articles – Page 2

03/02/202329/10/2023

True happiness according to Rabindranath Tagore

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

“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

Worldcat lists compiled by Ludwig Pesch

Carnatic (South Indian classical) music

Rabindranath Tagore: works by and about the influential writer, humanist and social reformer

Indian performing arts

History

Publications, book chapters and articles by Ludwig Pesch

03/02/202303/02/2023

“Accept each other’s right to be human with dignity” – Mahasweta Devi on what it takes for cultures to survive

I see one India in the pattern. You see another. Light and shadow play. History and modernity collide. Superstition and myth, Rabindrasangeet and rap, Sufi and Shia and Sunni, caste and computers, text and sub-plot, laughter and tears, governments and oppositions, reservations and quotas, struggles and captivity, success and achievement, hamburgers and Hari Om Hari, Sanskrit and sms, the smell of rain and the sound of the sea. A seamless stitching. Many, many hands have stitched, are stitching and will continue to stitch India. […]

I cling to the belief that for any culture as old and ancient as ours to have survived over time and in time, there could only be one basic common and acceptable core thought: humaneness. To accept each other’s right to be human with dignity. This then is my fight. My dream. In my life and in my literature. – Mahasweta Devi during her inaugural speech for the Frankfurt Book Fair titled “The Republic of Dreams”
Source: Tehelka, 21 October 2006 | Learn more: https://indiantribalheritage.org/?p=7298

Mahasweta Devi 2006 Frankfurt Book Fair – Tehelka Download

What Are Human Rights?
“Human rights are rights inherent to all human beings, regardless of race, sex, nationality, ethnicity, language, religion, or any other status. Human rights include the right to life and liberty, freedom from slavery and torture, freedom of opinion and expression, the right to work and education, and many more. Everyone is entitled to these rights, without discrimination.”
Learn more : Human rights | United Nations >>

27/01/202327/01/2023

The tambura (tanpura)

The tambura – also known as tanpura – has long served as India’s most important accompaniment. It accompanies vocal and instrumental performers as well as dance musicians. It has embellished the salons of nobles, merchants and courtisans long before its arrival on the modern concert stage.

Its present form with four strings has been known since the 17th century. It combines the properties of two types of instruments, namely the ancient zither (veena or been) and the present long-necked lute (Sarasvati veena, sitar). Its function and manner of playing distinguishes the tambura from similar instruments used in neighbouring countries. This is because Indian musicians have used a fundamental note since about the 13th century.

Hundreds of melody types – known as raga (lit.’colours’) – have since been created, rediscovered and analysed. They all arise from a fundamental note, known as ‘sadja’, which is articulated as ‘Sa’ during a lesson or vocal performance.

The fundamental note is continuously sounded as the tambura’s ‘supporting’ or ‘base’ note (the bourdon or drone of western music). It is freely chosen in accordance with the vocal or instrumental range of the main performer.

With these basic elements composers, musicians and dancers are able to evoke any conceivable mood or aesthetic experience (rasa). This requires no more than a few additional notes, usually arranged in a particular sequence by which they are readily recognised by discerning listeners. The notes heard in any given raga are drawn from among the proverbial ‘seven notes’ (saptasvara). A competent musician also knows which notes need to be modified by means of embellishments (gamaka) and subtle shades achieved by intonation (sruti).

Text: Ludwig Pesch | Nederlands | Deutsch | Art: Arun VC

Listen to this tambura, played by Ludwig Pesch

Tanjore-style Carnatic tambura.JPG — Photo (C) Martin Spaink Wikimedia

27/01/202327/01/2023

Die Tambura

Das wichtigste Begleitinstrument Indiens zierte die Salons von Fürsten, Kaufleuten und Kurtisanen. Seit dem frühen 20. Jahrhundert beflügelt der Klangreichtum gerade dieses Instruments die Fantasie eines neu entstehenden Konzertpublikums. Seither ist die aktive Teilnahme von Rasika genannten Musikliebhabern nicht mehr aus dem Musikleben Indiens wegzudenken.

Die Tambura (Tānpūra in Nordindien) hat meist vier Saiten. Ihre heutige Form ist seit dem 17. Jahrhundert bekannt und vereinigt Merkmale der indischen Zither (Vīnā oder Bīn) mit denen der Langhalslaute.

Von ähnlichen Instrumenten benachbarter Regionen (Tanbur) unterscheidet es sich sowohl durch seine Funktion als durch seine Spielweise. Spätestens seit dem 13. Jahrhundert bedienen indische Musiker sich nämlich eines Grundtons “Sa”, den sie – je nach Stimmlage oder Soloinstrument – frei wählen können.

Als Halteton (Bordun) bildet “Sa” den Ausgangspunkt für melodische Gestalten, die man mit “Färbung des Geistes” (Rāga), also Gefühlsausdruck, bezeichnet. Ein reicher Fundus recht unterschiedlicher Ragas ermöglicht es, jede nur denkbare Stimmung (Rasa) auszudrücken.

Auf dieser scheinbar einfachen Grundlage entwickelten sich 72 Tonleitern als Orientierung für Komponisten, Musiker und Tänzer. Zudem schafft die Tambura ein geeignetes Umfeld, in dem der musikalische und poetische Ausdruck vieler Epochen und Kulturen zu einem Ganzen zusammenwachsen – und doch immer persönlich – bleiben konnte.

Text: Ludwig Pesch | English | Nederlands
Zeichnung: Arun VC

Hörbeispiel: die hier abgebildete Tambura, gespielt von Ludwig Pesch

27/01/202327/01/2023

De tambura

Het belangrijkste begeleidingsinstrument van India – ook bekend als tanpura – sierde de salons van vorsten, kooplieden en courtisanes lang voordat het ruim een eeuw geleden zijn intocht deed in het openbare concertleven. Zijn huidige vorm, meestal met vier snaren, is sinds de zeventiende eeuw bekend. Het verenigt in zich kenmerken van de Indiase citer (vina of bin) met die van de langhals-luit. Van gelijkvormige instrumenten uit aangrenzende regio’s onderscheidt het zich zowel door haar functie als door de wijze van bespelen: waarschijnlijk al vanaf de dertiende eeuw gebruiken Indiase musici namelijk de grondtoon ‘Sa’. Deze wordt vrij gekozen overeenkomstig de stem van de zanger of het stemregister van het solo-instrument. Als steuntoon (bourdon) vormt hij het uitgangspunt voor melodische vormen, die men als raga (kleurschakering) aanduidt. Een rijke schat van zeer uiteenlopende raga’s maakt het zowel componisten als musici mogelijk elke denkbare stemming (rasa) uit de drukken

Tekst: Ludwig Pesch, vertaald door Mieke Beumer | Art: Arun VC

Luister naar de klank van deze tambura, bespeeld door Ludwig Pesch

Deutsch | English | oor_spel >>