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Archive for October, 2013

Hamburg: DIWALI Programm 2013 (09.11.)

Posted by ElJay Arem (IMC OnAir) on October 31, 2013

! Terminvorankündigung für das Hamburger Diwali-Fest 2013: 09.11.2013 – 19:00 Uhr !

Das Diwali-Fest ist eine gemeinsame Veranstaltung von Indian Festival Committee Hamburg e.V. und Hanseatic India Forum e.V. (@Facebook) in Kooperation mit dem Museum für Völkerkunde Hamburg.

(Infos siehe PDF-Flyer)

Diwali – Das Indische Lichterfest | Feierlichkeit & Tanzabend

Diwali-India-1-200-smallDiwali, das Lichterfest, ist eines der bedeutendsten Feste der Hindus. Auf dem indischen Subkontinent wird das Fest sehr unterschiedlich, oft über mehrere Tage hinweg, gefeiert. Diwali verheißt den Sieg des Lichts über Dunkelheit und verweist auf das Erkennen eigener innerer Stärken.

Wir begehen Diwali in diesem Jahr mit einem Ritual, klassischem indischen Tanz von Deodatt Persaud (Kathak) und Yamina Padmanabhan (Bharatanatyam) sowie einer modernen Bollywood-Performance von Pari Productions (Tatjana Wegner).

In der Pause können Sie sich mit indischen Snacks stärken!

Kosten: € 22 | € 18 erm. (Speisen ohne Getränke inkl.)
Kinder von 6-12 Jahren | € 10
VVK ab dem 1. November im Museum für Völkerkunde Hamburg
Keine Vorreservierung möglich!

IFC-Hamburg-EV-LogoHIF-Logo museum-fuer-voelkerkunde-hh

Indian Festival Committee Hamburg eV
Altwiedenthaler Hoehe 31B
21149 Hamburg
+49-40-861183
Email: ifchamburgev@gmail.com

Download the Flyer as PDF…

+++

Posted in Live around the globe, Religion (news) | Tagged: , , | Leave a Comment »

IMC OnAir presents StudioTalk No. 5: Trilok Gurtu – The Purity of the Music.

Posted by ElJay Arem (IMC OnAir) on October 31, 2013

The promotion initiative IMC – India meets Classic broadcasts since 26th March 2006 a monthly radio show for Indian (music) culture.

For 31st October 2013 (on Halloween) is planned @ radio multicult.fm (and worldwide as webradio) the special format “StudioTalk” which offers opportunities to Indian music masters, music scientists and culture activists with uniquely topics.  StudioTalk No. 5 resents the headline “The Purity of the Music“ (sub title: The truth about spirituality in Indian classical music).

The “world class” percussionist Trilok Gurtu from Mumbai was special guest in our Hamburg studio (see photo docu).

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The founder of IMC – India meets Classic, ElJay Arem welcomed this exceptional musician few days after his concert during the India Week Hamburg.

dates of broadcasting…

 31st October 2013 – 04:00 pm EST (09:00 p.m. CET) @ radio multicult.fm (DE, Berlin)
(premiere: 5th May 2009 – 10:00 pm CET @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Trilok Gurtu gives us a view onto a professional understanding to the musical education with the scope of the basis of Indian Rhythmics, the sound formation of his hybrid instruments and, the people-connecting dialogue between Africa, India and the music to the western world (jazz, fusion, classical period) reflected in his compositions.

Short biography…

Trilok Gurtu

Trilok Gurtu @ IMC OnAir (photo: Richard Stöhr / 2008)

Trilok Gurtu was born on 30 October 1951 in Mumbai, the former Bombay. Here he visited the catholic school, the Don Bosco High School. Trilok Gurtu comes out of a musician’s family. His father was Sitar player, his mother Shoba Gurtu teached Trilok the basics in the Tabla play.

The Indian Tabla maestro is as percussionist his carreer began in the 70th in very different music styles on the way… One of the earliest recordings was Trilok’s Apo-Calypso, in the year 1977 with the German Ethnic fusion band Embryo. In the year 1987 Trilok published his first solo CD Usfret. Trilok’s mother, Shoba Gurtu contributed the singing.

Shoba Gurtu (1925-2004) is till today well-known in India as Thumri Queen, an outstanding vocalist of the Indian Light classical style and representative of the Kirana Gharana, one of India’s schools of music in the tradition of the Jaipur Atrauli Gharana and of the vocalist and Tabla player Ustad Abdul Karim Khan (1872-1937).

In the 80’s Trilok Gurtu was on world tour with the English jazz rock guitarist John McLaughlin. Trilok played with outstanding musicians in Jazz like the saxophon players Jan Garbarek and Charlie Mariano, the Afro American Trumpet player Don Cherry or the sound virtuoso on the keyboards Joe Zawinul (Weather Report).

The bassists Bill Laswell and Tabla maestro Zakir Hussain formed in the year 1999 Tabla Beat Science, a symbiosis from North Indian Classics, Asian Underground, Drum & Bass and electronic music. Trilok Gurtu played beside Karsh Kale and Talvin Singh for the recordings of three albums till 2003.

Trilok Gurtu & Band – India Week Hamburg (@ Hamburg museum of Ethnology (Völkerkundemuseum))

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Posted in ENG (English), IMC OnAir - News, StudioTalks | Leave a Comment »

IMC OnAir präsentiert StudioTalk Nr. 5: Trilok Gurtu – Die Reinheit der Musik.

Posted by ElJay Arem (IMC OnAir) on October 31, 2013

 Die Förderinitiative IMC – India meets Classic sendet seit 26. März 2006 sein monatliches Radioprogramm zur indischen Musikkultur. Mit dem special “StudioTalk” bietet IMC – India meets Classic indischen Musikmeistern, Musikwissenschaftlern und Kulturschaffenden die Gelegenheit, sich dem Hörer zu einem ausgewählten Thema zu präsentieren.

Der StudioTalk Nr. 5 steht unter der Überschrift “Die Reinheit der Musik (Untertitle: Die Wahrheit zur Spiritualität in der indisch klassischen Musik).

Der “world class” Perkussionist Trilok Gurtu aus Mumbai war zu Gast im Hamburger Studio bei IMC – India meets Classic.

Sendetermine…

31. Oktober 2013 – 21:00 Uhr MESTZ (04:00 pm EST) @ radio multicult.fm (DE, Berlin)
(Premiere: 05. Mai 2009 – 22:00 Uhr @ Tide Radio)
InternetStream (Web & Mobile Radio) | PodCasting | broadcasting plan

Der Gründer von IMC – India meets Classic, Lothar J.R. Maier konnte diesen Ausnahmemusiker wenige Tage nach seinem Konzert im Rahmen der India Week Hamburg im Hamburger Studio begrüssen (s. Bildstrecke).

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Trilok Gurtu
gibt uns in dem StudioTalk Einblicke in die Grundlagen der indischen Rhythmik und vermittelt uns sein Verständnis zur musikalischen Erziehung, zur Klangbildung seiner Hybrid-Instrumente und den in seinen Kompositionen wiederspiegelnden, völkerverbindenden Dialog zwischen Afrika, Indien und der Musik der westlichen Welt (Jazz, Fusion, Klassik).

Kurzbiographie…

Trilok Gurtu

Trilok Gurtu @ IMC OnAir (photo: Richard Stöhr / 2008)

Trilok Gurtu wurde am 30. Oktober 1951 in Mumbai, dem ehemaligen Bombay geboren. Hier besuchte er die katholische Schule, die Don Bosco High School. Trilok entstammt einer Musikerfamilie. Sein Vater war Sitarspieler, von seiner Mutter Shoba Gurtu erhielt Trilok die Grundlagen im Tablaspiel vermittelt.

Der indische Tablamaestro ist als Perkussionist seit den 70er Jahren in den unterschiedlichsten Musikstilen unterwegs… Zu den frühesten Aufnahmen Trilok’s zählt Apo-Calypso, im Jahre 1977 mit der deutschen Ethnic-Fusion-Band Embryo. Im Jahre 1987 veröffentlichte Trilok seine erste Solo-CD Usfret. Den Gesang steuerte Trilok’s Mutter, Shoba Gurtu bei.
Shoba Gurtu (1925-2004) ist in Indien bis heute als Thumri-Queen bekannt. Die herausragende Sängerin der leichten indischen Klassik stand in der Tradition der Jaipur-Atrauli Gharana und des Gesangsvirtuosen und Tablaspielers Ustad Abdul Karim Khan (1872-1937), Vertreter der Kirana Gharana, eine der indischen Musikschulen.

In den 80er Jahren war Trilok Gurtu mit dem englischen JazzRock-Gitarristen John McLaughlin auf Welttournee. Er spielte mit herausragenden Musikern des Jazz, wie den Saxophonisten Jan Garbarek oder Charlie Mariano, dem Afro-Amerikanischen Trompeter Don Cherry oder dem Klangvirtuosen auf den Keyboards, Joe Zawinul (Weather Report).
Um den Bassisten Bill Laswell und Tablavirtuosen Zakir Hussain formierte sich im Jahre 1999 Tabla Beat Science, eine Symbiose aus nordindischer Klassik, Asian Underground, Drum & Bass und elektronischer Musik. Trilok Gurtu spielte hier neben Karsh Kale und Talvin Sing mit Veröffentlichungen von drei Alben bis ins Jahr 2003.

Trilok Gurtu & Band @ India Week Hamburg (Völkerkundemuseum)

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Posted in IMC OnAir - News, StudioTalks | Leave a Comment »

Happy Birthday ! – 1923-2013 (29th Oct): 90 YEARS BROADCASTING in Germany.

Posted by ElJay Arem (IMC OnAir) on October 29, 2013

90 Years of Radio Broadcasting in Germany…

(Source of pics: DRA.deBVA.Bund.de and oldradioworld.de)

Posted in Medias | Leave a Comment »

CH – Raga CDs of the Months (10/2013): 726 Years of Celestial Music.

Posted by ElJay Arem (IMC OnAir) on October 28, 2013

For all music lovers of Indian Classics around the globe 2011 was a tough year with  heavily mourning for the greatest music maestros. We have lost them as beloved composers or film makers, as vocalists (Rabindra Sangeet, Khayal, Dhrupad and Ghazal),   instrumentalists (on Sarangi, Flute and Sitar) or as percussionists (e.g. Tabla).

dates of broadcasting …

28th Oct 2013 – 05:00-06:00 pm EST (10:00 pm CET) @ Radio RaSA (Switzerland)
(premiere: 18th Dec 2011 (03:00-05:00 pm CET) @ radio multicult.fm (Berlin))
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

The radio show today is setup under the topic “726 years of celestial music – Review of 2011” presenting all nine (9) artists with some fine tunes. – Come in and Enjoy listening to good music !

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

CH – Raga CDs des Monats (10/2013): 726 Jahre himmlische Musik.

Posted by ElJay Arem (IMC OnAir) on October 28, 2013

Hinweis: Die Förderinitiative IMC – India meets Classic heisst alle Musikfreunde aus dem deutsch-sprachigen Raum, aus Indien und aller Welt herzlich willkommen. Von 21:00-22:00 Uhr gibt’s heute IMC – India meets Classic auf Radio RaSA (und als Internetradio weltweit).

Sendetermine…

28. Oktober 2013 – 22:00-23:00 CET (05:00-06:00 pm EST) @ Radio RaSA (Schweiz)
(Erstausstrahlung: 18. Dez. 2011 @ radio multicult.fm (Berlin))
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

In 2011 hat die weltweite Gemeinschaft von Musikliebhabern der indischen Klassik eine Anzahl von Verlusten verschmerzen müssen. Herausragende Meister im indischen Gesang (Rabindra Sangeet, Ghazal, Khayal, Dhrupad), Instrumentalspiel (Sarangi, Sitar, Bansuri/Flute) und auf der Tabla haben uns verlassen.

So steht die heutige Sendung unter der Überschrift “726 Jahre himmlische Musik (ein Rückblick auf das Jahr 2011)” und präsentiert alle neun Künstler  mit ausgewählten Musiken. – Enjoy listening to good music !

Posted in DE (German), IMC OnAir - News | Leave a Comment »

FB Group “Indian Classical” today hits the mark of >5,000 members… Thank you !

Posted by ElJay Arem (IMC OnAir) on October 28, 2013

The FB group, dedicated to Indian Classics today hit the mark of 5,000 members…
Many Thanks.

All music lovers for Hindustani and/or Carnatic…. come in, enjoy and share your passion for Indian Classical music ! – http://tinyurl.com/indianclassical-fb

FB-Group-Indian-classical-28102013-1(Background picture: Kumbh Mela 2013 / Source)

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A – Raga CDs of the Months (10/2013): The Divine Instrument – Bamboo of 14″

Posted by ElJay Arem (IMC OnAir) on October 27, 2013

The Indian flute is one of the oldest instruments in India. Poems in Sanskrit and Hindi praise the sound of the bansuri. One of the poems reads: “When Lord Krishna is playing the flute, even the little calves were so charmed by the divine melody that they stopped to drink water from the river Yamuna and to suckle milk from the udder of the mother cows. Even the flow of Yamuna dried up as it was so enchanted by the flute music.

With the Indian flute and it’s emotional expression you always combine the love of God, a love without the intention for personal happiness. It is Shringara-bhava, it is symbolized between Krishna and Radha, one of the Gopis, the cow herd girls. The In Hinduism the Gopis belong to the most intimate circle of lovers of God. Krishna is the incarnation of Vishnu, in representations always easy to recognize in lilac as full body colour.

dates of broadcasting…

27th October 2013 – 05:00 pm EST (11:00 pm CET) @ Radio FRO (A)
14th October 2013 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (
CH)
(Premiere: 21st Nov 2011 – 11:00 pm CET @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

It is not reported exactly when and how the Indian bamboo flute came into existence. Kalidasa, a poet in the Sanskrit language, has created a legend about the origin of the bamboo flute, about 650 years (A.D.) in his epic work Kumarasambhava: “A black bee is said to have stung the sting by a shrouded bamboo blade. When the wind blew through the hole and music sounded, the kinara, music-loving demigods were so impressed that they cut this piece of bamboo. They made an instrument of it, the Indian bamboo flute was born.”

In the ancient musicological script Naradiya Shiksha (600 A.D.) the bamboo flute is described as a kind of tuning fork, for the recitation of verses  n from the Samaveda, which is one of the Vedic scriptures. In the medieval treatise Sangeet Ratnakara (1247 AD) the Indian flute is described in 15 different designs.

For the Indian flute there exist a variety of denominations. The different namings are lead back to the frequent description in poetry, where Krishna playing his flute is described. The word bansuri originates from Sanskrit. Bans means bamboo and Swar is a musical note. The bamboo flute is also called Bansi, Venu, Murali, Algooz or Vamshi. The bansuri is applied in its design as a transverse flute and is originally from the Indian folk music. Only in the 20th Century the Bansuri has been introduced in Indian classical music. The bansuri is now an established representative of the North Indian classical music. Also in the South Indian classics the bamboo flute has taken hold. Here it is called Venu. Compared with the bansuri the Venu has two holes more. The bansuri is equipped with six regular holes (+ blow hole), that Venu has eight.

Posted in ENG (English), IMC OnAir - News, Uncategorized | Leave a Comment »

A – Raga CDs des Monats (10/2013): Ein göttliches Instrument – Bambus von 14 Zoll Länge…

Posted by ElJay Arem (IMC OnAir) on October 27, 2013

Die indische Flöte ist eines der ältesten Instrumente Indiens. Gedichte in Sanskrit und Hindi lobpreisen den Klang der Bansuri. Eines dieser Gedichte besagt: Als Lord Krishna auf der Flöte spielte, waren sogar die kleinen Kälber durch die göttliche Melodie so entzückt, dass sie aufhörten, Wasser aus dem Fluss Yamuna zu trinken und Milch aus dem Euter der Mutterkühe zu saugen. Selbst der Strom von Yamuna versiegte, so verzaubert war er von der Flötenmusik.

Mit der indischen Flöte und ihrem emotionalen Ausdruck verbindet man auch immer die Gottesliebe, eine Liebe ohne die Absicht für das persönliche Glück. Es ist Shringara-Bhava, sie wird symbolisiert zwischen Krishna und Radha, einer der Gopis, der Kuhirtenmädchen. Die Gopis gehören im Hinduismus zu dem intimsten Kreis der Gottesliebenden. Krishna ist die Verkörperung von Vishnu, in Darstellungen immer in Lila als Ganzkörperfarbe auch für Laien leicht zu erkennen.

Sendetermine…

27. Oktober 2013 – 23:00 Uhr METZ @ Radio FRO (A)
14. Oktober 2013 – 22:00 Uhr METZ @ Radio FRO (
CH)
(Premiere: 21.11.2011 – 23:00 Uhr MET @ Tide 96.0)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Es ist nicht genau überliefert, wann und wie die indische Bambusflöte entstanden ist. Kalidasa, ein Dichter in der Sanskrit-Sprache, hat eine Legende über die Entstehung der Bambusflöte geschaffen, ca. 650 Jahre nach Christi Geburt in seinem epischen Werk Kumarasambhava: “Eine Schwarze Biene soll ihren Stachel durch einen ranken Bambushalm gestochen haben. Als der Wind durch das Loch blies und Musik erklang, waren die kinara, musik-liebende Halbgötter davon so angetan, dass sie dieses Bambusstück abschnitten. Daraus fertigten Sie ein Instrument, die indische Bambusflöte.”
Im antiken, musikwissenschaftlichen Text Naradiya Shiksha aus 600 n.Chr. wird die Bambusflöte als eine Art Stimmgabel beschrieben, für das Rezitieren von Versen aus der Samaveda, eine der vedischen Schriften. In der mittelalterlichen Abhandlung Sangeet Ratnakara aus dem Jahre 1247 n.Chr. wird die indische Flöte in 15 verschiedenen Ausführungen beschrieben.

Für die indische Flöte gibt es eine Vielzahl von Bezeichnungen. Das führt man auf die häufige Beschreibung in Gedichten zurück, in denen Krishna und sein Flötenspiel beschrieben wird. Das Wort Bansuri stammt aus dem Sanskrit. Bans heisst Bambus und Swar ist eine musikalische Note. Die Bambusflöte wird auch Bansi, Venu, Murali, Algooz oder Vamshi genannt. Die Bansuri ist in ihrer Bauart als Querflöte angelegt, und kommt ursprünglich aus der indischen Volksmusik. Erst im 20. Jahrhundert hat sich die Bansuri in der indischen Klassik etabliert. Die Bansuri ist heute eine etablierte Vertreterin der nordindischen Klassik.  Auch in der südindischen Klassik hat die Bambusflöte Einzug gehalten. Hier bezeichnet man sie als Venu. Gegenüber der Bansuri besitzt die Venu zwei Grifflöcher mehr. Die Bansuri ist regulär mit sechs Grifflöchern ausgestattet, die Venu besitzt acht.

Posted in DE (German), IMC OnAir - News | Leave a Comment »

27th October 2013: World Day for Audiovisual Heritage (United Nations/Unesco)

Posted by ElJay Arem (IMC OnAir) on October 27, 2013

“World Day for Audiovisual Heritage is an opportunity to reflect and act,
in order to bequeath to future generations the means to understand their origins.”

Irina Bokova
Director-General of UNESCO

header-UN

World Day for Audiovisual Heritage

© Max Stahl / CAMSTL (Centro Audiovisual Max Stahl Timor Leste) Demonstrators run from bullets

© Max Stahl / CAMSTL (Centro Audiovisual Max Stahl Timor Leste) Demonstrators run from bullets

Audiovisual documents, such as films, radio and television programmes, audio and video recordings, contain the primary records of the 20th and 21st centuries.

Transcending language and cultural boundaries, appealing immediately to the eye and the ear, to the literate and illiterate, audiovisual documents have transformed society by becoming a permanent complement to the traditional written record.

However, they are extremely vulnerable and it is estimated that we have no more than 10 to 15 years to transfer audiovisual records to digital to prevent their loss. Much of the world’s audiovisual heritage has already been irrevocably lost through neglect, destruction, decay and the lack of resources, skills, and structures, thus impoverishing the memory of mankind. Much more will be lost if stronger and concerted international action is not taken.

It was in this context, that the General Conference in 2005 approved the commemoration of a World Day for Audiovisual Heritage as a mechanism to raise general awareness of the need for urgent measures to be taken and to acknowledge the importance of audiovisual documents as an integral part of national identity.

2013 Theme:
“Saving Our Heritage for the Next Generation”

Stacks of film reels in the Department of Public Information (DPI) audiovisual archives at UN Headquarters. The Department’s Audiovisual Services Section organized first-ever tours of the archives to commemorate the World Day for Audiovisual Heritage.

Stacks of film reels in the Department of Public Information (DPI) audiovisual archives at UN Headquarters. The Department’s Audiovisual Services Section organized first-ever tours of the archives to commemorate the World Day for Audiovisual Heritage. (Source: United Nations/Unesco)

Audiovisual documents, such as films, radio and television programmes, are our common heritage and contain the primary records of the 20th and 21st centuries. They help to maintain the cultural identity of a people; but countless documentary treasures have disappeared since the invention of image and sound technologies that permit the peoples of the world to better share their experiences, creativity and knowledge.

All of the world’s audiovisual heritage is endangered. Nowhere can it be said to be preserved, but through initiatives such as theWorld Day for Audiovisual Heritage and the Memory of the World Programme, the precious work of preservation professionals is given impetus to manage a range of technical, political, social, financial and other factors that threaten the safeguarding of our heritage.

It was in this context, that the General Conference in 2005 approved the commemoration of a World Day for Audiovisual Heritage as a mechanism to raise general awareness of the need for urgent measures to be taken and to acknowledge the importance of audiovisual documents as an integral part of national identity.

World Day of Audiovisual Heritage: DPI endeavours to preserve a legacy at risk

The UN’s audiovisual archive dates back as early as the 1920s and constitutes the memory of the Organization, from the League of Nations to the construction of UN Headquarters in New York, as well as the footage and programmes, which continue to be produced daily. Archiving such a rich and complex collection is a major challenge.

Slogan for 2013: Saving Our Heritage for the Next Generation

Slogan for 2013: Saving Our Heritage for the Next Generation

The Department of Public Information’s (DPI) continuing efforts to preserve the unique audiovisual heritage of the United Nations – and, as importantly, to keep this heritage accessible to the world – are critical in making sure the Organization’s story may be told in images and sounds to future generations.

In the labyrinth of the Secretariat’s basements, a huge task is being performed by a small team of archivists: to inventory and classify all UN audio, film and video materials before the Capital Master Plan reaches the lower levels of the building. “The history is here and needs to be preserved and be accessible,” said Antonio Carlos Silva from the Multimedia Ressources Unit.  Part of the work is also to select the most valuable materials to be treated with priority, taking into account the physical conditions of the items and their value to the Organization, and to recommend methods and standards of preservation and digitization of the most at-risk audiovisual materials.

Vinegar syndrome, the acidification of the plastic base of film, is one of the major concerns.  With an estimated 7% of the film collection already suffering from acidification, finding digitization and storage solutions has become especially urgent.

To address the challenges of preserving these archives, DPI, along with other departments and stakeholders, is developing a sound digitization programme. In the meantime, partnerships have been forged with the national archives from various member states such as Brazil, France, Greece, and the Republic of Korea, who selected parts of the collection and will digitize them themselves. These institutions will also provide the UN with a high-resolution preservation copy of the selected material, and therefore, of UN historical moments affecting our humanity.

CONTACT: JOIE SPRINGER
Programme Specialist
Communication and Information Sector (CI)
Mail: j.springer(at)unesco.org
Tel: 33-1 45 68 44 97
Fax: 33-1 45 68 55 83

UNESCO Activities…

28 October 2013
Ulaanbaatar, Mongolia

27 October – 1 November 2013
Lalitpur, Nepal

Message from the Director-General of UNESCO
27 October 2013

Irina Bokova (2009 / Source: Wikipedia.org)

Irina Bokova (2009 / Source: Wikipedia.org)

We are witnessing a historic turning point in the impact of technology: the easier it is to capture images and sounds, edit them and disseminate them worldwide, the harder it is to safeguard these immense data streams.

The growing influence of digital technology in the audiovisual sector is revolutionizing traditional concepts of information sharing, intercultural dialogue and mutual understanding. It is also redefining our relationship with documents and changing the very nature of preservation work. Digital audiovisual production, in the form of recording or digitization, is often presented as a miracle solution to the safeguarding of certain forms of heritage, but we must ensure that future generations are able to access the recordings that we make. Some of the current commonly used software did not exist 10 or 20 years ago – what will become of it on the scale of history?

In this context, institutions responsible for the safeguarding of our audiovisual heritage – public and private film libraries and archives, national and international institutions – have a dual mission: to pursue the safeguarding of audiovisual heritage, along with the devices that can read them, and to think carefully about the future of digital audiovisual heritage.

Each recording device has something to say about the era and the society in which it was created – slide projectors, cameras, vinyl records and videotapes all tell stories about the lifestyles of their time. Digital technology is no exception. It portrays societies with a compulsive thirst for images and sound, where each public or private event of history can be documented in a thousand ways, but with what is sometimes a short memory span. Public authorities play an essential role in
supporting the development of technologies and their social and cultural impact.

World Day for Audiovisual Heritage is an opportunity to reflect and act, in order to bequeath to future generations the means to understand their origins, in the way that we can currently watch a restored version of a Charlie Chaplin film or listen to the recording of workers leaving the factory in the early twentieth century.

UNESCO’s Memory of the World Programme carries forth this ambition on behalf of the international community and on this Day, I call on all Member States, as well as all of us, as producers and consumers of images and sounds, and the institutions that are responsible for safeguarding them, to join forces to protect and share our common audiovisual wealth.

Irina Bokova

(Source: 10/2013 – UN and Unesco)

More Archive material from the
iasa (International Association for Sound and Audiovisual Archives)

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WDFAH 2012…

Canadian Commission for UNESCO, Marcel Caya (Chair of the Canadian ad hoc Committee for Memory of the World) talks about audiovisual heritage and the urgency of preservation.

WDFAH 2011… Highlights of UN Audiovisual Formats

WDFAH 2010…

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