Megh Malhar A Three Days Thematic Festival of Classical Music on monsoon Ragas
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Wednesday, June 15, 2011
Megh Malhar
Megh Malhar A Three Days Thematic Festival of Classical Music on monsoon Ragas
Wednesday, June 8, 2011
Spiritual Davos - Medley of Global Musical Traditions
Spirit of oneness and compassion a big draw among visitors; the Fes festival and its charm are added attractions
The 17th World Sacred Music Festival kicked off on Friday in this charming Moroccan city of majestic hills and ancient walls, with a dazzling opera based on that eternal love story, Layla and Majnun. Under the artistic direction of the Morocco-reared and Paris-based composer Armand Amar, at the historical Bab al Makina, the show was a veritable medley of global musical traditions that included vocalists and percussionists from Europe, Africa, South Asia, Iran and Mongolia. It featured percussion of Shanghai, drums of Japan, Armenian wind instrument duduk and Maghrib’s own stringed instrument oud. Besides local artistes, performers from several nations, including Afghanistan, Brazil, Ethiopia, France, India, Italy, Pakistan, Senegal, Spain and the United States, are taking part in the 10-day festival, which ends on June 12. For the first time, the Fes festival has a strong Indian presence with three groups taking stage on successive days starting Monday. However, the first of these, the cine concert “Prem Sanyas (the Light of Asia),” a 1925 silent masterpiece that is accompanied by live music, was rained out. Brothers Umakant Gundecha and Ramakant Gundecha are scheduled to perform “Sacred Art of Dhrupad.” Lastly, musicians from Manganiar and Langa traditions will present “Sufi chants of the Thar Desert” on Wednesday.
Giving star power to Fes this year are Senegal’s Youssou N’dour, one of the most popular musicians the African continent has produced, and two female singers who had the world at their feet while they were still in their teens, Brazilian Maria Bethania and Lebanese Julia Boutros. The ever youthful Bethania — a product of the swinging’60s — and Boutros, who is known for supporting Middle Eastern political causes, put on awe-inspiring performances on back-to-back nights.
“This year, we have tried to mix the traditional musicians with great and popular artists whose music have a spiritual [dimension], such as Bethania, Boutros and Youssou N’dour,” Faouzi Skali, the director general of the festival, said.
Explaining the festival’s theme, “Wisdoms of the World,” Skali said it expresses “something that needs articulation. It is not just spiritual wisdom, but wisdom related to what is happening in our world, what is the meaning of wisdom in economics.” This year the political turmoil in the region, which has so far consumed two regimes, and is threatening to topple more is among the topics discussed at the colloquium, titled “Giving Soul to Globalization,” which has become part of the festival since 2000.
Skali, the brain behind the festival, terms Fes as “Spiritual Davos,” referring to the Swiss city that hosts the World Economic Forum, an annual gathering of the world’s business and political elites. “In Davos, they are thinking that economics is the justification for everything. Our approach is more profound and is different from that of politicians and business people, he added.” It is that difference that has attracted visitors like Tony Singh, a banker and independent board member from India, for whom a tour to this imperial city has become an annual “pilgrimage.”
The Delhiite said he was pulled by the spirituality and the message of oneness that it spreads. “It is the spirit in which performances are held here, the spirit of oneness and compassion, of understanding, of peace, of inclusion of different religions, using music as a method of harmonizing.”
Of course, the welcoming nature of Fes and its charm are added attractions. “Fes is a city which is magical for many people for the energy it brings,” said Singh, who, along with his daughter Priyanka, is making his fourth trip in four years.
Part of the magic of the festival is the backdrop of its dozen odd venues, all of them steeped in history. Bab al Makina, venue for evening concerts, was built 125 years ago. Musee Batha, a palace-turned-museum where morning events and afternoon concerts are held, was also built around the same time. Then there is the granddaddy of all venues, Bab Boujloud, which hosts free concerts. Built in the 11th century, it is a gateway to the Fes medina, or a walled section of the city unique to this region.
Started in 1994, the Festival of World Sacred Music has become an important feature of the Moroccan summer, bringing thousands of visitors to the city every year. Organizers estimate that between 5,000 and 6,000 people attend the festival daily. On the opening night, among the several thousands who showed up to watch the tragic story of unrequited love of the “Madman” and Laila was Princess Lalla Salma, the commoner from Fes, who would go on to marry the King of Morocco.
The 17th World Sacred Music Festival kicked off on Friday in this charming Moroccan city of majestic hills and ancient walls, with a dazzling opera based on that eternal love story, Layla and Majnun. Under the artistic direction of the Morocco-reared and Paris-based composer Armand Amar, at the historical Bab al Makina, the show was a veritable medley of global musical traditions that included vocalists and percussionists from Europe, Africa, South Asia, Iran and Mongolia. It featured percussion of Shanghai, drums of Japan, Armenian wind instrument duduk and Maghrib’s own stringed instrument oud. Besides local artistes, performers from several nations, including Afghanistan, Brazil, Ethiopia, France, India, Italy, Pakistan, Senegal, Spain and the United States, are taking part in the 10-day festival, which ends on June 12. For the first time, the Fes festival has a strong Indian presence with three groups taking stage on successive days starting Monday. However, the first of these, the cine concert “Prem Sanyas (the Light of Asia),” a 1925 silent masterpiece that is accompanied by live music, was rained out. Brothers Umakant Gundecha and Ramakant Gundecha are scheduled to perform “Sacred Art of Dhrupad.” Lastly, musicians from Manganiar and Langa traditions will present “Sufi chants of the Thar Desert” on Wednesday.
Giving star power to Fes this year are Senegal’s Youssou N’dour, one of the most popular musicians the African continent has produced, and two female singers who had the world at their feet while they were still in their teens, Brazilian Maria Bethania and Lebanese Julia Boutros. The ever youthful Bethania — a product of the swinging’60s — and Boutros, who is known for supporting Middle Eastern political causes, put on awe-inspiring performances on back-to-back nights.
“This year, we have tried to mix the traditional musicians with great and popular artists whose music have a spiritual [dimension], such as Bethania, Boutros and Youssou N’dour,” Faouzi Skali, the director general of the festival, said.
Explaining the festival’s theme, “Wisdoms of the World,” Skali said it expresses “something that needs articulation. It is not just spiritual wisdom, but wisdom related to what is happening in our world, what is the meaning of wisdom in economics.” This year the political turmoil in the region, which has so far consumed two regimes, and is threatening to topple more is among the topics discussed at the colloquium, titled “Giving Soul to Globalization,” which has become part of the festival since 2000.
Skali, the brain behind the festival, terms Fes as “Spiritual Davos,” referring to the Swiss city that hosts the World Economic Forum, an annual gathering of the world’s business and political elites. “In Davos, they are thinking that economics is the justification for everything. Our approach is more profound and is different from that of politicians and business people, he added.” It is that difference that has attracted visitors like Tony Singh, a banker and independent board member from India, for whom a tour to this imperial city has become an annual “pilgrimage.”
The Delhiite said he was pulled by the spirituality and the message of oneness that it spreads. “It is the spirit in which performances are held here, the spirit of oneness and compassion, of understanding, of peace, of inclusion of different religions, using music as a method of harmonizing.”
Of course, the welcoming nature of Fes and its charm are added attractions. “Fes is a city which is magical for many people for the energy it brings,” said Singh, who, along with his daughter Priyanka, is making his fourth trip in four years.
Part of the magic of the festival is the backdrop of its dozen odd venues, all of them steeped in history. Bab al Makina, venue for evening concerts, was built 125 years ago. Musee Batha, a palace-turned-museum where morning events and afternoon concerts are held, was also built around the same time. Then there is the granddaddy of all venues, Bab Boujloud, which hosts free concerts. Built in the 11th century, it is a gateway to the Fes medina, or a walled section of the city unique to this region.
Started in 1994, the Festival of World Sacred Music has become an important feature of the Moroccan summer, bringing thousands of visitors to the city every year. Organizers estimate that between 5,000 and 6,000 people attend the festival daily. On the opening night, among the several thousands who showed up to watch the tragic story of unrequited love of the “Madman” and Laila was Princess Lalla Salma, the commoner from Fes, who would go on to marry the King of Morocco.
Tuesday, June 7, 2011
Night of song & dance with a Goan troupe
Mumbai: ‘‘Our Konkani is not brilliant but we’ve done it,” says Virginia Bras Gomes triumphantly. Gomes is part of Ekvat, a group of Goan musicians from Portugal which is in the city to perform. Their Konkani isn’t perfect as all of them are Portuguese speaking immigrants from India as well as countries in East Africa, which had large Goan populations.
The 22-year-old Ekvat, which is a wing of Casa de Goa— an organization of migrants from Goa and Daman and Diu— will perform traditional Goan songs such as mandos and dances like dekni. Gomes says that they have tried to be as authentic as possible. It’s not easy as only a small number of immigrants actually grew up in Goa. Gomes is one of them. Goans born before 1961, when the state became a part of India, and their children and grandchildren are entitled to Portuguese citizenship. Gomes left home for Portugal in 1970.
“My only possibility to see the world was to go where I had family,” says the 60-year old. While she spoke Portuguese at home, Gomes can speak Konkani as she grew up and studied in Goa. “We buy books. But basically, it’s the memories. We have shared memories of traditions and grandmothers with huge houses.”
The mando is a plaintive dance song that usually tells sad love stories. But there are also wedding mandos and political mandos that were sung when Goans resisted the Portuguese. Some like Maticha bangar are original compositions. The song, which means ‘gold of our soil’, is about memories of summer vacations.
The group also writes mandos for couples who meet through the group and get married. “This was the tradition in Goa long ago,” Gomes says. “We look for something specific in the couple to write about.”
Keeping Goan traditions alive is hard, Gomes admits, especially since the younger generations don’t speak Konkani, the language in which songs are sung. At the same time, she says, the younger ones are excited to renew their Indian ties as they are impressed by the country’s economic growth. “In these days of globalization, it’s important to have something of your own,” Gomes says.
The Ekvat group will perform traditional Goan songs such as mandos and dances like dekni
Ekvat will perform at Tata Theatre in NCPA on June 9 at 7 pm . For further in-f ormation you can call 22824567 . Entry is free.
The 22-year-old Ekvat, which is a wing of Casa de Goa— an organization of migrants from Goa and Daman and Diu— will perform traditional Goan songs such as mandos and dances like dekni. Gomes says that they have tried to be as authentic as possible. It’s not easy as only a small number of immigrants actually grew up in Goa. Gomes is one of them. Goans born before 1961, when the state became a part of India, and their children and grandchildren are entitled to Portuguese citizenship. Gomes left home for Portugal in 1970.
“My only possibility to see the world was to go where I had family,” says the 60-year old. While she spoke Portuguese at home, Gomes can speak Konkani as she grew up and studied in Goa. “We buy books. But basically, it’s the memories. We have shared memories of traditions and grandmothers with huge houses.”
The mando is a plaintive dance song that usually tells sad love stories. But there are also wedding mandos and political mandos that were sung when Goans resisted the Portuguese. Some like Maticha bangar are original compositions. The song, which means ‘gold of our soil’, is about memories of summer vacations.
The group also writes mandos for couples who meet through the group and get married. “This was the tradition in Goa long ago,” Gomes says. “We look for something specific in the couple to write about.”
Keeping Goan traditions alive is hard, Gomes admits, especially since the younger generations don’t speak Konkani, the language in which songs are sung. At the same time, she says, the younger ones are excited to renew their Indian ties as they are impressed by the country’s economic growth. “In these days of globalization, it’s important to have something of your own,” Gomes says.
The Ekvat group will perform traditional Goan songs such as mandos and dances like dekni
Ekvat will perform at Tata Theatre in NCPA on June 9 at 7 pm . For further in-f ormation you can call 22824567 . Entry is free.
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