“True happiness is not at all expensive. It depends upon that natural spring of beauty and of life, harmony of relationship. Ambition pursues its own path of self-seeking by breaking this bond of harmony, digging gaps, creating dissension. Selfish ambition feels no hesitation in trampling under foot the whole harvest field, which is for all, in order to snatch away in haste that portion which it craves. Being wasteful it remains disruptive of social life and the greatest enemy of civilization.” | Read the full lecture >>
Source: Rabindranath Tagore in “Robbery of the soil” (Calcutta University, 1922), posted by Tony Mitra on a blog “Exploring citizens duty on food security, environmental sustainability, covid and freedom issues” (27 September 2015) https://www.tonu.org/tag/robbery-of-the-soil/ Date visited: 12 January 2021
“Gandhi is a universal figure. […] He is affirmed and avowed in many parts of the world while Indians might of course forget him or scorn him or defile him as they are doing now.” – Historian Ramachandra Guha in conversation with sociologist Nandini Sundar (The Wire, 21 March 2022) >>
I would go so far as to say that Western music which has made immense strides should also blend with the Indian. Visva-Bharati is conceived as a world university […] I have a suspicion that perhaps there is more of music than warranted by life, or I will put the thought in another way. The music of life is in danger of being lost in the music of the voice. Why not the music of the walk, of the march, of every movement of ours, and of every activity? […] So far as I know, Gurudev [Rabindranath Tagore] stood for all this in his own person.
In true music there is no place for communal differences and hostility. True music is created only when life is attuned to a single tune and a single time beat. Music is born only where the strings of the heart are not out of tune.
I interpret image-worship in two ways, in one form of image-worship, the person who contemplates the image becomes absorbed in the contemplation of the qualities for which it stands. This is image-worship in its wholesome form – in the other form of it, the person who contemplates the image does not think about the qualities but looks upon the image itself as the primary thing.
Gandhi on image worship in Singing Gandhi’s India, p. 78
Born on October 2, 1869, the father of the nation is known of his struggles for non-violence, equality and freedom. However, does anyone know how good Gandhi was as a student?
Mahatma Gandhi was born in Porbandar on October 2, 1869 and received primary education in the city. He was not a bright student and used to learn by writing with his finger in the dust. He was neither considered to be very gifted in the classroom nor in the playing field. However, a book ‘Mahatma on the Pitch: Gandhi & Cricket in India’ talks about how his fondness of cricket. – Read more in the Indian Express (9 October 2018) >>
Unveiling of new UN stamps at “Non-violence in Action” (on the occasion of the International Day of Non-Violence)
“You must not lose faith in humanity. Humanity is like an ocean; if a few drops of the ocean are dirty, the ocean does not become dirty.” – Mahatma Gandhi quoted by H.E. Mrs. María Fernanda Espinosa Garcés, President of the 73rd Session of the UN General Assembly on the occasion of the International Day of Non-Violence at the United Nations >>
Listen to Tagore: Unlocking Cages: Sunil Khilnani tells the story of the Bengali writer and thinker Rabindranath Tagore: https://bbc.in/1KVh4Cf >> The acclaimed BBC 4 podcast series titled Incarnations: India in 50 Lives has also been published in book form (Allen Lane).
“I was moved by how many of these lives pose challenges to the Indian present,” he writes, “and remind us of future possibilities that are in danger of being closed off.”1
Gopalkrishna Gandhi on misquoting Mahatma Gandhi (addressing a gathering at Alladi Memorial Trust and the Centre for Human Rights of University of Hyderabad in 2017)
The month of September offered an opportunity to celebrate the centenary of a successful lecture tour by Rabindranath Tagore (1861-1941). It was organized by Dutch citizens with whom he shared a commitment to a cultural dialogue on eye-level. A Dutch press report highlights Tagore’s “silver voice” that conveyed his admiration for the songs of Bengal’s village mystics. His lectures attracted large audiences: 1
Several factor led [his Dutch translator, the writer Frederik van] Eeden – and like-minded intellectuals in Europe of the interbellum – to make an idol of Tagore as the poet-king the world was waiting for. 2
The impact or “hype” caused by his writings and lectures has been compared to that surround modern day celebrities going by a Dutch article published to mark the 100th anniversary in September 2020. 3
Today we are free to believe whether or not this was due to his charisma or indeed a deeper understanding, rather than unrealistic expectations that often arise from “western interest in spirituality as an antidote to cultural pessimism, modernism, and materialism”.
Historical context
By 1920 Tagore’s “celebrity” status had already attracted Dutch readers, enjoying highly popular edition of his Gitanjali based on the English edition hailed by W. B. Yeats. It was for this collection of poetry for which Tagore was awarded the Nobel Prize for Literature in 1913 “because of his profoundly sensitive, fresh and beautiful verse, by which, with consummate skill, he has made his poetic thought, expressed in his own English words, a part of the literature of the West”.
By 1920 extraordinary success story had already to both, the publication and staging of his favourite play The Post Office4 (Dutch De brief van den koning).
“De brief van den koning” (Dakghar)
“De brief van den koning” (Dakghar)
“De brief van den koning” (Dakghar)
“De brief van den koning” (Dakghar)
“De brief van den koning” (Dakghar)
“De brief van den koning” (Dakghar)
“De brief van den koning” (Dakghar)
“De brief van den koning” (Dakghar)
Rie Cramer, a renowned Dutch children’s book illustrator, writer and freedom fighter in her own right, had created six miniatures included in a bibliophile edition enjoyed by generations of Dutch readers ever since. Besides adding beauty she contributed to a greater awareness of the fact that “Tagore uses the notion of freedom to decry narrow nationalistic boundaries, governed by myopic ambition and greed […] which bring out different facets of his broader abstraction of freedom. 5
In the Netherlands, Rabindranath Tagore was hailed by some as India’s “Poet King”, inspiring Dutch composers to create new and original work besides being a much sought after speaker all over Europe in view of his self-assigned mission to improve international relations in association with public figures from mutually hostile nations.
Yet Tagore’s irrepressible sense of independence and personal freedom is evident from many of the poems he hand collected and translated for the benefit of foreign friends, published under the title Gitanjali; and even more explicitly in a letter written a few years later, addressed to his friend, the poetess Victoria Ocampo whom he had sought to honour by using her name in the Sanskrit equivalent “Vijaya”:
Whenever there is the least sign of the nest becoming a jealous rival of the sky [,] my mind, like a migrant bird, tries to take … flight to a distant shore. 6
‘Where the mind is without fear!’: A poem from Gitanjali in Tagore’s calligraphy in “Tagore, Gitanjali and the Nobel Prize by Nilanjan Banerjee, India Perspectives, Vol. 24 No. 2/2010.
Freedom
In view of Tagore’s artistic and educational priorities the gathering commemorating his visit focused on the ways “freedom” permeates his legacy. 7
On 25 September 2020 the same venue – since 1968 a popular music venue known as Paradiso – welcomed a small gathering sharing an interest in Tagore’s work and its relevance for our times. Our discussion was enriched by contributions from other parts of the country, and by Santal educationist Dr. Boro Baski who hails from one the villages near Tagore’s Visva-Bharati University at Santiniketan (West Bengal). 8 The values and forward looking principles envisaged for his newly founded “World University” also figured prominently during meetings arranged in the course of Tagore’s successful lecture-cum-fundraising tour in 1920. 9
Rabindranath Tagore’s ideas left an impression worth debating today, be it on a personal level or perhaps even in a larger context, as discussed among the participants during and after the 2020 commemoration in Paradiso:
I am not against one nation in particular, but against the general idea of all nations. What is the Nation? It is the aspect of a whole people as an organized power. This organization incessantly keeps up the insistence of the population on becoming strong and efficient. But this strenuous effort after strength and efficiency drains man’s energy from his higher nature where he is self-sacrificing and creative. 10
His foresight is evident from one of his lectures on the danger posed by nationalism, anywhere in the world:
His life and work remain a source of inspiration, whether we focus on the creative artist he was – the world famous poet, musician and painter – or on the social activist who remains an example to emulate for many: today and for future generations Rabindranath Tagore’s legacy may be that of “The Argumentative Indian” Nobel Awardee Amartya Sen wrote about so eloquently as Visva-Bharati’s most prominent alumnus 11 just as the “Myriad-Minded Man”. 12
Rabindranath Tagore and his role in fostering “sympathy of the East and West” during his visit to The Netherlands in fall 1920
In his poetry, for which he received the Nobel Prize for Literature as Asia’s first awardee in 1913, Rabindranath Tagore uses musical instruments as metaphors for self-realization and transcendence; notably the vina (or “veena”, often translated as “harp”) and the flute. In a letter to Frederik van Eeden, his Dutch translator, he wrote in 1913, seven years before visiting the Netherlands:
Very often I think and feel that I am like a flute – the flute that cannot talk but when the breath is upon it, can sing. I am sure you have seen me in my book and I shall never be able to make myself seen to you when we meet; for the body of the lamp is dark, it has no expression, only its flame has the language. 13
In another letter to Van Eeden, Tagore wrote about a quest he shared with leading minds all over the world:
Still I cannot deny that this award of the Nobel Prize has been a great thing. It is the handshake of sympathy of the East and West across the water – it has proclaimed the oneness of humanity. 14
In 1920 Tagore spoke before packed houses including the “free congregation”: the humanistic and cosmopolitan “Vrije Gemeente” whose highly placed members had built a magnificent church at the Weteringschans in Amsterdam. (It now houses Amsterdam’s prime pop venue, known as “Paradiso”.)
Tagore’s lecture tour made a lasting impression on countless listeners:
Rabindranath Tagore (1861-1941) and the Dutch writer, psychiatrist and Utopist Frederik van Eeden (1860-1932) exchanged correspondence between 1913 and 1928, and met in Amsterdam in 1920. When Van Eeden discovered Tagore’s poetry in 1913, he experienced a feeling of profound recognition and went on to translate a considerable amount of Tagore’s poetic work into Dutch, starting with Gitanjali [Wijzangen]. Van Eeden’s translations became very popular in the Netherlands, also among composers. 15
Van Eeden’s father (the elder Frederick van Eeden) was in fact the co-founder of the “Colonial Museum” in nearby Haarlem in 1864 that moved to a grand new building in Amsterdam in 1923. 16
“As Blind Minstrel in Phalguni” by Abanindranath Tagore (detail); title page, Sangeet Natak Centenary Number (New Delhi 1961)
Even though the above quote confirms his fondness for the simple bansuri bamboo flute, an instrument he often heard played during Santal festivities – on “tribal” land where Santiniketan was founded – Tagore did not play any musical instrument other than the indispensable drone:
“I practiced my songs with my tamburā resting on my shoulder.” (My Boyhood Days, p. 38,Calcutta: Visva-Bharati 1997).
Later he was depicted as playing a similar string instrument, namely as a participant in his own music dramas (see the detail from Abanindranath Tagore’s painting reproduced here).
Tagore’s reception in Europe amounted to a “vogue”, Dutch “een ware rage”, as described by Rokus de Groot in his account of the atmosphere and extraordinary circumstances surrounding Tagore’s visit, making “Tagore into a major text source in Dutch new music of the first half of the twentieth century”. For details read “Rabindranath Tagore and Frederik van Eeden: Reception of a ‘Poet King’ in the Netherlands” in Hindustani Music: Thirteenth to Twentieth Centuries. Codarts / Manohar New Delhi 2010 pp. 521-76; find a copy in the library: http://www.worldcat.org/oclc/699235007[↩]
“‘Met zilveren stemgeluid leest dr. Tagore de rede, die hij te voren op papier heeft gebracht. Hij vertelt van de dorpsmystici ginds in Bengalen, van mannen en vrouwen wier godsdienst het Hindoeïsme is en die in religieuze devotie het dagelijksche gebeuren rondom hen vertolken in liederen van zeldzame bekoring.’ Tagores bezoek maakte diepe indruk en bracht in Nederland een ware rage teweeg. https://www.amsterdam.nl/stadsarchief/stukken/immigranten/tagore-amsterdam/[↩]
The mission statement of its university reiterates Tagore’s vision expounded to the intended beneficiaries and benefactors, be they from all over India or from abroad: “Visva-Bharati represents India where she has her wealth of mind which is for all. Visva-Bharati acknowledges India’s obligation to offer to others the hospitality of her best culture and India’s right to accept from others their best.” http://visvabharati.ac.in/index.html[↩]
“Other than Dr. Eeden Rabindranth was introduced with two other poets. One, Henri Borel, and the other, Raden Mas Noto Suroto. Borel translated two dramas of Rabindranath, The King of the Dark Chamber [1914] and The Post Office [1916] in Dutch. The second one became very much popular in Holland. Rabindranath in Holland (contd-1)-1920 by Smaraka Grantha. https://sesquicentinnial.blogspot.com/2012/04/rabindranath-in-holland-contd-1-1920.html[↩]
Nationalism by Rabindranath Tagore. Penguin Books – Great Ideas. London: 2010 [first ed. 1917], pp. 76-77; find a copy in the library: http://www.worldcat.org/oclc/1099200491[↩]
To appreciate Tagore’s struggles and achievements, see The Argumentative Indian: Writings on Indian History, Culture and Identity by Amartya Sen; find a copy in the library: http://www.worldcat.org/oclc/953774730[↩]
See Rabindranath Tagore: the myriad-minded man by Krishna Dutta and Andrew Robinson (a biography that “focuses on the man, not his art”); find a copy in the library: http://www.worldcat.org/oclc/935863491[↩]
See Letter#2: Rabindranath to Van Eeden, August 9, 1913 in “Tagore in The Netherlands” by Liesbeth Meyer https://www.parabaas.com/rabindranath/articles/pMeyer.html “Believe me, my friend, my heart goes out to you but I am inarticulate. I have to speak to you in a language not my own. The best that I have in me I give out in songs – no, I can not even say that I give it out – it comes out of itself. The superconscious self of mine which has its expression in beauty is beyond my control – and my ordinary self is stupid and awkward before men. Very often I think and feel that I am like a flute – the flute that cannot talk but when the breath is upon it, can sing. I am sure you have seen me in my book and I shall never be able to make myself seen to you when we meet; for the body of the lamp is dark, it has no expression, only its flame has the language.”[↩]
This exhibition at the Tropenmuseum (today’s Wereldmuseum Amsterdam) featured two strands of shared memories: one celebrating the sources of inspiration shared by Indian and Western artists; and the other honouring migrants from India via Suriname.
Visitors experienced both strands as being intertwined by means of songs and memorabilia including historical photographs, video clips and historical film footage.
Concept and research by Ludwig Pesch (www.aiume.org) in collaboration with museum staff and Architectenbureau Jowa (www.jowa.nl) for display between 2007 and 2017.
This exhibition was one of the five themes in the exhibition “Round and About India”: Wanderings
For millennia, storytellers and actors have spread their stories to every corner of India: stories about gods and heroes just as those of “ordinary mortals” revolting in the face of injustice or oppression of every conceivable kind.
Today their narrative boxes, scrolls and performances are often replaced by modern media, and this hardly for want of interest – quite on the contrary: it is a deeply felt interest in one’s identity or cultural roots that keeps these stories alive.
“Round and About India” therefore invited visitors to immerse themselves in stories told by people, ideas or objects even in the absence of a universally accepted or “final” written edition. What holds these stories together is the recurring theme of “wanderings”: a perennial flow of people attracted to local festivals, going on a pilgrimage or persuaded to migrate to distant lands for a variety of reasons.
In this exhibition these stories relate to dance, theatre and music traditions from different regions.
“Of all living creatures in the world, man has his vital and mental energy vastly in excess of his need, which urges him to work in various lines of creation for its own sake […] Life is perpetually creative because it contains in itself that surplus which ever overflows the boundaries of the immediate time and space.” – Rabindranath Tagore in The Religion of an Artist1
Listen to Tagore: Unlocking Cages: Sunil Khilnani tells the story of the Bengali writer and thinker Rabindranath Tagore: https://bbc.in/1KVh4Cf >> The acclaimed BBC 4 podcast series titled Incarnations: India in 50 Lives has also been published in book form (Allen Lane).
“I was moved by how many of these lives pose challenges to the Indian present,” he writes, “and remind us of future possibilities that are in danger of being closed off.”2
Quoted by Pulak Dutta (p. 97) from Sisir Kumar Das (ed.). The English Writings of Rabindranath Tagore, Vol 3. New Delhi: Sahitya Akademi 2006 (pp. 687-8) [↩]
Sunil Khilnani quoted in a review by William Dalrymple in The Guardian, 14 March 2016[↩]
“Unity in Diversity, Antiquity in Contemporary Practice? South Indian Music Reconsidered” by Ludwig Pesch (Amsterdam) in Gardner, Matthew; Walsdorf, Hanna (Hrsg.). Musik – Politik – Identität. Göttingen: Universitätsverlag, 2016 (Musikwissenschaften)
This essay evolved from a presentation for participants at the music conference “Music | Musics. Structures and Processes” held at Goettingen University (4-8 September 2012); with due credits to the editors.
“an inspiration to many [and] the highlight of the conference for me” – fellow author/presenter Paul Christiansen
ISBN13: 978-3-86395-258-7
To download this essay (PDF 500 KB), click here >>
The “classical” music of South India is an amalgam of regional traditions and practices. Increasingly codified in the past five centuries, it is now known as Carnatic or Karnatak music. Like the Sanskrit term Karnâtaka Sangîtam, these Anglicisms denote “traditional” music besides distinguishing South Indian music from its northern (Hindustani) counterpart. Progressive scholars have long espoused the common goal of making teaching more effective for both idioms while safeguarding “authentity”. It may therefore seem odd that detailed notation has not been embraced by practitioners.
This paper probes the resilience of oral transmission in the face of modernity. It looks into the concerns shared by musicians who, while belonging to different cultures and periods, have much in common as far as performing practice is concerned: close integration of vocal and instrumental music. The role of manuscripts in Minnesang, as described by McMahon, also applies to Carnatic music: “songs were handed down in an oral tradition [and] the manuscripts were not intended to be used by performers.” (The Music of Early Minnesang Columbia SC, 1990.)
It will be argued that this fact is not just a question of some musicians’ conservatism, ignorance or irrationality; nor would it put the continuity of a living tradition at risk. On the contrary, Carnatic music reaches global audiences today while “ancient” roots are claimed even by those who cherish its association with musicians from other cultures throughout the 20th century.
About this publication
Music – Politics – Identity
Music always mirrors and acts as a focal point for social paradigms and discourses surrounding political and national identity. The essays in this volume combine contributions on historical and present-day questions about the relationship between politics and musical creativity.
The first part concentrates on musical identity and political reality, discussing ideological values in musical discourses.
The second part deals with (musical) constructions, drwawing on diverse national connections within our own and foreign identity.
Matthew Gardner & Hanna Walsdorf (eds.)
Musik – Politik – Identität
Musik ist immer auch Spiegel und Kristallisationspunkt gesellschaftlicher Paradigmen und politisch-nationaler Identitätsdiskurse. Der vorliegende Sammelband vereint Beiträge zu historischen und gegenwärtigen Fragestellungen, die um das Verhältnis von Politik und musikalischem Schaffen kreisen.
Im ersten Teil sind Beiträge zusammengefasst, die sich mit „Musikalischer Identität und politischer Realität“ befassen und dabei ideologische Zuschreibungsprozesse im Musikdiskurs thematisieren.
Der zweite Teil des Bandes umfasst Betrachtungen über „(Musikalische) Konstruktionen von eigener und fremder Identität“ aus verschiedensten nationalen Zusammenhängen.
Matthew Gardner & Hanna Walsdorf (Hg.)
Inhalt / Contents
Hanna Walsdorf und Matthew Gardner Vorwort
I Musikalische Identität und politische Realität
Hanna Walsdorf Deutsche Nationalmusik? Ein diskursgeschichtlicher Annäherungsversuch
Mauro Fosco Bertola „Die Musik ist mediterran“: Orient, Latinität und Musikgeschichte, oder: Wie Nietzsche 1937 Italiens koloniale Macht legitimieren sollte
Yvonne Wasserloos „Nordische Musik“ als Faktor der Propaganda der Nordischen Gesellschaft und der DNSAP in Dänemark um 1940
Simon Nußbruch „Was ließen jene, die vor uns schon waren…?“ Musik in der Bündischen Jugend nach 1945
Gilbert Stöck Methoden musikalischer Opposition in Portugal während der Salazar-Diktatur bei Jorge Peixinho und José Afonso
Paul Christiansen ‘The Stakes Are Too High For You to Stay Home’: Divergent Uses of Music in TV Political Ads in the 1964 U.S. Presidential Election
II (Musikalische) Konstruktionen von eigener und fremder Identität
Matthew Gardner ‘Das Land ohne Musik’? National Musical Identity in Victorian and Edwardian England
Rebekka Sandmeier Reflections of European Culture in the Grey Collection (National Library of South Africa)
Mario Dunkel Jazz and the Emergence of the African-Roots Theory
Dorothea Suh Achim Freyers Mr. Rabbit and the Dragon King: Eine Interpretation des koreanischen P’ansori Sugungga
Ludwig Pesch Unity in Diversity, Antiquity in Contemporary Practice? South Indian Music Reconsidered
