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Archive for September, 2012

Darbar Festival (U.K.): 27-30 September 2012

Posted by ElJay Arem (IMC OnAir) on September 26, 2012

Darbar Festival 2012

The 7th annual Darbar Festival will be helad at the Southbank Centre. on 27th till 30th September 2012. Whether you’re a connoisseur or a novice to Indian classical music, you’re in for a treat. Join the Darbar Festival as one of the finest Indian classical music Festivals in U.K..

India offers a spectacular sensory cultural experience from the sheer diversity of its people, it’s dazzling array of art, food, languages and its range of religions. It’s no wonder that one of the greatest forms of classical music comes from the Indian sub-continent.

So what makes the Darbar Festival so special? Darbar is presenting India’s two traditions – Hindustani (north Indian) and Carnatic (south Indian) – together.

From the Hindustani tradition the Darbar Festival 2012 brings you one of India’s greatest sitar maestros, Ustad Shujaat Khan with tabla maestro Pandit Swapan Chaudhuri. Come and experience rare ragas by the khayal vocalist Shruti Sadolikar-Katkar.

Headlining from the Carnatic tradition it is one of India’s greatest violin duo Nagraj and Manjunath (Mysore) and on the fabulous veena the maestro Chitraveena Ravikiren.

Those musicians who may not have been heard as one of the top class artists are performing for the first time in the UK. E.g. Prattyush Banerjee on sarod, Pushpraj Koshti on surbahar, Joydeep Ghosh on surshingar, Shubh Maharaj on tabla. Lovers of vocal music must not miss Ram Deshpande Mahadeva singing khayal.

In addition, Chitrangana Agle-Reshwal India’s only female pakhawaj player and Manjiri Asnare-Kelkar singing khayal return after many years for their second visit to London.

The Festival Line up 2012… 

   

   

   

(source of pictures: Darbar Festival 2012)

The Darbar Festival 2012 is partnering with the Southbank Centre in London. Come and experience rare instruments and musical traditions, the chance to talk to performers, free family foyer events including a stimulating digital art installation project. Signing up a Indian Classical Music Appreciation courses (13th and 20th Sept, 4th/11th/18th Oct) will enable the visitor to further understand and enjoy the classical form of Indian music.

For those of you outside London capital city are some events as part of the Festival – see local/regional event’s guide for concerts.

Incredible India, incredible music. Give yourself an experience of a lifetime.

(Source: 09/2012 – Darbar Festival 2012 | Darbar Arts Culture Heritage Trust)

If the PDF Player is not opening, pls download the brochure from here…

Darbar Festival 2011… Uday Bhawalkar with Raga Bhimpalasi 

Darbar Festival 2011… Roopa Panesar (Sitar) with Raga Puriya 

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2nd October 2012: 143rd Birthday of Mahatma Gandhi + International Day of Non-Violence & Peace

Posted by ElJay Arem (IMC OnAir) on September 26, 2012

Letter of invitation referring the occasion of the celebration of the 143rd Birthday of Mahatma Gandhi and the International Day of Non-Violence and Peace.

The celebration will take place on the 2nd of October 2012 at 1900 hrs in the Albert Schaefer Hall, Handelskammer, Adolphsplatz 1, 20457 Hamburg.

You are requested to attend the event on the 2nd of October 2012 with your family and also to inform all those known to you.

For further details you may like to contact Mahatma Gandhi Gedenkintiative in Hamburg at the address given below.

Mahatma Gandhi Gedenkintiative
Mützendorpsteed 46
D-22179 Hamburg
Tel: 040-64202836
Email: mkmahatamagandhi@gmail.com

Inauguration Cerremony on the morning of 2nd October 2012

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Consul General, Ms. M. Subashini and students of Blankenese School (Hamburg), Hamburg’s Senator for Culture Ms. Barbara Kisseler addressing the audience, the plaque to be placed on the bridge being unveiled and Members of Mahatma Gandhi Memorial Initiative…

Posted in Culture (news), Days of India, Economics (news), Education (news), Politics (news) | Leave a Comment »

CH – Raga Cds of the Months (09/10-2012): Alankaras – 10 types of Raga Ornaments (part 1 & 2)

Posted by ElJay Arem (IMC OnAir) on September 23, 2012

IMC OnAir’s monthly radio shows in September/October 2012 – being broadcasted in Switzerland (@ Radio RaSA) and worldwide as webradio – are concerning with the Alankar-s. The Alankara-s can be grouped in four main types (with 10 different characters).

The Indian term Alankar or Alankara originates from Sanskrit, the old science language of India. The meaning is various: decoration (jewelry), literary embellishment or decoration. As Sabda Alankara it designates  as ornaments by sound, decorative use of sound or use of decorating words. The last classification in Indian Classics before approx. 100-150 years was known also as Shabdalankar.

dates of broadcasting…

part 1 – 24th Sept 2012 – 04:00 pm EST (10:00 p.m. CET) @ Radio RaSA (CH)
part 2 8th Oct 2012 – 04:00 pm EST (10:00 p.m. CET) @ Radio RaSA (CH)
(premiere: 17th August/21st Sept 2009 (10:00 pm CET) @ TIDE Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Compared with the earlier classification Shabdalankar, in that the Indian schools of music (Gharana-s) exhibited substantial differences. In our current times it is reduced as common clustering to the treatment of the Indian notes, the swara-s. There is:

1. Asthai Alankar – the return to the initial note,
2. Arohi Alankar – a note sequence in the ascending scale,
3. Amrohi Alankar – a note sequence in the descending scale and
4. Sanchari Alankar as a combination of type 1-3.

In the baroque area of Western classics the ornaments served mainly for the decoration of melody lines. Vocalists improvised with the ornaments like we  know it till this day from the Irish music tradition. Indian notes are “not static”, here briefly played Staccato notes (in Italian staccare means “tears off”) or single notes played “stand alone” are not audible.

4 examples of Alankara-s (Source: Sitar Technique in Nibaddh Forms (written by Stephen Slawek, 1987))

4 examples of Alankara-s (Source: Sitar Technique in Nibaddh Forms (written by Stephen Slawek, 1987))

The Swara-s are located in constant connection to each other. Each note is linked with the previous one and following. Such ”grace notes“ –  Kan-Swara-s – are the basis for each form of ornaments, the Alankara-s. They are the core for the development and beauty of Ragas.

The earliest reference to this term can be found in the Natyashastra with 33 Alankars, an elementar work to the visual arts of acient India written by the sage “Bharata”. It is dated between 200 BC and 200 AC. Further important treatises for the classification of the Alankars are the Sangeet Ratnakar of Sharangdev in 13th century and the Sangeet Parijat of Ahobal in 17th Century, in which 63 and 68 types of Alankars are described.

Alankars Technique for the Sitar (video tutorial @ eHow)
by Amelia Maciszewski (Ph.D. in Ethnomusicology) – www.sangeetmillennium.org.com

Alankars Technique for the Sitar: How to Play the Sitar...

Kan-Sawra-s in a Classic Raag Bhairavi
by violinist Milind Raikarwww.violinmilind.com

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CH – Raga CDs des Monats (09-10/2012): Alankaras – 10 Typen der Ragaornamentik (Teil 1 u. 2)

Posted by ElJay Arem (IMC OnAir) on September 23, 2012

IMC OnAir’s monatliche Sendung im September u. Oktober @ Radio RaSA (Schweiz) befassen sich mit den zehn wesentlichen Alankar-s. Die Alankara-s können in ihrem Charakter in vier Haupttypen (m. 10 Charakteren) gruppiert werden.

Der indische Begriff Alankar oder Alankara stammt aus dem Sanskrit, der alten Wisschenschaftssprache Indiens. Die  Bedeutung ist vielfältig: Schmuck (jewelry),literarische Ausschmückung oder Dekoration. Als Sabda-Alankara wird die Ornamentierung durch Klang, der dekorative Gebrauch von Klang oder von schmückenden Wörtern bezeichnet. Die letzte vor ca. 100-150 Jahren geordnete Klassifizierung in der indischen Klassik war auch als Shabdalankar bekannt.

S e n d e t e r m i n e …

Teil 124. September 2012 – 22:00 Uhr MESTZ (04:00 pm EST) @ Radio RaSA (CH)
Teil 28. Oktober 2012 – 22:00 Uhr MESTZ (04:00 pm EST) @ Radio RaSA (CH)
(Premiere: 17. August/21. Sept. 2009 – 22:00 Uhr @ TIDE Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Im Vergleich zu der früheren Klassifizierung Shabdalankar, in der die indischen Musikschulen, die Gharana-s erhebliche Unterschiede aufwiesen, reduziert sich die in unserer heutigen Zeit gebräuchliche Clusterung (10 Charaktere) auf die Behandlung der Noten, der swara-s. Es sind:

1. Asthai Alankar – die Rückkehr zur Anfangsnote,
2. Arohi Alankar – eine Notensequenz in der aufsteigenden Skala,
3. Amrohi Alankar – eine Notensequenz in der absteigenden Skala und
4. Sanchari Alankar als eine Kombination der Typen 1-3.

In der barocken Zeit der westlichen Klassik diente die Ornamentik zur Ausschmückung der Melodielinien. Der Gesangsinterpret improvisierte mit der Ornamentierung, wie wir es noch heute in der irischen Musiktradition wiederfinden. Die indischen Noten sind “nicht statisch”; kürzer gespielte Staccato-Noten (im Italienischen bedeutet staccare “abreißen”) oder einzelne für sich gespielte Noten sind nicht hörbar.

4 examples of Alankara-s (Source: Sitar Technique in Nibaddh Forms (written by Stephen Slawek, 1987))

4 examples of Alankara-s (Source: Sitar Technique in Nibaddh Forms (written by Stephen Slawek, 1987))

Die Swara-s stehen in ständiger Verbindung zueinander. Jede Note ist verknüpft mit der Vorherigen und Nachfolgenden. Solche Vorschlagsnoten (“grace notes“) – Kan-Swara-s – sind die Grundlage für jede Form der Ornamentik, den Alankara-s. Die Alankara-s sind der Kern für die Entfaltung und Schönheit eines Ragas.

Der früheste Bezug zu diesem Begriff findet sich mit 33 Alankars in dem Natyashastra, ein Grundlagenwerk des Weisen “Bharata” zu den darstellenden Künsten des antiken Indiens. Die Schrift wird zwischen 200 vor Christus und etwas 100 nach Christi Geburt datiert. Weitere bedeutende Abhandlungen zur Klassifizierung der Alankars sind das Sangeet Ratnakar von Sharangdev im 13. Jahrhundert und das Sangeet Parijat von Ahobal im 17. Jahrhundert, in denen 63 bzw. 68 Typen von Alankars beschrieben werden.

Alankars Technique for the Sitar (video tutorial @ eHow)
by Amelia Maciszewski (Ph.D. in Ethnomusicology) – www.sangeetmillennium.org.com

Alankars Technique for the Sitar: How to Play the Sitar...

Kan-Sawra-s in a Classic Raag Bhairavi
by violinist Milind Raikarwww.violinmilind.com

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A – Raga CDs des Monats (09/12): Rabindra Sangeet – Eine Stimme für Alle!

Posted by ElJay Arem (IMC OnAir) on September 21, 2012

Rabindra Sangeet – Lieder von Tagore…

Als Rabindra Sangeet wird in Indien ein musikalisch-literarisches Konzept bezeichnet, das sich im 20. Jahrhundert als ein eigenständiges Genre etablierte. Darin ist die indisch klassische Musik eingebettet, gleichermassen die nordindische Klassik – Hindustani wie die Klassik Südindiens – die karnatische Musik.
Das Konzept wurde von dem indischen Universalgenie Rabindranath Tagore begründet. Im Englischen wird Rabindra Sangeet als „Tagore Songs“ – „Lieder von Tagore“ übersetzt.

200px-Tagore3

R. Tagore in Kolkata, c. 1915

Tagore’s Gesamtwerk umfasst aus einer etwa 60-jährigen Schaffenszeit bis zu seinem Tod im Jahre 1941 (7. Mai 1861 – 7. August 1941) mehr als 2200 Lieder, neben ca. 1000 Gedichten, zwei Dutzend Theaterstücken, Tanzdramen, acht Novellen, mehrere Ausgaben von Kurzgeschichten und vielfältige literarischen Werken mit sozialen, religiösen, politischen und erziehungswissenschaftlichen Essays und Beiträgen zu Filmwerken und als Maler.

Sendetermine…

23. September 2012 – 23:00 Uhr MESTZ (05:00 pm EST) @ Radio FRO (A)
(Premiere:  16. März 2009 – 22:00 Uhr MESTZ @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Tagore war Würdenträger des Nobelpreises für Literatur und einziger Komponist zweiter Nationalhymnen, der von Indien („Jana Gana Mana“) und von Bangladesh („Amar Shonar Bangla“). Tagore wurde als erster Nicht-Europäer für sein Werk „Gitanjali“ mit Publikation im Jahre 1912 und 1913 in New York und London mit dem Nobelpreis für Literatur ausgezeichnet.

Gitanjali – in der Übersetzung „Ein Angebot an Liedern“ (Song Offerings) ist eine Sammlung von 103 englischen Gedichten. Ein Grossteil der Gedichte wurden von Rabindranath Tagore selbst übersetzt. Die frühe Ausgabe in bengalischer Sprache stammt aus dem Jahre 1910 (Git = Song + Anjoli = Offering).

Gitanjali, Vers 100:

Ever in my life have I sought thee with my songs. It was they who led me from door to door, and with them have I felt about me, searching and touching my world.

It was my songs that taught me all the lessons I ever learnt; they showed me secret paths, they brought before my sight many a star on the horizon of my heart.

They guided me all the day long to the mysteries of the country of pleasure and pain, and, at last, to what palace gate have they brought me in the evening at the end of my journey?

(PDF-Download | Source)

Die von Tagore begründete Universität Visva Bharati („Gemeinschaft der Welt mit Indien – Community of World with India) beherbergt eine Vielzahl von Instituten, u.a. das Sangit Bhavana (Institute of Dance, Drama and Music). Der erste Leiter war Dinendranath Tagore. Er lebte von 1882 bis 1935. Dinendranath  war der Neffe von Rabindranat Tagore – ein talentierter und herausragender Sänger in Baritonlage, der sich als künstlerischer Leiter von Rabindranath’s Theaterstücken und als Direkter der dramaturgischen Abteilung der Visva-Bharati Universität auszeichnete. Ihm sind mit Kenntnis der westlichen Notation die Niederschriften einer Vielzahl der Melodien von Rabindranath’s Kompositionen zu verdanken.

Die Abteilung „Musik“ (Music Board) der Visva-Bharati Universität, wurde drei Jahre nach dem Ableben von Tagore im Jahre 1944 errichtet. Heute ist sie mit der Ausrichtung von Tagore Festivals und mit Unterrichtsangeboten im Rabindra Sangeet in Kolkatta befasst.

Gandhi-TagoreTagore’s Erbe wird in Indien in Form von Tagore Festivals gefeiert, der alljährlichen Zeremonie von Kapipranam, Tagore’s Geburtstag am 07. Mai. Wallfahrten von Kolkatta nach Shantiniketan und feierliche Liederabende zu festlichen Anlässen sind in der bengalischen Kultur tief verwurzelt. Auch im Ausland wird der Geburtstag von Tagore gefeiert, mit dem jährlichen Tagore-Festival in Urbana (US-Bundesstaat Illinois). Dieses Festival konnte im Jahre 2008 sein 20-Jähriges Jubiläum feiern.

Mit dem Gedicht „Prosno“ in Bangla, der Muttersprache Tagores existiert eine der wenigen noch existierenden Aufnahmen. Sie ist nicht näher datiert. Tagore’s Stimme vermittelt uns die Klangästhetik und Metrik seiner Dichtkunst auf’s Trefflichste.

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A – Raga CDs of the Months (09/12): Rabindra Sangeet – A Voice for All!

Posted by ElJay Arem (IMC OnAir) on September 21, 2012

200px-Tagore3

R. Tagore in Kolkata, c. 1915

Rabindra Sangeet is in India a musical-literary concept, which has been established in the 20th century as an own genre. The Indian classical music is embedded in it, likewise the Northern Indian music – Hindustani – and the classical style of South India,  the carnatic music. The concept was created by India’s universal genius Rabindranath Tagore.

Tagore’s complete work covers a time period of 60 years till his death in 1941 (7th May 1861 – 7th August 1941) with approximately 1000 poems, two dozen plays, dance dramas, eight novellas, several expenditures of short stories and various literary works with social, religious, political and educational-scientific essays and contributions to film works and as painter.

dates of broadcasting…

23rd September 2012 – 05:00 p.m. EST (11:00 p.m. CET) @ Radio FRO (A)
(premiere: 16th March 2009 – 10:00 p.m. CET @ Radio TIDE)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Tagore is the single composer of two national anthems, that of India („Jana Gana Mana“) and of Bangladesh („Amar Shonar Bangla“) and a dignitary Nobel prize for literature he received in 1913. Tagore was distinguished as first non European for his work „Gitanjali“ which was published in the year 1912 in New York and 1913 in London.

Gitanjali– transliteral means „an offer of songs“ (song offerings | Git = song + Anjoli = offering) – is a collection of 103 English poems. The majority of the poems were translated by Rabindranath Tagore himself. The early edition in Bengali language originates back to the year 1910.

Gitanjali, verse 100:

Ever in my life have I sought thee with my songs. It was they who led me from door to door, and with them have I felt about me, searching and touching my world.

It was my songs that taught me all the lessons I ever learnt; they showed me secret paths, they brought before my sight many a star on the horizon of my heart.

They guided me all the day long to the mysteries of the country of pleasure and pain, and, at last, to what palace gate have they brought me in the evening at the end of my journey?

(PDF-Download | Source)

The University Visva Bharati founded by R. Tagore accommodates today a multiplicity of institutes, among the Sangit Bhavana (institutes of Dance, Drama and Music). The first director was Tagore’s nephew Dinendranath Tagore. He lived from 1882 to 1935. Dinendranath was a talented and outstanding singer with Bariton voice, who can be characterized as an art director of Rabindranath’s plays and manager of the  dramaturgical department of the Visva Bhar ati University. We owe Rabindranath’s compositions documented in written form to Dinendranath’s knowledge of Western music notation.

The music department (music board) of the Visva Bharati University was established three years after Tagore’s demise in the year 1944. Today it is concerned with Tagore festivals and with educational lessons for Rabindra Sangeet in Kolkatta.

Gandhi-TagoreTagore’s heritance is celebrated in India with many Tagore festivals as the annual ceremony of Kapipranam, Tagore’s birthday on 7th May. Pilgrimages from Kolkatta to Shantiniketan and solemn song evenings to festive causes are deeply rooted in the Bengal culture. Abroad the birthday of Tagore is celebrated, e.g. with the annual Tagore-Festival in Urbana (US Federal State Illinois). This festival celebrated it’s 20th anniversary in the year 2008.

With the poem „Prosno“ in Bangla, the native language of Tagore is still existing one of the very few recordings of Tagore’s voice. Tagore’s voice arrange the sound aesthetics and metric of his lyrics applicably. This documentary is note dated exactelly.

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DE – Raga CDs of the Months (09/12): Malkauns – King of Ragas

Posted by ElJay Arem (IMC OnAir) on September 19, 2012

Raga mAlkauns (or Malkosh) is in North Indian Classical music (Hindustani) very popular with the audience and musicians. In the South of India Malkauns is well known as Ragam hindOLam (Carnatic Music). It is a 5 tone Raga with a 300 to 400 years old history and multivarious development.
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date of broadcasting…

20th September 2012 – 05:00 p.m. METZ (09:00 pm EST) @ radio multicult.fm (DE)
(premiere: 5th February 2008 – 09:00 pm CET @ Tide Radio 96.0 FM (DE))
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Malkauns is played to the late evening hour as midnight raga. The tendency of this majestic Raga is meditative and introverted, it’s modality is unique.
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ascending and descending scales of Raga mAlkauns (Bhairavi Thaat):
audav-audav | ‘n S g m d n S’ – S’ n d n d m g m g S ‘n S
Raga CDs des Monats (02/08): Malkauns… King of Ragas
Ragam hindOLam (Melakartha system No. 20: naTabhairavi): S G2 M1 D1 N2 S – S N2 D1 M1 G2 S
..

Indian music maestros award to this Raga supernatural forces. By Malkauns even bad spirit can be driven out. The Indian Author V. Murthy who is living in Bangalore calls mAlkauns “king of the Ragas“, the title of our September show @ radio multicult.fm (Germany, Berlin) and worldwide as webradio.

Posted in ENG (English), IMC OnAir - News | 1 Comment »

DE – Raga CDs des Monats (09/12): Malkauns… König der Ragas

Posted by ElJay Arem (IMC OnAir) on September 19, 2012

Raga mAlkauns (o. Malkosh) ist in der nordindischen Klassik (Hindustani) sehr beliebt. Im Süden Indiens (Carnatic) ist Malkauns als Ragam hindOLam bekannt. Der Raga mAlkauns ist ein 5-Ton-Raga mit einer 300-400-jährigen Geschichte und vielfältigen Entwicklung.
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Sendetermine…

20. September 2012 – 21:00-21:58 CET (03:00 pm EST) @ radio multicult.fm (DE)
(Premiere: 5. Februar 2008 (21:00) @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Raga mAlkauns wird zur späten Abendstunde als Mitternachtsraga gespielt. Die Stimmung dieses majestätischen Ragas ist meditativ und introvertiert, seine Modalität einzigartig.
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aufsteigende u. absteigende Skala von Raga mAlkauns (Bhairavi Thaat):
audav-audav | ‘n S g m d n S’ – S’ n d n d m g m g S ‘n S
Malkauns… King of Ragas
Ragam hindOLam (naTabhairavi): S G2 M1 D1 N2 S – S N2 D1 M1 G2 S
..
Von den indischen Musikmaestros werden diesem Raga übernatürliche Kräfte zugesprochen, mit dem sogar böse Geister vertrieben werden können. Der indische, in Bangalore lebende Author V. Murthy nennt mAlkauns gar “König der Ragas“, der Titel unserer Septembersendung auf radio multicult.fm (Deutschland).

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7-15 September, 2013: INDIA WEEK Hamburg

Posted by ElJay Arem (IMC OnAir) on September 17, 2012

The dates for the next “India Week Hamburg” have been finalized in September 2012. The next edition (after 2008, 2009 and 2011) will take place from 7th to 15th September 2013 and will co-incide with the “IGS – Internationale Gartenschau” (International Garden Show). – Source: GIRT Hamburg

Further details will be worked out and shared with other players soon.

India-Week-Logo-2013

Hochspezialisierte Ingenieure und ungelernte Tagelöhner, farbenfrohe Saris und tiefschwarze Jeans, der Lärm Mumbais und die Stille des Himalaya – Indien fasziniert uns mit seinen Gegensätzen. Hamburg widmet 2013 wieder eine India Week seiner schon lange bestehenden Freundschaft mit diesem spannenden Land. Vom 7. bis 15. September 2013 stellen unterschiedliche Akteure neun Tage lang Tradition und Gegenwart Indiens vor. Der Blick richtet sich dabei besonders auf die Themen „Stadtentwicklung und Lebensqualität“, „Urbanisierung“, „Smart Cities“ und „Architektur“. Ein abwechslungsreiches Programm wartet auch 2013 auf Besucher und Organisatoren. (Quelle: Hamburg.de)

Keep yourself updated on IMC’s specific Facebook page ! – Thank you.

Posted in Culture (news), Economics (news), Education (news), INDIA WEEK HH, Live around the globe, Medias, Politics (news) | Tagged: | Leave a Comment »

DE – Raga CDs of the Month (09/2012): “Women in Indian Classical Music – Wind and Stringed instruments”

Posted by ElJay Arem (IMC OnAir) on September 14, 2012

Rasoolan Bai

Rasoolan Bai (Photo credit: Wikipedia)

In part 1 of our series “Women in Indian classical music” we have met the singing queens of India, like the vocalist from Varanasi Rasolan Bai (b. 1902). Her life moved again into the public consciousness with the documentary “Rasoolan Bai – The other Song” (2009) and thus of the Tawaifs, the courtesans. They practiced the arts in the courts of the maharajas till the 60s of 20th century. At the Moghul courts, rulers of Persia who occupied the north of India in the 14th to 16 century girls had been trained in the performing arts, as in Kathak, the North Indian dance, in Indian classical music and literature and poetry forms, such as Ghazals and Thumri-s.

English: Gangubai Hangal (1913-2009) and daugh...

English: Gangubai Hangal (1913-2009) and daughter Krishna (c. 1929-2004) (Photo credit: Wikipedia)

In southern India, however, the pursuit of the arts was reserved for members of the Brahmins, a priestly caste. The women had a hard time to perform with the arts in public. One of the first independent artists in South India was Nagaratnammal Bangalore (1878-1952). For her publishing of erotic literature written by the courtesan Muddu Palani she was front Indian Court in 1911.

In our recent time great singers like Dr. Gangubai Hangal (1912-2009) have broken the gender barrier and paved access for women to the workforce in Indian music.

But still the image of women is glorified. Thus, prominent singers like DK Pattammal, MS Subbalakshmi and ML Vasanthakumari are seen as avatars, as triumvirate of goddesses Durga, Lakshmi and Saraswati. This ‘Era of the Divine’ helped at least to break the male dominance in the South Indian classical music.

Part 1 of “Women in Indian classical music” can be re-listened in our media archive in fully length simultaneously with re-reading of the moderation script (1:1 reprint).

dates of broadcasting…

17th September 2012 – 05:00-05:58 pm EST (11:00-11:58 pm CET) @ TIDE Radio (DE)
(premiere (2 hours long version): 16th Sept 2012 – 09:00-11:00 am EST @ radio multicult.fm)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

In the second part of our series “Women in Indian Classical Music” the promotion initiative IMC – India meets Classic presents female musicians of wind & string instruments. E.g. the Shehnai, Saxophone, Indian flute (Bansuri) and Indian lutes (called Veena-s) and Sarod, Surbahar (bass sitar) and Vichitra Veena.

f.l.t.r.:  Bageshwari Qamar – Shehnai, Sikkil Mala Chandrasekhar – Bansuri,
MS Subbalaxmi & MS Lavanya – Saxophon Sisters (Photo credit: intoday.in, esishya.com, carnatica.net)

f.l.t.r.: Annapurna Devi – Surbahar, Sharan Rani Backliwal (1929-2008) – Sarod, Dr. Radhika Umdekar Budhkar – Vichitra Veena
(Photo credit: Private collection of Mohan D. Nadkarni/Kamat’s Potpourri, TheHindu.com, indiatimes.com)

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