aiume

21/07/201105/04/2020

Workshop for Prins Claus Conservatorium Groningen (Netherlands)

Participants from different age groups and cultural backgrounds instantly make music together. They gain self-confidence by making music together even without previous experience. Site-specific workshops for educational and cultural institutions are conducted in English, German, Dutch and French. www.aiume.org

About this video clip
Manickam Yogeswaran recapitulates the variation on a traditional rhythmic pattern created by students.

Workshop at Prins Claus Conservatorium Groningen (The Netherlands), 30 June 2011.

14/07/201104/05/2020

Learning from one another

Rabindranath Tagore sketched by Dutch artist Martin Monnickendam during a lecture tour in September 1920 © Stadsarchief Amsterdam

In their 1930 discussion, Rabindranath Tagore and Albert Einstein sought to overcome the predicament that “really good music, whether of the East or of the West, cannot be analyzed [Einstein] … and what deeply affects the hearer is beyond himself [Tagore]”

It is in this spirit of learning from one another that we invite fellow musicians and educators to join us; each pursuing his or her quest for the “treasure which is our own” (Zimmer), irrespective of our cultural roots.

As initiators of AIUME, we invite all members of the teaching community to resist compartmentalisation of the arts in general (Coomaraswamy) when they have the potential to transcend discrimination based on ethnicity, gender issues or sectarian beliefs.

“The rhythmic, breathing quality of form is the test of a work of art”
– Stella Kramrisch

Recommended reading

Coomaraswamy, Ananda K. The Transformation of Nature in Art. New Delhi: Munshiram Manoharlal, 2004.
Kramrisch, Stella. The Art of India: Traditions of Indian Sculpture, Painting and Architecture. London: The Phaidon Press (2nd ed.) 1955.
Dutta, Krishna and Andrew Robinson (eds.). Rabindranath Tagore: an anthology. London: Picador, 1997.
Zimmer, Heinrich and Campbell, Joseph (Editor). Myths and Symbols in Indian Art and Civilization. Bollingen Series VI, Princeton University Press. Princeton, 1946/1972.

De karnatische muziek van Zuid-India

In de zogenaamde “karnatische” muziek van Zuid-India vormt elke compositie, lied, gedicht, dans of kunstwerk een steentje in een groot mozaïek.

Tyagaraja (1767-1847) as visualised by S. Rajam — Tyagaraja (1767-1847) depicted by S. Rajam

Volgens de Indiase traditie verrijken de kunsten het leven van iedereen. Muziek wordt als de makkelijkste manier beschouwd om dit ideaal naar de praktijk te vertalen. Het Sanskriet woord sampurna (spreek uit: sampoerna) betekent een reeks van zeven tonen. In ruimere zin betekent sampurna “volledig, heel, helder klinkend, sonoor”, kortom iets dat mensen in alle culturen en tijdperken als harmonisch en bevredigend hebben ervaren.
Vanuit het begrip “sampurna” verkennen wij samen hoe alle artistieke uitingen van Zuid-India onderling verbonden zijn. Muziek is terug te vinden in schilderingen en sculpturen, in dans, in de kunst van het alledaagse leven, in de cyclus van seizoenen en op de kalender van tempelfeesten. Door middel van raga (melodie), tala (ritme) en rasa (letterlijk: ‘smaak’, ‘essentie’, ‘genezende kracht’) spreekt muziek tot de verbeelding van musici en luisteraars.

In de Indiase literatuur kom je vaak de spreekwoordelijke “64 kunsten” tegen. Dit omvat eigenlijk “alles” – kunsten en andere activiteiten – waaraan ons leven zijn gevoel van waarde en schoonheid ontleent. Het is niet alleen een vraag van onze persoonlijke “lifestyle”, maar gaat ook over een gemeenschappelijke manier van leven. In de oude tradities vormden en vormen beiden een geheel. Deze manier van samen denken, samen doen en samen musiceren verdient ook bij ons een herwaardering.

Tekst: Ludwig Pesch

13/07/201108/06/2020

Manickam Yogeswaran – reviews

“A singer in the Indian classical tradition, a great improviser and someone who brings a completely different approach to intonation.” – SINGER MAGAZINE

“The contemporary feel of the music is a result of the catchy harmonies and melodies melding perfectly with the historical roots and Tamil musicianship. … Astounding!” – Matthew Forss –insideworldmusic.blogspot.com

“Laced with haunting Tamil vocals by British-based musician Manickam Yogeswaran … shaping its emotional crescendo.” – FILM SCORE DAILY (“25th hour” filmscore by Terence Blanchard)

“skilful modulation … soft and malleable voice” – THE HINDU

“For Yogeswaran’s flight of imagination there was only his own piece, a South Indian Ave Maria … a high point.” (The Shout Christmas Show) – THE GUARDIAN

”Yoga’s vocal technique comfortably manages a range of pitch, intensity, volume and speed … designed to carry words of peace, love and devotion. – (CD review “Peace for Paradise”) Matthew Shorter – GLOBAL MUSIC CULTURE

Yogeswaran’s music is steeped in the Temple traditions of South India.
He is a disciple of Padmabushan Sangitha Kalanidhi Sri T V Gopalakrishnan.
Yogeswaran performs worldwide: from traditional “Carnatic” formats (accompanied by violin, mirdangam, kanjira and tambura) to orchestras just as in musicals and in the context of Western contemporary music.
As noted by Indian and Western reviewers, his concerts are marked by a rear blend of creativity, virtuosity and high emotive quality.
He was the first ever Tamil voice in Hollywood.
More on https://www.facebook.com/manickam.yogeswaran >>

13/07/201109/05/2022

Carnatic music workshops for all

Lotuspond_Workshop_Participants_IMG_5214

Melodious music and captivating rhythms in which to get immersed; joyfully and immediately; with self-confidence yet always together even without having any previous experience.

Site-specific workshops can be arranged and conducted in English, German, Dutch and French.

Testimonials >>

For further inquiries, please send us an email >>

13/07/201117/07/2022

Peace For Paradise – CD Review by Matthew Forss

CD Review: Yogeswaran Manickam’s ‘Peace For Paradise’

Peace For Paradise | Fuego Wednesday, July 13, 2011
The Sri Lankan-born, U.K.-based musician incorporates peaceful melodies and Indian classicism with historical, poetic works and a modern instrument repertoire. A mix of Tamil and English lyric songs include the sitar, darabuka, oud, accordion, guitar, violin, flute, and various percussion and keyboard arrangements. The contemporary feel of the music is a result of the catchy harmonies and melodies melding perfectly with the historical roots and Tamil musicianship. As a film composer, Yoga M. has gained exposure creating pop, dance, new age, and global rhythms that sound majestic and infectious. The ten songs represent a solid mix of talented musicians, instruments, and contemporary arrangements without the typical raga or snake charmer stereotype designations. In particular, the music is fresh, emotive, and a blessing to listen to. Anyone with an interest in Indian/South Asian global musicians should definitely check it out. The most comparable group could be a fictional meeting of Tulku and Trilok Gurtu. Astounding! ~ Matthew Forss

Yogeswaran’s music is steeped in the Temple traditions of South India.
He is a disciple of Padmabushan Sangitha Kalanidhi Sri T V Gopalakrishnan.
Yogeswaran performs worldwide: from traditional “Carnatic” formats (accompanied by violin, mirdangam, kanjira and tambura) to orchestras just as in musicals and in the context of Western contemporary music.
As noted by Indian and Western reviewers, his concerts are marked by a rear blend of creativity, virtuosity and high emotive quality.
He was the first ever Tamil voice in Hollywood.
More on https://www.facebook.com/manickam.yogeswaran >>

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.
Mahatma Gandhi – A unique musician” by Namrata Mishra >>