environment. Being a gifted child with many talents the Vishwabharti University years provided a rich and supportive ambience for MK Binodini to express and realize her artistic talents.

It was at the Kala Bhavan of Vishwabharati University, where Maharaj Kumari started her studies in the field of sculpture and painting, and she quickly became a perfect sculptor and painter in short time. But it could have been difficult for her to be in the position of outstanding sculptor and painter if she did not come across and receive the blessings from her renowned Gurus Ramkinkar Vaij and Nandalal Bose. It was these Gurus who had always been sympathetic to her achieving her goal, and through the guidance of the Gurus, MK Binodini was able to complete her education.

Being an enthusiastic scholar to learn more and more she learnt various forms of sculpture under the influence of Kinkar-da and she was also deeply influenced by Nandalal Bose. Fired by the exotic princess artist of Manipur and her enthusiasm and potential, Ramkinkar Vaij executed many portraits and paintings of the young MK Binodini as a subject. The entire Binodini Collection of paintings by Ramkinkar Vaij was acquired by the Gallery of Modern Art housed in New Delhi.

Receiving an award

After completing her studies from Vishwabharati University, MK Binodini returned to Manipur but the things were not the same compared to the lifestyle of Shantiniketan. When she came back from Shantiniketan she was quite an experienced woman fluent and conversant with English, Hindi and Bengali as well as in the field of Arts inspired by Gurudev Rabindranath Tagore’s poetry, writings and “Rabindra Sangeet” which had already enraptured the heart of Maharaj Kumari. She got married in the year 1950 with Doctor Laiphungbam Nandababu Roy, FRCS and she got two sons, Debabrata Roy and Somi Roy.

Following the starting of her married life Maharaj Kumari had to withdraw all her talents for some years since she was unable to devote her time for her Arts due to her domestic and other family duties, but though she gradually quit her sculpture and paintings she began, in her leisure time, writing short stories, lyrics of various songs in Manipur as well as drama which were telecast in All India Radio, Manipur and audience love to listen her songs and drama from those days.

And in 1965 her play called “Asangba Nongjabee” was performed and also produced as a radio-play, which she later published as a collection of plays. From this drama she started giving emphasis to writing and soon, she published “Nungairakta Chandramukhi“, a collection of her short stories. It was her first book to bring her to the attention of the world of literature. In 1966 she was given “Jamini Sundar Guha Memorial Gold Medal” by the Satitya Parishad of Manipur.

Asangba Nongjabee“, the collection of plays was released in the year 1967. And in 1976, she released her first and only novel based on the true life story of a Manipuri Princess, daughter of Maharaj Surchandra Singh, popularly known as “Boro Saheb Ongbi Sanatombi“. For this book she got various awards comprising from Sahitya Akademi Award of New Delhi to State Kala Akademi Award, Manipur and in the same year of publication of “Boro Saheb Ongbi Sanatombi” Maharaj Kumari Binodini was honoured as Padmashree by the Indian Government for her contribution in the field of literature and arts. She also released another book called “Amasung Indrajit” which was a translation of the book by Badal Sircar.

Maharaj Kumari Binodini was the Secretary of Jawaharlal Nehru Manipur Dance Academy for sixteen years during the 70s and 80s, and while she was the secretary she went to Mexico, USA, Canada, Germany and France in 1976 leading a troupe of dancers from the academy. She wrote a travelogue namely “Ho Mexico“, and in the year of 2008 she was awarded the “Ningombam Pramodini Literature Award” and in 2009 she was awarded “Seram Mukta Award”.

The people do notknow her widely enough still as an author but she also served the people of the state by writing films scripts, all of them memorable ones, and some of them are “Olangthagee Wangmadasoo“, “Eshanou“, “Imagi Ningthem” and “Sagol Sanaabi” which were directed by the world renowned film director of Manipur, Aribam Syam Sharma and all the movies were outstanding and the public today also love to watch the movies.

Imagi Ningthem” received the Grand Prix at the Festival des Trois Continentes at Nantes, France. “Eshanou” was participated in the International Film Festival at Cannes. All the movies were entered in the Indian Panorama and received national awards. Dozens of her songs were broadcast in radio. She also wrote two short films known as “Paokhum Ama” and “Mayophigee Macha“.

Having been brought up from the royal era period and believing in the rich heritage in culture of Manipur, Maharaj Kumari Binodini has always been in the path to preserve the Manipur culture. She has been a steadfast supporter of the traditional arts and artistes, a close friend of the maibees and pena players of Manipur, an enthusiastic supporter of the culture of horsemanship and the polo.

She is presently the lifetime Patron member of All Manipur Polo Association and also a Patron member of Red Cross Society of India. She has played an important and constructive role in the development of the Manipur University as a Senate and Syndicate member. An ardent admirer and enthusiast of the cinema in Manipur, she was a key player in the establishment of the Manipur Film Development Council, and later, of the Manipur Film Development Cooperation as a member of the Board of Directors.

She was thrice a jury member of Indian Panorama section of the National Films Festival. She was also a founder of Roop Raag, the music band based on modern cultural music and presently serving as its President. She founded “Leikol (Leimarol Khorjeikol)” which is only for women in Manipur who love Literature, and is its life-time President; and she has made huge contributions to the different organizations based on literature and culture in Manipur, and is also serving as President of IPTA (Indian People’s Theatre Action) Manipur.

Throughout her life, Maharaj Kumari Binodini has been a very active and energetic woman with a deep social consciousness. She has always provided the impetus in moving forward the movement of Manipur culture, Apart from being an author and cultural activist, she had to spare her time to go abroad to represent the state outside the country like in the USA, Canada, Mexico, Indonesia, Bangladesh, Canada, France, Germany, the erstwhile USSR, and Hungary.

She traveled to the newly liberated Bangladesh in 1973 in visit the Manipuri Diaspora there and to renew her acquaintance with friends, and express her solidarity with the people of the nascent country. And she not only show her talents in the field of literature and other forms of arts abroad but also makes Manipur proud of her. And her never loosing spirit let her to visit Silchar, Tripura, Assam and parts of Bangladesh where Manipuri are surviving and made them to come together with Meitei (Manipuris) people and love and care each other.

She is also outspoken on critical social issues such as the environmental crisis, human rights, and women’s rights. Her ballet “Sangai“, performed by the Ballet Unit of the JNMDA, received international accolades for its conservation message carried on a vehicle of outstanding choreography, and was later filmed by the Sangeet Natak Akademi.

She supported the Nupi Keithel and strongly joined her voice in the market women’s struggle against erosive threats that endangered the very existence of this traditional institutional and economic pillar of Manipur. A woman of letters, she contributes regularly to the local dailies such as PoknaphamNaharolgi Thoudang and the Imphal Free Press with letters, stories, articles and commentaries of current social and political issues in Manipur.

In 2004, protesting the custodial sexual abuse and brutal killing of young Thangjam Manorama Devi by the personnel of a unit of the Assam Rifles then stationed in the Kangla at Imphal, and in solidarity with the public outcry for the removal of the Armed Forces (Special Powers) Act 1958 from the State of Manipur, she took the unprecedented step of returning the Padma Shri award to the President of India.

Maharaj Kumari Binodini was also honoured by the American Manipuri Association in United States of America in the year 1992 for her outstanding contribution to Manipuri Culture. She is currently staying with her two sons, her daughter-in-law, Anna and two grandchildren, Ishanou and Sanatombi, at Yaiskul Police Lane.


* Donny Meisnam Luwang is a young Manipuri writer / reporter based at Imphal. He is a regular contributor to

(S0urce: 11/2009 – E-Pao | Features » Profile Of Manipuri Personalities )

Books from Maharaj Kumari (MK) Binodini:

Related articles

Posted in Culture (news), Education (news), Politics (news), Uncategorized | 1 Comment »

Stuttgart: Art Parade – culture rises up! (11/19/2009)

Posted by ElJay Arem (IMC OnAir) on November 19, 2009

Art Parade – culture rises up!
Stuttgart, 19th November 2009, from 2 pm on

All persons engaged in the cultural sector are most welcome to join the parade!

What is an art parade?

The Art Parade transcends a political demonstration. In an interdisciplinary procession of arts, it will show that Stuttgart’s culture is alive. The Art Parade incorporates and brings the city’s cultural diversity to the streets, demonstrating a lively and creative community. We stand for culture, arts, music, literature, film, theater and for Stuttgart. With the creative potential of the arts: new ideas, new solutions and masterminds, we are fighting for Stuttgart’s basic needs in the face of this crisis.

Therefore, the art parade focuses on a constructive dialog between with the members of the municipal council.

Why join?

Financial shortages and cancelations are in store for many cultural institutions in Stuttgart. December 18th, the municipal council will terminally decide on the scheduled measures. Considering this it is all about solidarity with cultural institutions whose existence is urgently threatened. It is also very important to collectively show the big potential of the cultural life of Stuttgart and what it brings with; it makes communities more fruitful and it builds the cornerstone for a creative cooperation which unconditionally needs a sustainable sponsorship.

Where to?

The parade route passes several cultural institutions that leads to the city centre. The final manifestation will be in the town hall square. The art parade will conclude with a closing speech on the necessity of cultural sponsorship and education in times of crisis. Afterwards we will distribute our claims to the municipal council in the so called „Stuttgarter Appell“.

How to join!

The procession is coordinated by a team in association with the organisation kunst08+. All persons engaged in the cultural sector and all cultural institutions are appealed to register as soon as possible! Send us your logo and take part with your actions at the 19th November from 2 pm on!

meeting point & route: and

download (as PDF): Info (English) | Stuttgarter Appell | Logo


(Source: 10/2009 –

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Moderation Script (11/2009): Women in Indian Classics – part 1 (Raga CDs of the Months)

Posted by ElJay Arem (IMC OnAir) on November 16, 2009


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Jazz Utsav 2009 – Bangalore, Delhi and Mumbai (20th-22nd Nov)

Posted by ElJay Arem (IMC OnAir) on November 13, 2009

Jazz is a celebration of the human spirit expressed through music. Jazz Utsav is a festival of this celebration, the annual coming together of jazz music, jazz musicians and jazz fans for three days in November, in Mumbai and Delhi.

Since the 1980s, when it was known as the Jazz Yatra, this festival of music has been one of the highpoints of the cultural calendar in the two cities.

From the early years, musicians from all over the world, many of them household names, like Sonny Rollins, Stephan Grappelli, Trilok Guru and Freddie Hubbard, have enthralled audiences.

Programme 2009

The Utsav this year has an equally formidable global line-up, with bands from six countries, Belgium, Britain, Canada, Germany, Norway and Poland. And, of course, keeping in mind the objective of promoting jazz music and musicians in the country, there will be top Indian representatives at both Delhi and Mumbai.

Line ups 2009: Beatlejazz (Brian Melvin – Drums & Percussion, Jon Davis – Piano, Peter Barshay – Bass), Wayne Krantz, Anthony Jackson, Cliff Almond & David Binney, Nils Olav Johansen Quartet, Eric Vloeimans Quartet, Amit Heri & Sanjay Divecha, Rafal Gorzycki EP Trio, Andrea Marcelli Trio, Thaerichen Tentet, Saskia Laroo Band


from left to right: beatleJazz, Wayne Krantz, Nils Olav Johansen


from left to right: David Binney, Eric Vloeimans Quartet, Antony Jackson

[more details…]


20  Nov,  2009
Ambedkar Auditorium, Vasanth Nagar
Main Gig
Entry Fee
Gates Open at 7:00pm


21  Nov,  2009
ICCI Auditorium,Tansen Marg
Main Gig
Entry Fee Rs. 500.00
Performance Times 6:30 – 10:00PM
Gates Open at 6:00PM

22  Nov,  2009
Seagrams 100 – Pipers – Jazz Utsav 2009
FICCI Auditorium, Tansen marg
Main Gig
Entry Fee Rs. 500.00
Performance Times 6:30 – 10:00PM
Gates Open at 6:00PM


21  Nov,  2009
Priyadarshini Park,
Main Gig
Entry Fee

22  Nov,  2009
Priya Darshini Park, Napean Sea Road
Main Gig
Entry Fee Rs. 750.00
Gates Open at 6:00 pm

Jazz Utsav is organized by Capital Jazz in Delhi and Jazz in Mumbai.

CAPITAL JAZZ (Mumbai Chapter)

Chairman: Mr. Nasser Munjee Hon Joint
Secretaries: Mr. Ashok Gulati & Mr. Prakash A Thadani
Selection Committee: Mr. Louiz Banks + Mr. Jayanta Sengupta

Members of Capital Jazz

Committee: Sir Jehangir Jehangir, Malini Thadani, Nakul Mehta, Sunil Sampat

(Source: 10/2009 – Jazz Utsav 2009 –

India Funk with Amit Heri (Guitar)…

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coming soon: New StudioTalk with KCP3…

Posted by ElJay Arem (IMC OnAir) on November 12, 2009

IMC-OnAir-and-KCP3-StudioTalk-and-Concert-30th-31st-Oct-2009-1-700concert on 30th October 2009 @ “India Week Hamburg 2009” see here

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Raga CDs of the months (11/09): Women in Indian Classics (part 1) – 11/16/2009 (10:00 pm)

Posted by ElJay Arem (IMC OnAir) on November 9, 2009

The Indian Classical Music – epecially the North Indian Classics (Hindustani) – experienced a noticeable change. Before it had been a courtly art part of the activities of the courtesans (Tawaifs). Indian Classics developed in the 19th and 20th centuryto an appreciative art form, which is learned by young girls and women from respected families and practiced as occupation.

dates of broadcasting…
16th November 2009 – 10:00 p.m. (METZ)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

The Hindustani music particularly stood in the early Indian Middle ages under Persian influence. A Patronage at the court of the Mughals in the 16th century promised the courtly arts and artists prosperity. Many young girls were trained in performing arts, the Kathak dance and Indian Classical Music, literature with poetry forms like the Ghazals and Thumris.

The Thumri form is a genre of the light classical music, frequently sung at the spring fest and to the colors of Hori celebration. Originally the Thumri-s were expressing emotional expressions by gestures and facial expressions (mimics), so called Abhinaya. In the further development this presentation form disappeared and remained for Indian dance. The singers switched over to purely vocal improvisation forms without lyrics, the so-called Bol Banav-Ki Thumris.

On 29 August 2009 the documentary film „Rasoolan Bai – The other song“ (Das andere Lied) had its show case in the Bangalore Internationally Centre (Bangalore). Rasoolan Bay (1902-1974) from Varanasi formed together with Badi Moti Bay of Benares, Siddheswari Devi (1907-1976) and Begum Akthar (1914-1974) the quartet of the singing queens.

The rebel Gangubai Hangal (Gaanewali) had broken the gender-specific barriers in North Indian Classics. Gangubai is called „the father of the Khayals “, the modern vocal style of Hindustani music. When the singer Gangubai Hangal died in July 2009 at the age of 97 years after long illness critical voices had been heard which manifested that the era of the woman power in Indian classical music came to its end.

Moti Bai
Hangal with young daughter Krishna in the 1930s

In our Western understanding in India exist a transfigured woman picture of the eternally female divine: Already in the epical times no religious rituals were hold without participation of the women. With the Ashtanayikas, the eight heroins appear a woman picture till today we find in India.

In the South Indian Classics (Carnatic) the practice of the art was particularly reserved to the members of the Brahmins, a kind of priesthood. Women had it very difficult to attend the stage and appear with music in the public. In the beginnings of the phono industry women hardly found male companions for disc recordings.

Under the influence of the Hindu myths one can meet in Indian the opinion that the trinity of the goddesses, Durga, Lakshmi and Saraswati revealed themselfs to the humans as avatars in form of the singing virtuosos DK Pattammal (1919-2009), MS Subbalakshmi (1916-2004) and ML Vasanthakumari (1928 – 1990).

Their arrival terminated male dominance in South Indian classics. It began an era of the divine, creativity and innovation within the borders of traditional values.

They were artists, who completely got carried away in music, not because of success, fame or the money. These women were masters of multitasking, fulfilled various tasks in most different roles, as mothers, wives, sisters, teachers or grandmothers.

D.K. Pattammal
M.S. Subbalakshmi
M.L. Vasanthakumari

While today many artists seem to live most different identities at the same time, Pattammal, Subbalakshmi and Vasanthakumari were led only by one identity.

Typical for Asia the presence and function of a selfless, divine love (Bhakti) was for these mistresses their driving power, in order to overcome steadily largest social discrimination up to their artistic acknowledgment.

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Raga CDs des Monats (11/09): Frauen in der indisch klassischen Musik (Teil1) – 16.11.2009 (22:00 CET)

Posted by ElJay Arem (IMC OnAir) on November 9, 2009

Im 19./20. Jahrhundert hat die indisch klassische Musik, im Besonderen die nordindische Klassik (Hindustani) einen spürbaren Wandel erfahren. War sie als höfische Kunst der Arbeitsplatz der Kurtisanen (s.g. Tawaifs), hat sich die indische Klassik zu einer anerkannten Kunstform entwickelt, die von jungen Mädchen und Frauen aus angesehenen Familien erlernt und als Beruf ausgeübt wird.

S e n d e t e r m i n e …

16. November 2009 – 22:00 Uhr (MESTZ)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Die Hindustani-Musik stand im frühen indischen Mittelalter besonders unter persischen Einfluss. Im 16. Jahrhundert versprach eine Patronage am Hofe der Großmogule den Kunstschaffenden und Artisten Wohlstand. Viele junge Mädchen wurden in den darstellenden Künsten ausgebildet. Dazu gehörten der Kathak-Tanz und die indische Klassik, die Literatur mit Poesieformen wie den Ghazals und Thumris.

Die Thumri-Form ist ein Genre der leichten Klassik, häufig zum Hori-Fest, dem Frühlingsfest der Farben gesungen. Ursprünglich wurden die Thumri-s mit viel emotionalem Ausdruck durch Gestiken und Gesichtsmimiken – Abhinaya – ausgedrückt. In der weiteren Entwicklung verschwand diese Darstellungsform, die dem indischen Tanz vorbehalten blieb. Die Sängerinnen wichen dafür auf rein stimmliche Improvisationsformen ohne Lyrik aus, die sogenannten Bol-Banav-Ki Thumris.

Am 29. August 2009 wurde der Dokumentarfilm „Rasoolan Bai – Das andere Lied“ (original: The other Song) im Bangalore International Centre (Bangalore) der Öffentlichkeit vorgestellt. Rasoolan Bai (1902-1974) aus Varanasi bildete zusammen mit Begum Akthar (1914-1974), Badi Moti Bai von Benares und Siddheswari Devi (1907-1976) das Quartett der Gesangsköniginnen.

Von dem Rebell Gangubai Hangal (Gaanewali) wurden die geschlechterspezifischen Barrieren in der nordindischen Klassik durchbrochen. Gangubai wird auch als der „Vater des Khayals“ bezeichnet, dem modernen Gesangsstil der Hindustani-Musik. Als die Sängerin Gangubai Hangal, im Alter von 97 Jahren, im Juli 2009 nach langer Krankheit verstarb, wurden Stimmen laut, die bekundeten, dass die Ära der Frauenpower in der indisch klassischen Musik zu Ende sei.

Moti Bai
Hangal with young daughter Krishna in the 1930s

Nach unserem westlichen Verständnis existiert auch ein verklärtes Frauenbild des ewig weiblich Göttlichen: Schon in der epischen Zeit gab es keine religiöse Handlung ohne Beteiligung der Frauen. Mit den Ashtanayikas, den acht Heroinnen zeigt sich ein Frauenbild, das wir noch heute in Indien antreffen.

In der südindischen Klassik (Carnatic) war die Ausübung der Kunst besonders den Mitgliedern der Brahmanen, eine Art Priesterschaft vorbehalten. Frauen hatten es schwer, auf die Bühne zu gelangen und sich mit ihrer Musik öffentlich zu zeigen. In den Anfängen der Phonoindustrie fanden Frauen für Schallplattenaufnahmen kaum männliche Begleiter.

Unter dem Einfluss der hinduistischen Mythen trifft man in Indian auf die Meinung, dass sich das Dreigestirn der Göttinen, Durga, Lakshmi und Saraswati den Menschen als Avatare in Gestalt der Gesangsvirtuosinnen DK Pattammal (1919-2009), MS Subbalakshmi (1916-2004) und ML Vasanthakumari (1928 – 1990) offenbarte.
Ihre Ankunft beendete die männliche Dominanz in der südindischen Klassik. Es begann eine Ära des Göttliche, der Kreativität und Innovation innerhalb der Grenzen traditioneller Werte.

Es waren Künstlerinnen, die ganz in der Musik aufgingen, nicht des Erfolges, noch des Ruhmes oder des Geldes wegen. Diese Frauen waren MeisterInnen des MultiTaskings, erfüllten vielerlei Aufgaben in unterschiedlichsten Rollen, als Mütter, Ehefrauen, Geschwister, Lehrer oder Grossmütter.

D.K. Pattammal
M.S. Subbalakshmi
M.L. Vasanthakumari

Während heute viele Künstler unterschiedlichste Identitäten gleichzeitig zu leben scheinen, waren Pattammal, Subbalakshmi und Vasanthakumari von einer einzigen Identität geleitet.

Die für Asien typische Präsenz und Funktion einer selbstlosen, göttlichen Liebe (Bhakti) war für diese Meisterinnen des Gesangs ihre Antriebskraft, um beständig auch grösste gesellschaftliche Widerstände bis zu ihrer künstlerischen Anerkennung zu überwinden.

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Jazz Fest Berlin 2009 (4th – 8th Nov) – MST (Murcof, Talvin & Trufazz) on stage…

Posted by ElJay Arem (IMC OnAir) on November 4, 2009

JazzFest Berlin ’09
“It Must Schwing!” and More at JazzFest Berlin ’09

Jazz-Fest-Berlin-20009-logo-1JazzFest Berlin ’09, which takes place this year from November 4th to 8th, is organized around the theme: “Blue Note: 70 years.” Both founders of the renowned jazz label, Alfred Lion (“It Must Schwing!”) and Francis Wolff, were Berlin natives, and both emigrated to the United States in the 1930s.

Francis Wolff photographed the musicians and designed covers for their recordings. On view at Berlin’s Jewish Museum beginning on October 30th is a large selection of these images – an ideal occasion for presenting several choice artists beneath the museum’s glass-topped courtyard, among them Texan pianist Robert Glasper, who made his Blue Note debut in 2005. Aaron Parks, just 25 years old, has also recently signed a contract with Blue Note Records. His debut album “Invisible Cinema” was greeted with enthusiasm, and won him inclusion in the elite company of the “New Jazz Visionaries” (JazzTimes).

Among the most celebrated Blue Note artists of the present is the trumpeter/composer Terence Blanchard. He opens JazzFest Berlin ’09 on November 4th with a performance of his “A Tale of God’s Will (A Requiem For Katrina)” accompanied by the Deutsche Filmorchester Babelsberg. Julian Benedikt’s Grammy-nominated film “Blue Note – A Story of Modern Jazz” (1997) will be screened free of charge at a Sunday matinee at the Martin-Gropius-Bau. Other classic Blue Note tinged events include performances by trombonist Curtis Fuller and by Sheila Jordan, the first singer to stand in front of Alfred Lion’s microphones, accompanied by Steve Kuhn, another artist with the celebrated label.

Alongside this musical main course, Nils Landgren – the Artistic Director of JazzFest Berlin – has included some additional hors d’oeuvres in the festival menu in keeping to his time-tested motto: “show good music.” Among these is a colorful “smorgasbord” of the Scandinavian bands that have featured so prominently since the beginning of Landgren’s tenure, including the Tingvall Trio, the Ensemble Denada, Mathias Eick, and Arild Andersen.
The jazz of northern Europe finds its counterpart in South Africa’s post-Apartheid generation of musicians: presented at Thursday evening’s concert will be percussionist and famed instructor Dizu Plaatjies and Afro Soul singer Lira.

New Orleans has been a source of constant inspiration For Nils Landgren, and remains close to his heart. Featured besides the above-mentioned opening event featuring Terence Blanchard is John Scofield’s Piety Street Band at the festival’s close, who follow up the Berlin “Schwing” of the preceding days by giving us a taste of their “I’ll fly away” swing.

PS. Are you familiar with the celebrated Neumann microphones?
Then your next step is the Georg-Neumann Saal of Berlin’s Jazz Institute am Einstein Ufer, the latest JazzFest performance venue – a hotbed of talent and a launching pad for creative young jazz artists.

Sun 08-11-2009 | 17:30

MST – Murcof, Talvin Singh, Erik Truffaz

jazz09_27-Murof-Singh-Truffaz_LISTEQUERSince 20 years Swiss-French trumpet player Erik Truffaz has been opening up new perspectives on the European jazz horizon. With his quartet he has been following in Miles Davis’ footsteps on the gateway between acoustic and electronic music. Once in a while he takes time out of the quartet routine and goes traveling. His recent triple CD Rendez-Vous is a sonic travelogue about his journeys to India, Paris and Mexico. Joining him on this musical trip are mexican electronic minimalist Murcof and London based tabla player/producer of Indian origin, Talvin Singh.

A co-operation with Jewish Museum Berlin

(Source: 10/2009 – Berliner Festspiele | Jazz Fest 2009)

Murcof, Erik Truffaz and Talvin Singh live at the 2006 Montreux Jazz Festival (part 1)

Murcof, Erik Truffaz and Talvin Singh live at the 2006 Montreux Jazz Festival (part 2)

Posted in Live around the globe | Leave a Comment »

Forbes Magazine (10/29/09): Brewster Kahle is a thorn in Google’s side

Posted by ElJay Arem (IMC OnAir) on November 3, 2009 – Ideas & Opinions

Lend Ho!

Quentin Hardy, 10.29.09, 08:40 AM EDT
Forbes Magazine dated November 16, 2009

Brewster Kahle is a thorn in Google’s side.

Brewster Kahle is a thorn in Google's side (c) Robert Houser

Brewster Kahle is a thorn in Google's side (c) Robert Houser

The internet and Brewster Kahle have been good to each other. He made millions from his networked computing inventions and plows millions back into expanding, documenting and providing access to the World Wide Web’s digital trove–in particular, books. He sees his mission as saving the Internet from bad business motives.

“We have to have universal access to everything, just like a library,” he says. “Do we want that under a single corporation’s control? It is openness, not corporate control, that propels capitalism.”

Single corporation? That would be the octopus known as Google ( GOOG – news – people ). Google has scanned 10 million books and makes them available for free searching. But there are those who suspect that Google’s intentions are not entirely altruistic. At a minimum, says Kahle, a 49-year-old whose motto is “universal access to all knowledge,” the world needs a diversity of book digitizing sources. Google, a onetime ally, is “a company run by lawyers, always out to see what they can get away with. We need more choice and competition than they want.”

Digital libraries will shape education, creativity and our shared intellectual heritage, Kahle declares. As founder and director of the Internet Archive, Kahle has posted online digital copies of 1.7 million books, 100,000 hours of television, 200,000 video clips, 70,000 concerts and 415,000 audio recordings. All that material can be downloaded for free from the Archive’s Web site.

Kahle has been compiling the library since 1996, two years before Google was incorporated. While many philosophers talk about the promise of free universal access to knowledge, perhaps no one person has done more than Kahle to make it real.

About half the scans from Kahle’s Archive come from Google. People download the Google volumes, then upload them to Kahle’s outfit. Google has not sued him to stop that. Now Kahle seems ready to undermine the search giant himself, for the sake of free content. The cost of keeping the Archive’s 1,000 servers, mostly near San Francisco, is largely funded by libraries and foundations, some of which pay the Archive to scan their books.

On Oct. 19 Kahle released a technology, called Bookserver, that makes it possible for any author, publisher or library to offer a scanned book for free, for sale or on loan. The publisher uses Bookserver software to convert a photo of the original page into a text file, which can then be indexed or fed into a speechifier (for, say, a blind book consumer). The texts can be read on e-book devices like Amazon’s Kindle, Sony  ( SNE –  news  –  people )’s Reader, Apple  ( AAPL –  news  –  people )’s iPhone and certain laptops. Access to more devices is coming. The files, almost entirely text, are distributed directly from the source controlling the volume, not the Archive itself.

Bookserver uses a range of open source and proprietary electronic book standards, search algorithms, editing tools and libraries. The architecture, as Kahle calls it, potentially separates manufacturers of devices from control over much of the content inside them. It also preserves the idea of the lending library–if you “check out” a volume, others cannot access it in the time allowed to you. Publishers sell their books in the system using credit cards.

The lending angle may be a way to foil Google’s claim on millions of so-called “orphan” books, or texts published since 1923 that are no longer in print. These books are not out of copyright but for the most part are abandoned by their owners, giving some justification to Google’s finders-keepers approach (in which a copyright owner has to opt out to keep a book from the Google library). Kahle’s Archive doesn’t have the post-1923 orphans. But Kahle hopes libraries will use the new Bookserver technology to scan and electronically lend orphans. Kahle reasons that libraries can scan and electronically lend their orphans without violating any laws, just as they lend those volumes today.

Google scanned its books over the past several years, initially claiming rights to reproduce brief snippets of orphans and other texts under the same “fair use” rule that allows book reviewers to quote from a book without permission. At first most authors and publishers were happy that someone was taking the printed past into the digital future. Then they started fretting about who would get rich off this trove. Google now plans to offer its whole library of scanned texts on a rental basis to libraries and in some cases sell individual volumes.

Under threat of lawsuits that could shut down the business, Google’s solution was to work with a handful of publishers and authors in creation of a Book Rights Registry, where authors and publishers could lay claim to their orphaned works. Kahle and others note that Google did no creative work on the books, just photographed them. In the initial registry agreement, now undergoing revisions after objections by both the government and other businesses, Google was the only listed vendor of the texts, raising questions about what status future entrants might have. “They want to monopolize books, particularly out-of-print books,” Kahle says.

If Google’s registry settlement does acquire the force of law, future digitization efforts could be curbed, or simply ignored as one provider becomes the source of choice–the way iTunes dominates digital music and Google gets eight-tenths of all search queries. “Digital stuff is really prone to monopoly,” says Kahle. “The low cost of distribution means you can dominate something very quickly.”

Google, not surprisingly, says it is only here to help. “I am surprised at the amount of confusion and misinformation there is out there,” says Dan J. Clancy, head of Google’s digitization project. “We strongly hope others will enter the market–but we haven’t seen commercial scanning on a large scale.” Indeed, Microsoft ( MSFT – news – people ) has abandoned its effort.

Kahle graduated from MIT in 1982 with a bachelor’s degree in computer science and engineering and a specialty in artificial intelligence. He helped start a company called Thinking Machines, which built supercomputers that used parallel processing (arrays of calculators working shoulder to shoulder). Among other things, the machines were very good at searching the contents of other computers. In 1988 Kahle started Wais as a research project and in 1991 created Wais Inc., a Menlo Park, Calif. company that scanned and listed the content of computer servers on the Internet for better understanding and retrieval. Customers included Dow Jones, the New York Times and the U.S. government, but the project was bypassed as the freedom and superior design of the Web made content accessible to all.

“Back then, we thought you could find and publish things you found for money,” he says. “You couldn’t, until Jeff Bezos and Steve Jobs found ways for individuals to pay for digital content.” In 1995 he sold Wais to America Online for $15 million.

Kahle and his Wais partner, Bruce Gilliat, started both the Internet Archive and Alexa Internet, a company that created software that logged traffic patterns and recommended sites on the Internet. They sold it to Amazon in 1999 for $250 million in stock. The Archive also hosts the Wayback Machine, which preserves Web pages that might otherwise be altered or destroyed. It has 150 billion of those–everything from yesterday’s FORBES online to the 1996 Yahoo ( YHOO – news – people ) home page–available for free. Owners of the pages can opt out and retroactively remove their pages from the Wayback Machine.

Kahle and his wife have put $45 million into a foundation, which should keep Bookserver going for a long time. So far only one big library, the University of Toronto, has signed up to use the Bookserver lending function, but more are expected to join soon.

“This is like those old movies of airplanes trying to get off the ground in 1910,” Kahle says. “We don’t have a 747 yet–but we will, if we open things up enough.”

(Source: (c) 10/2009 – – Ideas @ Opinion)


The BookServer is a growing open architecture for vending and lending digital books over the Internet. Built on open catalog and open book formats, the BookServer model allows a wide network of publishers, booksellers, libraries, and even authors to make their catalogs of books available directly to readers through their laptops, phones, netbooks, or dedicated reading devices. BookServer facilitates pay transactions, borrowing books from libraries, and downloading free, publicly accessible books.

(Source: – Bookserver)

Posted in Economics, Uncategorized | Leave a Comment »

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