INDIA INTERNATIONAL CENTRE V O L U M E X X VII
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Price Re. 1/- INDIA INTERNATIONAL CENTRE v o l u m e X X VII. No. 2 March–April 2013 Odissi Music and Dance FESTIVAL: A Glimpse into Odissi Music, Dance and Monuments of Odisha March 22–23 Sponsored by the Department of Tourism and Culture, the IIC hosted ‘Odisha’, the two-day festival conceived by Ileana Citarishti, the Odissi dancer from Bhubaneswar, which featured Odissi in both its music and dance manifestations. Students of Utkal University, trained under guru/dancer Nabakishore Misra, were a fairly competent group, presenting the lasya and tandav of Shiva and monsoon images with Meenakshi as the best dancer. An undecipherable mix, sporting both the late Debaprasad Das and Kelucharan Mohapatra’s stylistic Time, and quietude at Mansarovar influences, is a pointer to what the where one transcends Time, future holds for Odissi, with all the revealed moods of moving Time. legendary gurus now gone. The well-knit performance/ Built round the abstract theme seminar music aspect saw of Time, ‘Kala—Time Bound’ Chittaranjan Mallia the work had the textual base speak on history of verses from the Upanishads and Kirti Narayan and Devdas Chotray’s specially Padhi on its special composed poetry, with music identity, substantiated in the by Ananta Prasanna Patnaik performances of Ramahari who also provided melodious and Shyamamani. Gopal vocal accompaniment. Rhythmic Panda’s lec-dem on old sequences were composed by ragas featured Sangita Mardalist Sachhidananda Das. Panda’s delightful singing. Geometrical formations of Important to preserve group movement, a vigorous Odissi identity, than run male solo sequence showing after the classical tag! the tyranny of Time, Ileana’s abhinaya interpreting ‘Ritu ■ LEELA aye, Ritu Jane re’ on cyclical VENKATARAMAN music diary subtle coming together of the rhythm of music, Taal, A Musical Tradition and poetry, Bahr, accentuated by smooth Aakar and CONCERT: Qawwalis. Wajahat Hussain Badayuni Bol-taans. and Party and Rizwan–Muazzam and Party, March 2 Rizwan–Muazzam’s presentation followed the flow of languages from west to east, from Arabic and Persian The Qawwali concerts brought together two to Urdu, Sindhi and Punjabi, as Qawwali pursued its hereditary musicians belonging to two distinct musical missionary purpose while bridging different linguistic traditions: Wajahat Hussain Khan who inherited his and cultural regions. The Arabic chant in praise of music from the inimitable Ustad Jaffar Hussain Khan God, Allah Hu Haaq, was followed by Amir Khusrau’s Badauni, and Rizwan–Muazzam Ali Khan, from their Persian composition, Nami Danam Chi Manzil Bood uncle Ustad Nusrat Fateh Ali Khan. Shab Jaay Li Man Boodam, which evocatively describes The evening started with Wajahat performing the the metaphor of travel to a mystical dimension. traditional opening piece of a Qual–a saying by the Another composition in Persian, Haq Ali Ali Maula Prophet in Arabic, Man Kunto Maula, establishing Ali, was followed by the composition of Baba Bulle his succession with Hazrat Ali. Amir Khusrau Shah in Punjabi: Ni Main Jana Jogi De Nal, ending with expanded this with a Tarana, Yalali Yalali Ray, which the well-known Mast Qalandar. The brothers sang with while appearing to be meaningless is the rhythmic a wide vocal range continuously complimenting and invocation, Zikr, of the name of Ali. Another Khusrau responding to each other with an impressive range of composition followed in Raga Bahar, heralding the Bol-bants, Layakari, Takarar, and poetic insertion of changing of seasons—Hazarat Khawaja Sang Khaliye phrases or Girehs. Dhamar-Phool Rahi Sarason. Wajahat demonstrated the emphasis of melody in his musical traditions by the ■ VIKRAM LALL death, the spiritual level of consciousness, the idea Swar Katha Upanishad of true self-realization, and the concept of Bliss as PERFORMANCE: Swar Katha Upanishad it is understood by the musician. The vision on stage Presented by Sunaad, March 25 was one of a well-arranged set of vocalists, dressed in yogic shades of saffron, madder, and earth-yellow, scrolling their tablets for verses from the Upanishads, The dice seemed heavily loaded at the surface level. and singing them in dhrupad resonation. In fact, the The Bangalore-based Sunaad Group was using the evocative aura that their music created was a close dhrupad style, borrowing elements of classic Sanskrit reminder of the Samagana chants mentioned in the theatre in presenting a dialogue between Yama, the Sama Veda. The male characters had adopted the god of death, and the youth Nachiketa. Yet the minimalism of the Sanskrit theatre where only the show received a standing ovation and generated uttariya or neck scarf is worn in various ways to countless queries. The wow factor contributing to a indicate a change of character. re-think about classical sources such as dhrupad and The overall effect was a presentation that went beyond Sanskrit drama was the choreographer of the show, the limits of the present. It provided a microcosm of Tara Kini, who had envisioned these inputs as a the immense possibilities that can be unearthed from framing device to showcase the essence of the Swar our past cultural traditions. Katha Upanishad. The story comprised a dialogue between Yama and Nachiketa, examining tenets such as the meaning of ■ SUBHRA MAZUMDAR 2 diary music Played almost in the same manner as a Cello, the Bringing Haydn to Life Baryton (or Viola di bordone) is a plucked and PERFORMANCE: Concert by the Haydn Baryton bowed string instrument with a characteristic sound. Ornate and expressive, it dates from the latter half Trio from Budapest of the 17th century and remained popular until the Collaboration: Hungarofest; Balassi Institute early 19th century. Initially it was made by adding Hungarian Information and Cultural Centre; and another register of metal strings (8-20 or more) to Delhi Music Society, March 21 the six or seven bowed strings of a specially made tenor-bass viola da gamba. These being sympathetic strings, their resonance provided the Baryton with its unique sound. In addition, the strings could even be plucked from behind the neck of the instrument with the left thumb. With a repertoire replete with Barytontrio compositions by Haydn, Tomasini, Neumann, Burgksteiner and Lidl, the Haydn Baryton Trio enthralled a discerning audience in a characteristic classical style. Expectedly, the Music lovers, musicians, senior bureaucrats, and audience insisted on an encore, and the trio gracefully members of the diplomatic community were treated obliged. Of special note was Tomasini’s Barytontrio in to a delightful concert of Western classical music by C-major, No. 7, which featured dance music of the the acclaimed Haydn Baryton Trio from Budapest, Baroque period. It is also noteworthy to mention featuring composer Franz Joseph Haydn’s (among that the Haydn Baryton Trio’s last presentation, others) compositions for the Baryton. The Trio, Barytondivertimento in G-major, No. 3 (moderato, andante, presto) by Lidl, was performed using Lidl’s original comprising Jozsef Spengler on violin and Andras music manuscript from the 18th century! Kaszanyitzky on cello, plays all Barytontrios by Haydn as well as quintets, octets and the baryton divertimenti from other composers of the Esterhazy circle. ■ DEEPAK CASTELINO Focus Northeast PERFORMANCE: Concert by the Tetseo Sisters from Nagaland Collaboration: INTACH, March 15 The concert of folk songs of Nagaland was presented by the Tetseo Sisters in colourful traditional attire. The music instrument they used was the age-old, one- stringed Naga instrument, the ‘Tati/Heka Libuh’. The performance was visually fascinating and aurally engaging. Mutsevelu (Mercy), Azine (Azi), Kuvelü (Kuku), and Alune (Lulu) sang ‘Li’ in the Chokri dialect of the Chakhesang Naga tribe. ■ DAISY DEKA 3 performance diary magic practices in day-to-day life. Mayong Myth/Reality Focus Northeast firmly establishes Mayong’s magical history and its FILM: Mayong–Myth/Reality status as the magic capital of India. The camera shows Director: Utpal Borpujari, March 11 various shots in the village setting of the people and also visually explores the books and devices used in this age-old practice. Mayong: Myth/Reality is a fascinating documentary This 53-minute documentary film has been done on the magical heritage of Mayong, a mystical land in ethnographic travelogue format, directed by of black magic situated in the Marigaon district of Utpal Borpujari and produced by Jayanta Goswami Assam. Since time immemorial, this place has earned of Darpan Cine Production. This visually enticing its reputation as a land of sorcery and has a legendary documentary has been shot by Biswajit Changmai status in Assamese folklore. The film beautifully traces and the captivating music, a blend of traditional and the cultural as well as historical elements in the practice contemporary, has been created by Anuraag Saikia. of black magic in Mayong. We see the visual exploration The narration has been done by Robin Kalita and the of contemporary magic practices in the village, and also documentary has been edited by Parveen. the fascinating, strange and inexplicable ways people use ■ DAISY DEKA conflicts of the characters. Director K.S. Rajendran Aurangzeb has evolved a gripping tale through his presentation. PLAY: Aurangzeb The setting was the IIC Rose Garden. By relocating Directed by K. S. Rajendran, March 14 simple elements such as an arch, a make-shift throne, a stool, Rajendran was able to switch the ambience from a palace, to a prison, to a war zone. It was a The story of Aurangzeb is well-known. In 1657, treat to watch intense performances by actors playing Emperor Shahjahan fell ill, leading to a war of Aurangzeb (Mahendra Mewati), Roshanara (Priyanka succession among his four sons. The main contenders Sharma), Dara, and Shahjahan (Neelesh Deepak). In were Dara Shuko and different productions, one has Aurangzeb supported by seen varying interpretations of their sisters, Jahanara and the same historic event.