News Circle, November 1965
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Kutumba US Tour
KUTUMBA Kutumba, more than just performers Kutumba is a folk instrumental ensemble committed to the research, that will divide us as a people. preservation and celebration of the diversity that exists in indigenous In this unique time period as Nepal is going through a Nepali music. Kutumba firmly believes that the richness in Nepali complete re-evaluation of identity on all fronts, we are also faced music is directly significant of the rich diversity that exists in the with forces of globalization. This affects our young generations Nepali people. more than any other category of the Nepali population. As they As we become more aware of the multiculturalism in Nepali find themselves negotiating an identity that struggles not only society, be it in Kathmandu or other parts of the country, with hormones but national politics as well as global cultures political, social and developmental attention is trained on packaged attractively by television and other media, Kutumba recognizing differences and ensuring rights for our diverse feels now is a good time to reach out to young Nepalis and groups of people. Kutumba sees the possibility of finding respect encourage them to find respect, dignity and entertainment by promoting our multiculturalism through the medium of our through the creative and stabilizing energy and beauty of our indigenous music art forms as apposed to seeing it as a threat unique music art forms. Kutumba performs at the Janaki Temple in Janakpur, October 2008. L to R: Arun, Pavit, Binay, Siddhartha, Rubin, Raju and Kiran. BIOGRAPHY Arun Manandhar on Tungna, Arbajo Pavit Maharjan on Percussion Arun is one of the few musicians who play the Tungna today. -
Programma FMM.Pdf
maggior sostenitore con il contributo di Organizzazione Associazione Echo Art Ideazione e direzione Davide Ferrari evento già patrocinato da Consulenza artistica Chiara Cipolli, Michele Ferrari Commissione Nazionale Italiana per l’UNESCO Segreteria di produzione Veronica Sodini Organizzazione delle Nazioni Unite per l’Educazione, Staf Guido Sarpero, Marika Pellegrini, la Scienza e la Cultura Zine El Larhfri, Milena Fois, Teresa Ferrari, sponsor istituzionali Bassirou Sarr Comune di Genova Responsabile tecnico Stefano Gualtieri Ufcio stampa, Social network Elisa Moreto/ Sublime Events&Communication Palazzo Tursi Media partner Mentelocale , Lineatrad TV partner Sicurezza Bassirou Sarr, Giuseppe Roccia attività collaterali Palazzo Bianco Grafca Roberto Rossini Palazzo Ducale Immagine Festival Milena Fois App itsasofware Castello D’Albertis con il sostegno e la collaborazione di Informazioni generali Museo Chiossone Sedi concerti in Genova: Parco dell’Acquasola Palazzo Tursi, Via Garibaldi 9 Palazzo Ducale, Piazza Mateoti 9 Museo Diocesiano Castello D$Albertis, Corso Dogali 18 Museo Chiossone, Piazzale G. Mazzini, 4 Museo Diocesano, Via T. Reggio, 20r Biglieteria In sede concerti, aperta a partire da 2 h. prima inizio concerto Posti non numerati Ingresso intero € 10 ridoto € 8 Abbonamento Festival € 60 Parate Centro Storico gratuite mediapartner Informazioni [email protected] www.echoart.org +39 010 2542604 / +39 3356184611 partner concerti partner internazionali L! incontro è la radice della storia del Festival Musicale del Mediter- Sabato -
BHAKTAPUR the HISTORICAL CITY – a World Heritage Site
Post 2015 Earthquake, 2016 BHAKTAPUR THE HISTORICAL CITY – A World Heritage Site Professor Purushottam Lochan Shrestha, Ph.D. Post 2015 Earthquake, 2016 BHAKTAPUR THE HISTORICAL CITY – A World Heritage Site Professor Purushottam Lochan Shrestha, Ph.D. Cover photo credit: Rita Thapa All inner photographs: Prof. Dr. Purushottam Lochan Shrestha’s collection Prof. Dr. Purushottam Lochan Shrestha has a Ph.D. in the Era of Tantric Power in Bhaktapur. He served as a Professor and Head of the Department of History, Anthropology & Sociology at Tribhuvan University. Currently, he is actively teaching in colleges in Bhaktapur. He is a recipient of several awards including the prestigious Mahendra Bhusan Class A. He has conducted researches, published numerous articles, written ten books and two additional are forthcoming. CONTENTS CHAPTER I BHAKTAPUR: HISTORICAL OVERVIEW 9 Meaning of ‘Bhaktapur’......................................................... 9 The People .................................................................. 10 Historical Background......................................................... 10 Art and Architecture .......................................................... 16 CHAPTER II FAIRS AND FESTIVALS 18 Biska/Bisket Jatra (the solar New Year festival)................................... 18 Aamako Mukh Herne (literally: looking at one’s Mother’s face or mothers day) ....... 20 Changunarayana, Chhinnamasta, Kilesvor Rathajatra .............................. 20 Buddha Jayanti Purnima ...................................................... -
Here You Can Download the English Booklet of Magic
Cover The fiddle belongs to the most popular instruments around the world. It is especially manifold and of outstanding quality in Asia: a multitudinous variety can be found between an archaic fiddle with just one string (like the Vietnamese koni) and lutes with dozens of sympathy strings (like the North Indian sarangi). Which is hardly surprising as musicologists consider the Central Asian high plateau to be the original homeland of all fiddles worldwide. Numerous the instruments, equally numerous the outstanding virtuosos: On the four CDs you can hear music form Egypt to China and from Turkey to Indonesia, for example from Dr L Subramaniam, Turgun Alimatov, Ram Narayan, Raushan Orazbaeva, Habil Aliyev, Kala Ramnath, Derya Türkan, Seikin Tomiyama, Kim Joo-ri, or Gaguik Mouradian. Additionally there is the recording of a concert held at TFF Rudolstadt 2002 with nine knee fiddle virtuosi from Asia and Europe, among them Dhruba Ghosh and Kayhan Kalhor. A four-hour bonus DVD contains a report about this project, a small documentary on the manufacturing of a Svanetian chuniri, and live recordings from greats such as Lalgudi G Jayaraman, Ali Asghar Bahari, Violons barbares, Ahoar or Huun-Huur-Tu plus exclusively a 35-minute Rababa Concerto written by Marcel Khalilfe. Booklet The bow is burning and moaning like Moses, and the player is listening attentively to the singer, who starts a wonderful ghazal, praising this orgy. (Nizami Ganjavi, Azeri poet, Khosrov and Shirin) Prologue There is no doubt among scholars that bowing a lute was among the latest sound-producing experiments man undertook in developing his musicianship. -
Tabla Course MFA Syllabus
Tribhuvan University Faculty of Humanities and Social Sciences Central Department of Fine Arts Kirtipur Course of study Semester Curriculums Master of Fine Arts (M.F.A.) Tabla Dean’s Office Faculty of Humanities and Social Sciences T.U. Kirtipur 2019 1 1. M.F.A. Tabla Courses M.F.A. Tabla course has two academic years consisting of four semesters. One academic year holds two semesters. In four semesters total course has 64 total credit hours and 1024 total teaching hours. 80% of attendance is compulsory and 10 marks will be given for that by concerned Class Teacher for attendance. 2. Aims and Objectives The Master of Fine Arts course in Tabla is designed for students who wish to prepare themselves professionally in the respective fields of Fine Arts. Further it helps to prepare themselves both for research work and creative work in Musical field. Detail theoretical knowledge is part of the academic course itself. In order to achieve this goal the department has designed the classes for following different areas: a. Practical Tabla classes b. Theoretical Music classes c. Special Performance classes d. Research and methodology classes e. Creative Work classes f. Workshop and seminars g. Concerts, Celebrations and Musical Travels. 3. Qualification for Admission Admission to the Master of Fine Arts Tabla will be opened to those who have passed the B.F.A. Tabla and B.A. Tabla of this University or an equivalent Degree from any other University or equally recognized Fine Arts Institution including subject Tabla. 4. Rules of Admission A candidate who fulfills the required qualification can submit their application along with true copies of certificates –duly attested by a component authority (Campus Chief or Head of Department of Tribhuvan University). -
A) Works Concerned Exclusively with Music and Musi
BIBLIOGRAPHY This bibliography contains two categories of books and articles: a) works concerned exclusively with music and musical instruments of non-European peoples; b) some important pUblications on ancient and early European music and folk music. Publications of a more general character (e.g. reports of travels, eth nological expeditions, and missionary activities) which often contain interesting data on music and musical instruments, musicians and the role of music in tribal life, are not included. These can be located by referring to the extensive bibliographies found in works marked by an asterisk. Nor are inserted publications in the Russian, Arabic, Chinese, Japanese, Indo nesian, Javanese and Sundanese languages, and in the languages of the Indian subcontinent. I. AALST, J. A. VAN, Chinese music (1884, raiben (Kon. Akad. v. Wetenschappen, 2/1933)· Amsterdam, 1931), passim. 2. ABAS, S. P., De muziek del' Bataks 12. AIYAR, C. SUBRAHMANIA, Quartertones ('Caecilia-Muziekcollege'), Mei 1931. in South Indian (Carnatic) Music ('The 3. ABERT, HERMANN, Die Lehre vom Ethos Journal of the Musical Academy, in del' griechischen Musik (Leipzig, 1899). Madras' XI, p. 95 ff.), 1940. 4. --Antike (neu-bearbeitet von CURT 13. --Comparative music, European and SACHS) (in GUIDO ADLER, 'Handbuch Indian (ibid. XII, p. 36 ff.), 1941. der Musikgeschichte' I, p. 35 ff.), 2/1929. 14. --Some leading music systems (ibid. 5. ACKERMAN, PHYLLIS, The character of XIII, p. 21 ff., XVII, p. 97 ff.), 1942 and Persian music (in POPE and ACKERMAN, 1946. 'A Survey of Persian Art. From pre 15. --The Clarinet and classical Carnatic historic times to the present', vol. -
30 I Page Some Traditional Folk Songs and Dances of Sikkim
Asian Mirror - Volume VIII, Issue II, 17 June-2021 ISSN : 2348-6112 International Research Journal (Double-blind, peer-reviewed) Impact Factor - 3.635 Date of Acceptance : 21 March 2021 DOI - 10.21276/am.2020.8.2.AN3 © Lokesh Chettri & Bishnu K Sharma 3 Some Traditional Folk Songs and Dances of Sikkim Himalayas 1Lokesh Chettri, 2Bishnu K Sharma* 1Department of Journalism, Sikkim Government College Namchi (South Sikkim) 2Department of Botany, Sikkim Government College Namchi (South Sikkim) *email: [email protected] Abstract The several folk culture of Sikkim Himalayas is a unique diverse of ethnic communities. Sikkim is akin to the prosperity and gratitude that of the people of Northeastern state of India and possesses the modest and humble culture. Sikkimese people have dances and songs that are full of life and its importance. The communities of this region is mainly of three groups viz, Bhutia, Lepcha and Nepali having their own dance forms, songs which they used to perform on different occasions like religious festivals, harvest, marriage ceremonies and other sacred functions.There are more than 20 folk songs, dance and musical instruments performed by ethnic communities in different cultural festivals in Sikkim. Though, songs and dances gives a flavor to the life of human being, Tamang Selo, Chyabrung dance, Sangini, Yak Chham, Sili, Zo-Mal-Lok, Dohori etc, has its own charm among communities of Sikkim. Key Words: Ethnic Communities, Folk song, Lepcha, Sikkim Himalayas and Sangini. Introduction The Folk Culture is a unique and has a great significance for the people of Sikkim. It has a rich cultural linkage in different communities of Sikkim. -
The Renaissance of Sikh Devotional Music Memory, Identity, Orthopraxy
The Renaissance of Sikh Devotional Music Memory, Identity, Orthopraxy by Nirinjan Kaur Khalsa A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Asian Languages and Cultures) in the University of Michigan 2014 Doctoral Committee: Associate Professor Arvind-Pal Mandair, Chair Emeritus Professor Judith Becker Associate Professor Balbinder Bhogal, Hofstra University Professor Madhav Deshpande Assistant Professor Meilu Ho Copyright © 2014 Nirinjan Kaur Khalsa ii Table of Contents List of Figures .............................................................................................................................. v List of Appendices ..................................................................................................................... vi Glossary ...................................................................................................................................... vii Introduction .................................................................................................................................. 1 Gurbani Kirtan Renaissance ............................................................................................................. 2 Ethnographic Research and Approach ........................................................................................... 3 Debating Between Two Revivalist Groups: Reformist and Parampara ..................................... 9 Defining Tradition: Parampara, Maryada, Rahit .......................................................................