DOCSLIB.ORG

Ghazal Ensemble Ghazal Ensemble

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ghazal Ensemble Ghazal Ensemble FOR IMMEDIATE RELEASE: February 3, 2015 Media Contacts: Laura B. Cohen, LC Media PR, (310) 867867----3897,3897, [email protected] Nicole Bazar, (310) 440440----4578,4578, [email protected] Skirball Cultural Center presents GHAZAL ENSEMBLE Playing a unique fusion of Persian and Indian classical music tratraditionsditions Sunday, March 1515,, 2012015,5, 777:7:::00000000 p.m. EarlyEarly----BirdBird Pricing: $$$30$30 General | $25 Skirball Members | $20 FullFullFull-Full ---TimeTime Students FREE parking Tickets available on site, online at skirball.orgskirball.org,,,, ororor by phone at (877) SCCSCC----4TIX4TIX4TIX4TIX Ghazal is one of the most vital acts in world music, for it is not merely channeling heritage; the duo draws on disparate traditions to create bold new music for today. —Billboard LOS ANGELES, CA—The Skirball Cultural Center presents the Grammy-nominated Ghazal Ensemble on Sunday, March 15, 2015, at 7:00 p.m., featuring Iranian master Kayhan Kalhor (kamancheh ), Indian virtuoso Shujaat Husain Khan (sitar ), and acclaimed Indian tabla player Sandeep DasDas. This highly influential collaboration has dazzled audiences worldwide with their blend of two classical music traditions that have been intertwined historically, geographically, and culturally for centuries: the Persian dastgah and North Indian raga . Formed in 1997 by Kalhor and Khan, Ghazal’s first recording, Lost Songs of the Silk Road , won critical acclaim for uniquely bringing together two Eastern classical traditions. The group has since performed in major concert halls and festivals throughout the world, and in 2015 they embark on their first tour in North America in ten years, including a stop at the Skirball. Three-time Grammy nominee Kayhan Kalhor is an internationally acclaimed virtuoso on the kamancheh (spiked fiddle). Through his diverse musical collaborations, Kalhor has been instrumental in popularizing Persian music in the West. A student of Iranian music, Kalhor has toured the world as a soloist with various ensembles and orchestras, including the New York Philharmonic and the Orchestre National de Lyon. He is the co-founder of renowned ensembles Dastan and Masters of Persian Music. Kalhor has also composed works for Iranian vocalists Mohammad-Reza Shajarian and Shahram Nazeri as well as music for television and film, including contributions to the score for Francis Ford Coppola’s Youth Without Youth . Kalhor is an original member of Yo-Yo Ma’s Silk Road Ensemble, with whom Skirball Cultural Center Page 2 of 2 he continues to tour. Shujaat HuHusainsain KhanKhan, son and disciple of the master sitarist Ustad Vilayat Khan, is one of the leading artists of his generation in North Indian classical music. He belongs to the Imdad Khan gharana (school) of the sitar and is the seventh in an unbroken family line that has produced many musical masters. Khan taught Indian classical music at UCLA for many years, and now performs regularly at major musical festivals in India and throughout the United States, the Far East, and Europe. In 2001 he was awarded the Rashtriya Kumar Gandharva Samman, India's highest honor for a classical musician under the age of 45. Sandeep Das is one of today’s leading tabla players. A favorite disciple of the legendary tabla maestro Pandit Kishan Maharaj ji, Das has collaborated with a variety of genre-crossing artists including Yo-Yo Ma, Paquito D'Rivera, and Kayhan Kalhor. He has appeared as a soloist with some of the world’s leading classical orchestras and string quartets. Das made his stage debut with Pandit Ravi Shankar at the age of sixteen and has since performed regularly with many leading Indian maestros. He is founder of HUM (Harmony and Universality through Music), an ensemble promoting global understanding through performance and education. Das has composed for and performs internationally with Yo-Yo Ma’s Silk Road Ensemble for the last fifteen years. For more information about programs at the Skirball, call (310) 440-4500 or visit skirball.org . About the Skirball The Skirball Cultural Center is dedicated to exploring the connections between 4,000 years of Jewish heritage and the vitality of American democratic ideals. It welcomes and seeks to inspire people of every ethnic and cultural identity. Guided by our respective memories and experiences, together we aspire to build a society in which all of us can feel at home. The Skirball Cultural Center achieves its mission through educational programs that explore literary, visual, and performing arts from around the world; through the display and interpretation of its permanent collections and changing exhibitions; through an interactive family destination inspired by the Noah’s Ark story; and through outreach to the community. Visiting the Skirball The Skirball Cultural Center is located at 2701 N. Sepulveda Blvd., Los Angeles, CA 90049. Museum hours: Tuesday–Friday 12:00–5:00 p.m.; Saturday–Sunday 10:00 a.m.–5:00 p.m.; closed Mondays and holidays. Admission to exhibitions: $10 General; $7 Seniors, Full-Time Students, and Children over 12; $5 Children 2–12. Exhibitions are always free to Skirball Members and Children under 2. Exhibitions are free to all visitors on Thursdays. For general information, the public may call (310) 440-4500 or visit skirball.orgskirball.org. The Skirball is also home to Zeidler’s Café, which serves innovative California cuisine in an elegant setting, and Audrey’s Museum Store, which sells books, contemporary art, music, jewelry, and more. ### .
Load more

Recommended publications
  • 509 Chinthaka Prageeth Meddegoda and Gisa Jähnichen This Co-Written
    Book Reviews 509 Chinthaka Prageeth Meddegoda and Gisa Jähnichen, Hindustani Traces in Malay Ghazal: ‘A song, So Old and Yet Still Famous’. Newcastle upon Tyne: Cambridge Scholars Publishing, 2016, 386 pp. ISBN 1443897590, price: USD 103.70 (hardcover). This co-written volume aims to study very specific elements of one discrete musical tradition—elements within the Malay ghazal tradition of sung poetry that are directly related to the tradition as practiced in the Hindustani musical world. To address this seemingly modest subject, the book covers an extremely broad range of historical and musicological topics, moving from Persia through various parts of India to the broader Malay world (including Singapore, Suma- tra, and the Riau islands); it discusses the histories of the diverse Indian com- munities in colonial Malaya, and the popularization of ghazal in Lucknow and Johor; and describes the origins of both the Parsi theatre and local Sumatran genre of gamat (the latter genre previously unknown to this reader, a scholar of Sumatran music). To illustrate the challenges and promise of coming to terms with the Malay ghazal, consider that the ghazal seems to have arrived the Malay world at least four different ways: through precolonial Islamic liter- ary circles, the stage productions of the Parsi theatre, the recordings of early Bollywood, and the lived musical experiences of Indians brought to Southeast Asia by the British colonial state (and those who listened to and with them). Consider as well that the ghazal Johor features one musical instrument that comes from the Middle East and uses Arabic musical modes (the gambus), one musical instrument that was brought by Europeans but has been adapted as a substitute for a Hindustani instrument that uses Indian musical modes (the biola, filling in for the sarangi), and one instrument of relatively recent creation that is associated with colonial, Malay, and Indian musical traditions (the har- monium).
    [Show full text]
  • Alan Gilbert and the New York Philharmonic
    FOR IMMEDIATE RELEASE UPDATED January 13, 2015 January 7, 2015 Contact: Katherine E. Johnson (212) 875-5718; [email protected] ALAN GILBERT AND THE NEW YORK PHILHARMONIC Alan Gilbert To Conduct SILK ROAD ENSEMBLE with YO-YO MA Alongside the New York Philharmonic in Concerts Celebrating the Silk Road Ensemble’s 15TH ANNIVERSARY Program To Include The Silk Road Suite and Works by DMITRI YANOV-YANOVSKY, R. STRAUSS, AND OSVALDO GOLIJOV February 19–21, 2015 FREE INSIGHTS AT THE ATRIUM EVENT “Traversing Time and Trade: Fifteen Years of the Silkroad” February 18, 2015 The Silk Road Ensemble with Yo-Yo Ma will perform alongside the New York Philharmonic, led by Alan Gilbert, for a celebration of the innovative world-music ensemble’s 15th anniversary, Thursday, February 19, 2015, at 7:30 p.m.; Friday, February 20 at 8:00 p.m.; and Saturday, February 21 at 8:00 p.m. Titled Sacred and Transcendent, the program will feature the Philharmonic and the Silk Road Ensemble performing both separately and together. The concert will feature Fanfare for Gaita, Suona, and Brass; The Silk Road Suite, a compilation of works commissioned and premiered by the Ensemble; Dmitri Yanov-Yanovsky’s Sacred Signs Suite; R. Strauss’s Death and Transfiguration; and Osvaldo Golijov’s Rose of the Winds. The program marks the Silk Road Ensemble’s Philharmonic debut. “The Silk Road Ensemble demonstrates different approaches of exploring world traditions in a way that — through collaboration, flexible thinking, and disciplined imagination — allows each to flourish and evolve within its own frame,” Yo-Yo Ma said.
    [Show full text]
  • Cholland Masters Thesis Final Draft
    Copyright By Christopher Paul Holland 2010 The Thesis committee for Christopher Paul Holland Certifies that this is the approved version of the following thesis: Rethinking Qawwali: Perspectives of Sufism, Music, and Devotion in North India APPROVED BY SUPERVISING COMMITTEE: Supervisor: __________________________________ Syed Akbar Hyder ___________________________________ Gail Minault Rethinking Qawwali: Perspectives of Sufism, Music, and Devotion in North India by Christopher Paul Holland B.A. Thesis Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2010 Rethinking Qawwali: Perspectives of Sufism, Music, and Devotion in North India by Christopher Paul Holland, M.A. The University of Texas at Austin, 2010 SUPERVISOR: Syed Akbar Hyder Scholarship has tended to focus exclusively on connections of Qawwali, a north Indian devotional practice and musical genre, to religious practice. A focus on the religious degree of the occasion inadequately represents the participant’s active experience and has hindered the discussion of Qawwali in modern practice. Through the examples of Nusrat Fateh Ali Khan’s music and an insightful BBC radio article on gender inequality this thesis explores the fluid musical exchanges of information with other styles of Qawwali performances, and the unchanging nature of an oral tradition that maintains sociopolitical hierarchies and gender relations in Sufi shrine culture. Perceptions of history within shrine culture blend together with social and theological developments, long-standing interactions with society outside of the shrine environment, and an exclusion of the female body in rituals.
    [Show full text]
  • New Sufi Sounds of Pakistan: Arif Lohar with Arooj Aftab
    Asia Society and CaravanSerai Present New Sufi Sounds of Pakistan: Arif Lohar with Arooj Aftab Saturday, April 28, 2012, 8:00 P.M. Asia Society 725 Park Avenue at 70th Street New York City This program is 2 hours with no intermission New Sufi Sounds of Pakistan Performers Arooj Afab lead vocals Bhrigu Sahni acoustic guitar Jorn Bielfeldt percussion Arif Lohar lead vocals/chimta Qamar Abbas dholak Waqas Ali guitar Allah Ditta alghoza Shehzad Azim Ul Hassan dhol Shahid Kamal keyboard Nadeem Ul Hassan percussion/vocals Fozia vocals AROOJ AFTAB Arooj Aftab is a rising Pakistani-American vocalist who interprets mystcal Sufi poems and contemporizes the semi-classical musical traditions of Pakistan and India. Her music is reflective of thumri, a secular South Asian musical style colored by intricate ornamentation and romantic lyrics of love, loss, and longing. Arooj Aftab restyles the traditional music of her heritage for a sound that is minimalistic, contemplative, and delicate—a sound that she calls ―indigenous soul.‖ Accompanying her on guitar is Boston-based Bhrigu Sahni, a frequent collaborator, originally from India, and Jorn Bielfeldt on percussion. Arooj Aftab: vocals Bhrigu Sahni: guitar Jorn Bielfeldt: percussion Semi Classical Music This genre, classified in Pakistan and North India as light classical vocal music. Thumri and ghazal forms are at the core of the genre. Its primary theme is romantic — persuasive wooing, painful jealousy aroused by a philandering lover, pangs of separation, the ache of remembered pleasures, sweet anticipation of reunion, joyful union. Rooted in a sophisticated civilization that drew no line between eroticism and spirituality, this genre asserts a strong feminine identity in folk poetry laden with unabashed sensuality.
    [Show full text]
  • Music for a New Day Artist Bio
    Music for a New Day Artist bio Fariba Davody: Fariba Davody is a musician, vocalist, and teacher who first captured public eye performing classical Persian songs in Iran, and donating her proceeds from her show. She performed a lot of concerts and festivals such as the concert in Agha khan museum in 2016 in Toronto , concerts with Kiya Tabassian in Halifax and Montreal, and Tirgan festival in 2017, 2018, 2019, and 2021 in Toronto. Fariba opened a Canadian branch of Avaye Mehr music and art school where she continues to teach. Raphael Weinroth-Browne: Canadian cellist and composer Raphael Weinroth- Browne has forged a uniQue career and international reputation as a result of his musical creativity and versatility. Not confined to a single genre or project, his musical activities encompass a multitude of styles and combine influences from contemporary classical, Middle Eastern, and progressive metal music. His groundbreaking duo, The Visit, has played major festivals such as Wave Gotik Treffen (Germany), 21C (Canada), and the Cello Biennale Amsterdam (Netherlands). As one half of East-meets-West ensemble Kamancello, he composed “Convergence Suite,” a double concerto which the duo performed with the Windsor Symphony Orchestra to a sold out audience. Raphael's cello is featured prominently on the latest two albums from Norwegian progressive metal band Leprous; he has played over 150 shows with them in Europe, North America, and the Middle East. Raphael has played on over 100 studio albums including the Juno Award-winning Woods 5: Grey Skies & Electric Light (Woods of Ypres) and Juno-nominated UpfRONt (Ron Davis’ SymphRONica) - both of which feature his own compositions/arrangements - as well as the Juno-nominated Ayre Live (Miriam Khalil & Against The Grain Ensemble).
    [Show full text]
  • Identification of Urdu Ghazal Poets Using SVM
    Mehran University Research Journal of Engineering & Technology Vol. 38, No. 4, 935-944 October 2019 p-ISSN: 0254-7821, e-ISSN: 2413-7219 DOI: 10.22581/muet1982.1904.07 Identification of Urdu Ghazal Poets using SVM NIDA TARIQ*, IQRA EJAZ*, MUHAMMAD KAMRAN MALIK*, ZUBAIR NAWAZ*, AND FAISAL BUKHARI* RECEIVED ON 08.06.2018 ACCEPTED ON 30.10.2018 ABSTRACT Urdu literature has a rich tradition of poetry, with many forms, one of which is Ghazal. Urdu poetry structures are mainly of Arabic origin. It has complex and different sentence structure compared to our daily language which makes it hard to classify. Our research is focused on the identification of poets if given with ghazals as input. Previously, no one has done this type of work. Two main factors which help categorize and classify a given text are the contents and writing style. Urdu poets like Mirza Ghalib, Mir Taqi Mir, Iqbal and many others have a different writing style and the topic of interest. Our model caters these two factors, classify ghazals using different classification models such as SVM (Support Vector Machines), Decision Tree, Random forest, Naïve Bayes and KNN (K-Nearest Neighbors). Furthermore, we have also applied feature selection techniques like chi square model and L1 based feature selection. For experimentation, we have prepared a dataset of about 4000 Ghazals. We have also compared the accuracy of different classifiers and concluded the best results for the collected dataset of Ghazals. Key Words: Text classification, Support Vector Machines, Urdu poetry, Naïve Bayes, Decision Tree, Feature Selection, Chi Square, k-Nearest Neighbors, Ghazal, L1, Random Forest.
    [Show full text]
  • Dushant – Prince of Hindi Ghazal
    International Conference on Humanities, Literature and Management (ICHLM'15) Jan. 9-10, 2015 Dubai (UAE) Dushant – Prince of Hindi Ghazal Dr.Sardar Mujawar Singh. Abstract—Dushyant depicts not only a name, but also a name of After Shamsher Bahadur Singh, Dushyant Kumar, a very poetry or – Ghazal form. Dushyant and Ghazal have so intermingled bright star in the Hindi Ghazal sky, began shining brightly with that they have become substitutes to each other. Real Ghazal is its true grace. Dushyant is not only a name, but behind the surprisingly expressed through minimum words within a short span name, there is a great province of Ghazal, of the province of of time. Dushyant was well-reputed and expert in this arena. He put poetry. Real Ghazal is surprisingly expressed through Ghazal on top with a great skill. Before and after, Dushyant, there minimum words within a short span of time. Dushyant was had been a number of Ghazal writers, but among them all, Dushyant remained unique Ghazal-writer who earned a great respect and love well-reputed expert in this arena. He put Ghazal on top with a from his readers beyond imagination. No Ghazal-writer has achieved great skill. Before and after Dushyant, there had been a that much grace and fame as Dushyant Kumar.What was the reason number of Ghazal writers, but among them all, Dushyant of this? The only reason is it was said that the Ghazal by Dushyant remained unique Ghazal-writer who earned a great respect and was the fire-exploring words of poetry immensed with feelings.In his love from his readers beyond imagination.
    [Show full text]
  • Kayhan Kalhor/Erdal Erzincan the Wind
    ECM Kayhan Kalhor/Erdal Erzincan The Wind Kayhan Kalhor: kamancheh; Erdal Erzincan: baglama; Ulaş Özdemir: divan baglama ECM 1981 CD 6024 985 6354 (0) Release: September 26, 2006 After “The Rain”, his Grammy-nominated album with the group Ghazal, comes “The Wind”, a documentation of Kayhan Kalhor’s first encounter with Erdal Erzincan. It presents gripping music, airborne music indeed, pervasive, penetrating, propelled into new spaces by the relentless, searching energies of its protagonists. Yet it is also music firmly anchored in the folk and classical traditions of Persia and Turkey. Iranian kamancheh virtuoso Kalhor does not undertake his transcultural projects lightly. Ghazal, the Persian-Indian ‘synthesis’ group which he initiated with sitarist Shujaat Husain Khan followed some fifteen years of dialogue with North Indian musicians, in search of the right partner. “Because I come from a musical background which is widely based on improvisation, I really like to explore this element with players from different yet related traditions, to see what we can discover together. I’m testing the water – putting one foot to the left, so to speak, in Turkey. And one foot to the right, in India. I’m between them. Geographically, physically, musically. And I’m trying to understand our differences. What is the difference between Shujaat and Erdal? Which is the bigger gap? And where will this lead?” Kayhan began his association with Turkish baglama master Erdal Erzincan by making several research trips, in consecutive years, to Istanbul, collecting material, looking for pieces that he and Erdal might play together. He was accompanied on his journeys by musicologist/player Ulaş Özdemir who also served as translator and eventually took a supporting role in the Kalhor/Erzincan collaboration.
    [Show full text]
  • Volume9 Issue11(6)
    Volume 9, Issue 11(6), November 2020 International Journal of Multidisciplinary Educational Research Published by Sucharitha Publications Visakhapatnam Andhra Pradesh – India Email: [email protected] Website: www.ijmer.in Editorial Board Editor-in-Chief Dr.K. Victor Babu Associate Professor, Institute of Education Mettu University, Metu, Ethiopia EDITORIAL BOARD MEMBERS Prof. S. Mahendra Dev Prof. Igor Kondrashin Vice Chancellor The Member of The Russian Philosophical Indira Gandhi Institute of Development Society Research, Mumbai The Russian Humanist Society and Expert of The UNESCO, Moscow, Russia Prof.Y.C. Simhadri Vice Chancellor, Patna University Dr. Zoran Vujisiæ Former Director Rector Institute of Constitutional and Parliamentary St. Gregory Nazianzen Orthodox Institute Studies, New Delhi & Universidad Rural de Guatemala, GT, U.S.A Formerly Vice Chancellor of Benaras Hindu University, Andhra University Nagarjuna University, Patna University Prof.U.Shameem Department of Zoology Prof. (Dr.) Sohan Raj Tater Andhra University Visakhapatnam Former Vice Chancellor Singhania University, Rajasthan Dr. N.V.S.Suryanarayana Dept. of Education, A.U. Campus Prof.R.Siva Prasadh Vizianagaram IASE Andhra University - Visakhapatnam Dr. Kameswara Sharma YVR Asst. Professor Dr.V.Venkateswarlu Dept. of Zoology Assistant Professor Sri.Venkateswara College, Delhi University, Dept. of Sociology & Social Work Delhi Acharya Nagarjuna University, Guntur I Ketut Donder Prof. P.D.Satya Paul Depasar State Institute of Hindu Dharma Department of Anthropology Indonesia Andhra University – Visakhapatnam Prof. Roger Wiemers Prof. Josef HÖCHTL Professor of Education Department of Political Economy Lipscomb University, Nashville, USA University of Vienna, Vienna & Ex. Member of the Austrian Parliament Dr.Kattagani Ravinder Austria Lecturer in Political Science Govt. Degree College Prof.
    [Show full text]
  • Dr. Bhubaneswar Borooah Cancer Institute a Grant-In-Aid Institute of Department of Atomic Energy, Govt
    Tel : 09957033199 / 9957033212 E-mail : [email protected] Fax : 0361-2472636 www.bbcionline.org Office of the Director Dr. Bhubaneswar Borooah Cancer Institute A Grant-in-Aid Institute of Department of Atomic Energy, Govt. of India and a unit of Tata Memorial Centre (Mumbai) Gopinath Nagar, A. K. Azad Road, Guwahati-781016, Assam *** January 22, 2018 LIST OF ELIGIBLE CANDIDATES FOR APPEARING IN THE INTERVIEW FOR THE AD-HOC POST OF STAFF NURSE, ICU TECHNICIAN, OT TECHNICIAN, LABORATORY TECHNICIAN, RADIOTHERAPY TECHNOLOGIST, CSSD TECHNICIAN, ANAESTHESIA TECHNICIAN, PLUMBER, AC TECHNICIAN, JR. ENGINEER – ELECTRICAL (MAINTENANCE), ELECTRICAL TECHNICIAN, HOUSE KEEPING SUPERVISOR, DIETICIAN, PHYSIOTHERAPIST, SPEECH AND SWALLOWING THERAPIST, MOULD ROOM TECHNICIAN AND ASST. SECURITY CUM FIRE OFFICER AT DR BOROOAH CANCER INSTITUTE, GUWAHATI AGAINST THE ADVERTISEMENT NO.BBCI-TMC/MISC-27/ADV./4451/2017 DTD.18.12.2017 The eligible candidates for the ad-hoc post of STAFF NURSE, ICU TECHNICIAN, OT TECHNICIAN, LABORATORY TECHNICIAN, RADIOTHERAPY TECHNOLOGIST, CSSD TECHNICIAN, ANAESTHESIA TECHNICIAN, PLUMBER, AC TECHNICIAN, JR. ENGINEER – ELECTRICAL (MAINTENANCE), ELECTRICAL TECHNICIAN, HOUSE KEEPING SUPERVISOR, DIETICIAN, PHYSIOTHERAPIST, SPEECH AND SWALLOWING THERAPIST, MOULD ROOM TECHNICIAN AND ASST. SECURITY CUM FIRE OFFICER at Dr. B. Borooah Cancer Institute, Guwahati in response to the advertisement NO.BBCI-TMC/MISC- 27/ ADV./4451/2017 DTD.18.12.2017 published in the newspaper (The Assam Tribune dtd.19.12.2017) are as follows: [A] List of eligible candidates for the ad-hoc post of STAFF NURSE : 1. Ms. Konsham Sonia Devi, Imphal West District, Manipur 2. Ms. Laishram Amita Devi, Imphal West District, Manipur 3. Mr. Kamal Kanti Sen Choudhury, South Tripura, India 4.
    [Show full text]
  • The Baltistan Movement and the Power of Pop Ghazals
    Jan Magnusson Lund University, Sweden The Baltistan Movement and the Power of Pop Ghazals This article investigates the role of locally produced pop ghazal music in the politics of the people of Baltistan, a community living in the western Hima- layas on both sides of the border between India and Pakistan and character- ized by its blend of Shi’ite and Tibetan culture and its vernacular Tibetan dialect. The pop ghazals conjure up an alternative narrative of local history and belonging that is situated in a Himalayan, rather than South Asian, con- text. Pop ghazals are emblematic for local resistance against the postcolonial nationalism of the Indian and Pakistani nation-states and are at the core of the Baltistan Movement, a western Himalayan social movement emerging in the past two decades. The analytical perspective is a continuation of Manuel’s (1993) work on the cassette culture of northern India that explores the politi- cal power of the pop ghazal further by drawing on Scott’s (1990) concept of hidden/public transcript and Smelser’s (1968) social strain model of the dynamics of social change. keywords: Baltistan—Himalaya—Tibet—Kargil—Skardu—ghazal— cassette culture—hidden/public transcript—social strain—social change Asian Ethnology Volume 70, Number 1 • 2011, 33–57 © Nanzan Institute for Religion and Culture an pop music play a role in Himalayan contemporary social change? In the C Baltistan Movement of the western Himalayas, pop versions of the tradi- tional Arabic, Persian, or Urdu ghazal sung in the vernacular Tibetan dialect seem to have acquired a political power by innocuously expressing local political resis- tance against the nation-states of India and Pakistan.
    [Show full text]
  • Reproductions Supplied by EDRS Are the Best That Can Be Made from The
    DOCUMENT RESUME ED 476 535 CS 511 995 TITLE Arabic Poetry: Guzzle a Ghazal! [Lesson Plan]. SPONS AGENCY Council of the Great City Schools, Washington, DC.; MCI WorldCom, Arlington, VA.; National Endowment for the Humanities (NFAH), Washington, DC. PUB DATE 2002-00-00 NOTE 8p. AVAILABLE FROM For full text: http://edsitement.neh.gov/lesson_index.asp. PUB TYPE Guides Classroom Teacher (052) EDRS PRICE EDRS Price MF01/PC01 Plus Postage. DESCRIPTORS *Arabic; Class Activities; Cultural Context; Curriculum Enrichment; High Schools; *Language Arts; Learning Activities; Lesson Plans; Oral Tradition; *Poetry; *Rhyme; Skill Development; Student Educational Objectives; Units of Study IDENTIFIERS Poetic Forms; Standards for the English Language Arts ABSTRACT The Bedouins of ancient Arabia and Persia made poetry a conversational art form, and several poetic forms developed from the participatory nature of tribal poetry. Today in most Arab cultures, people may still experience public storytelling and spontaneous poetry challenges in the streets. The art of turning a rhyme into sly verbal sparring is considered a mark of intelligence and a badge of honor. The "ghazal" is an intricate pre-Islamic poetic form that is thought to have developed through the practice of poetic challenges. It is a series of couplets, called ushers," no more than a dozen or so, which are related, but not connecting in a narrative pattern. The first couplet, or "matia," has a rhyme pattern, " kaafiyaa," preceding a single word or short phrase, refrain, "radif," at the end of each line. Thereafter, every couplet shows a pattern wherein the first line does not rhyme, but the second line ends in the "kaafiyaa" and the "radif." Finally, the last couplet, the "maqta," contains the "takhallis," the poet's name or pen-name.
    [Show full text]