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THE A GA KHAN T RUST FOR CULTURE Music Initiative in Central Asia Инициатива в области Музыкального Творчества в Центральной Азии 1 2 CONTENTS 2 The Aga Khan Music Initiative in Central Asia • Aga Khan Trust for Culture • Aga Khan Development Network 6 The Vision 7 Programme & Notes 15 Silk Road Ensemble Tour • Yo-Yo Ma, Artistic Director • Silk Road Ensemble • Silk Road Project, Inc. 19 Instrument Glossary For further information: The Aga Khan Trust for Culture 1-3 Avenue de la Paix 1202 Geneva, Switzerland Telephone: (41.22) 909 72 00 E-mail: [email protected] Website: www.akdn.org 3 THE AGA KHAN MUSIC INITIATIVE IN CENTRAL ASIA INTRODUCTION he Aga Khan Music Initiative in Central Asia (AKMICA) was established in 2000 by the Aga Khan Trust for Culture (AKTC) to help ensure the preservation of Central Asia’s musical Theritage and its transmission to a new generation of artists and audiences, as well as to increase visibility and understanding of the region’s unique musical traditions beyond its borders. The Music Initiative embodies His Highness the Aga Khan’s recognition of music’s vital role in the cultures of Central Eurasia and the Middle East. In these regions, music traditionally has served not only as entertainment, but as a form of symbolic knowledge that expresses the moral values and power of the spirit at the very centre of the great civilisations. As with all of the Trust for Culture’s activities, the Music Initiative takes a long-term, grassroots approach to cultural preservation and dissemination. Resources and expertise are made available to cultural institutions in the region to assist them in achieving sustainability and independence. Through its activities, the Music Initiative coordinates and links together education programmes, ethnographic research, archival conservation, publication of source materials and scholarly works, intra-regional exchange, and dissemination of music through live performance and mediated forms. Its major projects include the production of an audio and video anthology and digital archive of Central Asian music in cooperation with the Smithsonian Institution, support for local music centres and schools in which master musicians train disciples through the time-honoured process of apprenticeship known as ustaz-shagird, and the organisation of concerts, master classes, and workshops featuring traditional musicians both within Central Asia and outside the region. Music, unlike architecture or visual arts, embodies tradition not so much in objects as in living chains of transmission or lineages. In the Iranian-Turanian cultural realm that extends through West Asia, Central Asia, and northern regions of the subcontinent, the transmission of music from master to disciple has been rooted in oral tradition. During the last century, however, the rapid modernisation of traditional societies in these regions had a profound effect on musical life and 4 musical pedagogy. In Central Asia, musical genres and repertories of great antiquity are presently being transmitted by a handful of masters to small groups of students. The Music Initiative supports efforts to “I FIRMLY BELIEVE THAT revitalize the process of oral transmission by assisting key musical PEACE WILL BE POSSIBLE tradition-bearers as they strive to pass on their knowledge and craft. ONLY WHEN THE PLURALISTIC At the same time, a central aim of the Music Initiative is to seed new NATURE OF HUMAN SOCIETY approaches to performance style, musical form, repertory, and IS RECOGNISED, SEEN AS technique by encouraging musicians to explore their own history and A SOURCE OF STRENGTH traditions as well as by cultivating collaborations among musicians RATHER THAN WEAKNESS, AND from different parts of Central Eurasia and beyond. USED AS A BASIS FOR THE FORMULATION OF POLICIES The Music Initiative collaborates closely with the Silk Road Project, AND STRUCTURES AT ALL founded and directed by renowned cellist Yo-Yo Ma. The Silk Road LEVELS OF GOVERNANCE.” Project has taken a leading role in promoting the exploration of musical tradition as a resource for innovation and creativity. The His Highness the Aga Khan Project’s commissioning programme has encouraged creative synergies between talented musicians from different cultural backgrounds, while its Partner Cities Festival Programme has brought the results of these synergies to audiences around the world. The work of the Silk Road Project exemplifies the Aga Khan Trust for Culture’s commitment to the values of pluralism and cultural diversity. In receiving the State Award for Peace and Progress from Kazakhstan’s President Nursultan Nazarbayev in December 2002, His Highness the Aga Khan remarked, “I firmly believe that peace will be possible only when the pluralistic nature of human society is recognised, seen as a source of strength rather than weakness, and used as a basis for the formulation of policies and structures at all levels of governance.” The Music Initiative’s partnership with the Silk Road Project embodies both organisations’ commitment to the goal of ensuring the continuity and enrichment of Central Asia’s musical heritage by sustaining its venerable tradition of openness, tolerance, and cross-cultural exchange. 5 THE MUSIC INITIATIVE IN CENTRAL ASIA PROVIDES SUPPORT FOR LOCAL MUSIC CENTRES AND SCHOOLS IN WHICH MASTER MUSICIANS TRAIN DISCIPLES THROUGH THE TIME-HONOURED PROCESS OF APPRENTICESHIP KNOWN AS USTAZ-SHAGIRD, AND FOR THE ORGANISATION OF CONCERTS, MASTER CLASSES, AND WORKSHOPS. 6 AGA KHAN TRUST FOR CULTURE The Music Initiative is part of the Aga Khan Trust for Culture (AKTC), an agency of the Aga Khan Development Network. AKTC focuses on culture as a means to enhance the physical, social and economic revitalisation of communities in the Islamic world. Its programmes include the Aga Khan Award for Architecture, the Historic Cities Support Programme, the Aga Khan Program for Islamic Architecture at Harvard University and Massachusetts Institute of Technology, the on-line resource ArchNet.org, the Music Initiative in Central Asia, the Humanities Project and the Museum Unit. AGA KHAN DEVELOPMENT NETWORK The Aga Khan Development Network (AKDN) is a group of private, international, non-denominational agencies working to improve living conditions and opportunities for people in the developing world. The Network’s organisations have individual mandates that range from the fields of health and education to architecture, rural development and the promotion of private-sector enterprise. They collaborate in working towards a common goal – to build institutions and programmes that can respond to the challenges of social, economic and cultural change on an ongoing basis. The Aga Khan Foundation focuses on rural development, health, education and the enhancement of non-governmental organisations. Aga Khan Health Services, with 325 health centres, dispensaries, hospitals, diagnostic centres and community health outlets, is one of the largest private health networks in the world. Aga Khan Education Services operate more than 300 schools and advanced educational programmes at the pre-school, primary, secondary and higher secondary levels in Pakistan, India, Bangladesh, Kenya, Uganda, Tanzania and Tajikistan. The Aga Khan Planning and Building Services works to improve the built environment, particularly through design and construction, village planning, natural hazard mitigation, environmental sanitation and water supply systems. The Aga Khan Fund for Economic Development works to strengthen the role of the private sector in developing countries by promoting entrepreneurial activity and supporting private sector initiatives. Two universities are also part of the Network: Aga Khan University, Pakistan’s first private, autonomous university, headquartered in Karachi; and the University of Central Asia (UCA), based in Khorog, Tajikistan, which is the world’s first university dedicated exclusively to education and research in mountain regions and societies. 7 FOR MANY YEARS I HAVE FELT THAT TRADITIONAL MUSIC PLAYED SUCH A CRITICAL ROLE IN THE CULTURES OF CENTRAL ASIA THAT IT DESERVED ATTENTION AND ASSISTANCE. THE NEED BECAME ALL THE MORE APPARENT AFTER THE COUNTRIES OF THE REGION ACHIEVED INDEPENDENCE AND BEGAN THE PROCESS OF REDEFINING THEMSELVES. WHEN JIM WOLFENSOHN INTRODUCED ME TO YO-YO MA I REALISED THAT HERE WAS SOMEONE WHOSE WORK THE AGA KHAN TRUST FOR CULTURE COULD SUPPORT, AND ALSO USE AS A SPRINGBOARD FOR ITS OWN IN-ITIATIVE IN THE REGION. I LOOK FORWARD TO A WIDE RANGE OF CREATIVE ACTIVITIES FROM THE SILK ROAD PROJECT AND THE AGA KHAN MUSIC INITIATIVE IN CENTRAL ASIA THAT WILL HELP REVITALISE TRADITIONAL MUSIC OF THE REGION, AND STIMULATE ARTISTIC EXCHANGES WITHIN CENTRAL ASIA, AND BETWEEN IT AND THE REST OF THE WORLD. His Highness the Aga Khan THE VISION IN 1998, I FOUNDED THE SILK ROAD PROJECT TO STUDY THE FLOW OF IDEAS AMONG DIFFERENT CULTURES ALONG THE SILK ROAD. THE PROJECT ACTS AS AN UMBRELLA ORGANISATION AND COMMON RESOURCE FOR A NUMBER OF ARTISTIC, CULTURAL, AND EDUCATIONAL PROGRAMMES. THROUGH THE SILK ROAD PROJECT, WE ARE STRIVING TO BRING NEW IDEAS, TALENT, AND ENERGY INTO THE WORLD OF CLASSICAL MUSIC, AND AT THE SAME TIME, NURTURE MUSICAL CREATIVITY DRAWING ON WONDERFULLY DIVERSE AND DISTINGUISHED SOURCES OF CULTURAL HERITAGE AROUND THE WORLD, MY HOPE IS THAT OUR PROJECT WILL HELP TO PROMOTE COLLABORATION AND A SENSE OF COMMUNITY AMONG MUSICIANS, AUDIENCES, AND INSTITUTIONS WHO SHARE A FASCINATION WITH THE KIND OF TRANSCULTURAL ARTISTIC IMAGINATION SYMBOLISED BY THE SILK ROAD. Yo-Yo Ma 8 THE AGA KHAN TRUST FOR CULTURE AND THE SILK ROAD PROJECT, INC. PROUDLY PRESENT YO-YO MA AND THE SILK ROAD ENSEMBLE ON THEIR INAUGURAL CONCERT TOUR IN CENTRAL ASIA AS PART OF THE ACTIVITIES OF THE THE AGA KHAN MUSIC INITIATIVE IN CENTRAL ASIA 9 PROGRAMME NOTES INTRODUCTION even hundred years after Marco Polo, the Silk Road still evokes a nebulous geography that, like an ancient mariner’s map, stretch- es between reality and fantasy. Indeed, these days the Silk Road Sis no less a product of imagination and metaphor than a legacy of actual historical events, and this very hybridity is what has made it such an enduring symbol of cultural discovery and exchange.
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  • Circus Arts at O.Z.O.R.A

    Circus Arts at O.Z.O.R.A

    THE DAILY NEWSPAPER OF THE OZORIAN TRIBE FREE * 4 PAGES SUNDAY AUGUST, 2012 ozorafestival.eu spiced with some dark humor in vaudeville style. The spectacu- lar juggling, acrobatic, trapeze and burlesque dance performers Circus Arts at O.Z.O.R.A. are the s-cream of the international underground circus life.The characters of the performance keep their masks on even after AT THIS YEAR’S FESTIVAL THE their show, mingling with the MODERN CIRCUS ARTS GOT A SPE- audience and further building CIAL SPACE. INTERNATIONALLY the atmosphere, so anything FAMOUS AND PROFESSIONAL CIR- can happen anywhere at any CUS AND JUGGLING GROUPS ARE time! PERFORMING AT THE OPENING CEREMONY AND ON DIFFERENT A new stage at the festival is the STAGES OF THE FESTIVAL. Firespace, this is a project from Germany essentially an open space for fire dancers and fire On the main stage legendary fire jugglers, supports a diversity of artists, like Magma Fire Theather, fire arts. Moreover, we regard Flame Flowers, Firebirds, Freak Fu- Fire Space as a cultural space, sion Cabaret, Anamintas Fire The- allowing for inspiration and in- ather, Mietar, Spark Firedance, Los teraction seeks the best condi- Del Fuego and Firesthetic are pre- tions for audience and artists, senting their new and special proj- as well as for environment and ects. It is also an important mission material. The space is open for us to teach the flow arts. We from dusk till dawn, come by hold and held workshops, where with your fire gear and spin people can try out all kinds of body with us or just sit down around manipulation, circus, juggling and the circle and enjoy the show! acrobatic arts with experienced trainers and safe equipments.