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Archive for June 14th, 2014

Sarode maestro Pt. Kamal Mallick is no more…

Posted by ElJay Arem (IMC OnAir) on June 14, 2014

06142014/HH – Already on 17th April 2014 the worrying news reached us, that sarode maestro Pandit Kamal Mallick (Kolkata) has been hospitalized. He has got admission in Calcautta Heart clinic and research Centre. It has been detected that Pt. Kamal Mallick has been affected with cancer in Pancreas. It was supposed that an immediate operation should follow within 2-3 days. Kamal has already been acute financial hardshipped due to his son Chandan Mallick’s treatment who has been successful kidney transplanted few months ago.

Last night (on 13th June) Kamal Mallick passed away at his Howrah residence. Our thoughts are with his son Chandan (himself a sarode player) and our condolences go to  his family and close friends. – R.I.P.

small_Kamal_MallickSarode maestro Pandit Kamal Mallick of the Maihar gharana was initiated by the late Sangeetacharya Shyam Gangopadhyay. His training was later supplemented by the masterly touch of the doyen of the gharana, Ustad Ali Akbar Khan. His gayaki talim was to a great extent, reinforced by renowned khayal singer Pandit Narayan Rao Joshi of the Kirana Gharana.

A senior performer of All India Radio and Doordarshan, he has been a regular concert performer for many decades, performing at such prestigious venues as Hafiz Aki Khan Society`s Festival of Sarode in Delhi, Ravi Shankar Institute of Music and Performing Arts of Varanasi, Jadubhatta Sangeet Sammelan, Sadarang Sangeet Sammelan, Tansen Sangeet Sammelan, Dover Lane Music Conference and many others in Kolkata and other parts of India. He has also extensively toured Africa and Europe, with several CDs having been released by `Sanskritik` (London).

He has worked with the renowned filmmaker Satyajit Ray, to evolve the background music of films like Shatranj ke Khilari, Joy Baba Felunath and Hirak Rajar Deshe. Purnendu Patri and Goutam Ghose have also used his music in their films Chhera Tamsuk and Antarjali Yatra respectively.

Simple and unassuming, Pandit Kamal Mallick has been a passionate sarode performer, relentlessly working towards the enrichment of this instrument. His tuneful strokes, layakari, complete dedication and sheer devotion to music have all combined together to give his music a rare dimension that captives the hearts of his audience. As a teacher he was proud to have guided many celebrity performers all over the country and abroad (source: ITCSRA – Artist of the Month).

Kamal Mallick at Dover Lane Music Conference…

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DE – Raga CDs of the Months (06/14): “NATYA – the relevance of Ragas for Indian Dance & Theatre” (part 1 & 2)

Posted by ElJay Arem (IMC OnAir) on June 14, 2014

In performing arts of India the term “Natya” means a combination of movements, mimics (mostly facial expressions), costumes, human psychology and “great stories“. The Indian dance is in it’s traditional form till today “stories telling”.
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The Indian theatre was subordinated to a paradigm shift same as the raga-s under Muslim rulership and Persian influences: it progressed from temple rites to courtly entertainment for art lovers.
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Originally the storytellers, the Kathaks – according to the name for their dance form, the Kathak – tramped in Northern India as nomadic bards from village to village. In the temple plants the Kathaks played myths and instructive stories from old writings. The costumes and topic tables of these subjects in India’s traditional dancing forms often appear as motives in the miniature paintings, the so called Ragamala-s of the Mughal period (pictures see “instruments” & “scenes of art“).
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Indian dance dramas – Bharata Naatya Sampradaya
Bharata Naatya Sampradaya… RAM (2004, The Hindu) Dance Drama Goddess Durga (The Hindu, 2004) Mythological Themes - Krishna (The Hindu, 2004)
from left to right: RAM | dance drama Goddess Durga | mythologic themes “Krishna”
source: The Hindu, 2004
The classical role of dance in India had developed very early. Dances were the component of religious rites. The dancers admired the Gods by “telling” stories from their life and their heroic deeds.
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In Western world today “Bharata Natyam” is well-known, as one of the four main forms of Indian dances, energetically and with extremely precise, balanced motion-sequences.
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dates of broadcasting…

 
part 1: 15th June 2014 – 09:02-10:00 am EST (15:02-16:00 pm CET) @ radio multiciult.fm (DE)
 part 2: 15th June 2014 – 10:02-11:00 am EST (16:02-17:00 pm CET) @ radio multiciult.fm (DE)
(premiere: 1st April & 6th May 2008 – 09:00 pm CET @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

However Bharata Natyam does not mean “Indian dance”, a widespread misbelieve. This term (after Purandara Dasa (14884-1564)) embodies the three living forms of Indian dance:

  • Bha or Bhava, the expression,
  • Ra for Raga or melody and
  • Ta for Tala, the rhythm (rhythmic circles).
India’s outstanding BharataNatyam dancers…

Priyadarshini Govind (Hinduonnet, 2004) Maitreyi Sarma and Ananda Shankar - MUM’S The Word (Hinduonnet, 2005) Geeta Chandran (Hinduonnet, 2005) Dr. Srekala Bharath (Hinduonnet, 2008)

from left to right: Priyadarhini Govind | MaitreyiSarma & Dr. Ananda Shankar Jayant | Geeta Chandran | Dr. Srekala Bharath
source: Hinduonnet, 2004 (Avinash Pasricha), 2005 (K. Gajendran, R. Shivaji Rao), 2008 (V. Ganesan)
The term Raag (= “tonal colouring”) for the first time appears in the Natya Shastra (4th century BC – 2nd century AC), a handbook for dramaturgy written by the mythic Brahman Bharata Muni, a priest and sage. The seven (7) main notes (sapta svaras), those one also today are used for the Raga interpretation are connected with different mind affections (emotions = Rasa-s). In the Natya Sastra also music instruments and their handling are described. It proves four categories: lutes (tata), flutes (Sushira), cymbals (Ghana) and drums (avanadha)..
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DE – Raga CDs des Monats (06/14): NATYA… die Bedeutung der Ragas im indischen Tanz & Theater (Teil 1 u. 2)

Posted by ElJay Arem (IMC OnAir) on June 14, 2014

In den darstellenden Künsten Indiens ist Natya eine Kombination aus Bewegungen, Mimik, Kostümen, menschlicher Psychologie und grossartigen Geschichten. Der indische Tanz ist in seiner traditionellen Form bis heute “Geschichtenerzählen”.
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Das indische Theater war wie die Ragas unter der muslimischen Herrschaft und dem persischen Einfluss einem Paradigmenwechsel unterworfen. Aus Tempelriten wurde höfische Unterhaltung für Kunstliebhaber.
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Ursprünglich zogen die Geschichtenerzähler, die Kathaks – entsprechend die Bezeichnung für ihre Tanzform, dem Kathak – als nomadisierende Barden von Dorf zu Dorf durch das nördliche Indien. Die Kathaks spielten in den Tempelanlagen Mythen und lehrreiche Geschichten aus den alten Schriften. Die Kostüme und thematischen Gegenstände dieser Tanzform findet sich oft in denen der Miniaturmalereien, den Ragamala-s der Mughalperiode (Bilder s. “Instrumente” & “Darstellung von Kunstszenen“) wieder.
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Indische Tanzdramen – Bharata Naatya Sampradaya
Bharata Naatya Sampradaya… RAM (2004, The Hindu) Dance Drama Goddess Durga (The Hindu, 2004) Mythological Themes - Krishna (The Hindu, 2004)
v.l.n.r.: RAM | Tanzdrama Gottheit Durga | Mythologische Themen “Krishna” (Quelle: The Hindu, 2004)
Die Rolle des klassisch Tanzes in Indien hatte sich bereits sehr früh entwickelt. Tänze waren Bestandteil religiöser Riten. Die Tänzer verehrten die Götter, in denen sie Geschichten aus ihrem Leben und ihren Taten erzählten.Im Westen ist heute meist Bharata Natyam bekannt, als einer der vier Hauptformen aller indischen Tänze, energetisch und mit äusserst präzisen, ausbalancierten Bewegungsabläufen.
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Sendetermine…

Teil 1: 15.06.2014 15:02-16:00 Uhr(METZ) @ radio multicult.fm (DE)
Teil 2: 15.06.2014 16:02-17:00 Uhr METZ) @ radio multicult.fm (DE)
(Premiere: 01.04.2008 / 06.05.2008 – 21:00-21:58 Uhr (METZ) @ Tide 96.0 FM))
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast 

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Bharata Natyam selbst bedeutet aber nicht “indischer Tanz”, ein weitverbreiteter Irrglaube. Dieser Terminus (nach Purandara Dasa (14884-1564)) verkörpert die drei Lebensformen des indischen Tanzes:
  • Bha oder Bhava, der Ausdruck,
  • Ra für Raga oder Melodie und
  • Ta für Tala, der Rhythmik (rhythmische Zirkel).
Indien’s herausragende BharataNatyam-Tänzerinnen:

Priyadarshini Govind (Hinduonnet, 2004) Maitreyi Sarma and Ananda Shankar - MUM’S The Word (Hinduonnet, 2005) Geeta Chandran (Hinduonnet, 2005) Dr. Srekala Bharath (Hinduonnet, 2008)

v.l.n.r.: Priyadarhini Govind | MaitreyiSarma m. Dr. Ananda Shankar Jayant | Geeta Chandran | Dr. Srekala Bharath
Quelle: Hinduonnet, 2004 (Avinash Pasricha), 2005 (K. Gajendran, R. Shivaji Rao), 2008 (V. Ganesan)
Der Terminus Raag (“tonale Färbung”) findet sich erstmalig im Natya Shastra (4. Jhdt. v. Chr. – 2. Jhdt. n. Chr.) wieder, dem Handbuch für Dramaturgie von dem mythische Brahmanen Bharata Muni, einem Priester und Weisen. Die sieben (7) Hauptnoten (sapta svaras), die man auch heute verwendet, werden mit verschiedenen Gemütszuständen (9 Emotionen = Nava Rasa-s) verbunden. Im Natya Sastra werden auch Musikinstrumente und Ihre Art der spieltechnischen Handhabung beschrieben. Es weist vier Kategorien aus: Laute (tata), Flöte (Sushira), Cymbal (Ghana) und Trommel (Avanadha).
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Posted in DE (German), IMC OnAir - News | Leave a Comment »

 
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