‘Words travel worlds and the translator does the driving‘! Whoever said this has hit the nail right on the head. How else could great epics like Odyssey cross the shores of Greece and reach every corner of the world? In a world that is increasingly becoming international, stories from across cultures and languages take center stage. Award winning author Chaitali Sengupta [LinkedIn] takes the driving seat in ‘Timeless Tales in Translation‘ to bring selected classic Indian short stories to the Netherlands. | Read more >>By Muktha – 30 March 2023 in Eindhovennews.com
“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)
Date visited: 12 January 2021
Worldcat lists compiled by Ludwig Pesch
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
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 >>
“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
- To download this essay (PDF 500 KB), click here >>
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Softcover, 17×24, 218 S.: 24,00 € Online Ausgabe, PDF (3.681 MB)
© 2016: Creative Commons licence Attribution-ShareAlike 4.0 International
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
I Musikalische Identität und politische Realität
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
„Nordische Musik“ als Faktor der Propaganda der Nordischen Gesellschaft und der DNSAP in Dänemark um 1940
„Was ließen jene, die vor uns schon waren…?“ Musik in der Bündischen Jugend nach 1945
Methoden musikalischer Opposition in Portugal während der Salazar-Diktatur bei Jorge Peixinho und José Afonso
‘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
‘Das Land ohne Musik’? National Musical Identity in Victorian and Edwardian England
Reflections of European Culture in the Grey Collection (National Library of South Africa)
Jazz and the Emergence of the African-Roots Theory
Achim Freyers Mr. Rabbit and the Dragon King: Eine Interpretation des koreanischen P’ansori Sugungga
Unity in Diversity, Antiquity in Contemporary Practice? South Indian Music Reconsidered