Mit „Ode an die Nacht“ gelangte im Rahmen von Chor@Berlin am 24. Februar 2017 im Radialsystem V das letzte Werk von Harald Weiss’ „Darkness Project“ zur Uraufführung.
Kammerchor Berlin (Einstudierung: Stefan Rauh)
Concentus Neukölln – Ensemble der Musikschule Paul-Hindemith, Neukölln (Einstudierung: Thomas Hennig)
Berliner Mädchenchor (Einstudierung: Sabine Wüsthoff)
Indischer Gesang und Tambura: Manickam Yogeswaran
Blues-Gesang: Hanno Bruhn
Bajan: Mateja Zenzerovic
Klavier und Synthesizer: Peter Müller
Violine: Kinneret Sieradzki
Kontrabass: Guy Tuneh
Schlagzeug: Viorel Chiriacescu, Daniel Eichholz und Alexandros Giovanos
Elektro-akustische Vorproduktion: Harald Weiss
Stimme: Andrea Gubisch
Gesamtleitung: Thomas Hennig
“The many dimensions of the musical persona of Berlin-based Manickam Yogeswaran of Sri Lankan origin are not easy to fathom just from hearing him sing at one recital. […]
However, a conversation over coffee at Chamiers, days after a performance for Tamil Isai Sangam at Raja Annamalai Mandram, gave a glimpse of the different facets of the disciple of T.V. Gopalakrishnan and his exposure to Hollywood. […]
Yogeswaran’s forays into western classical ensembles, and his key role in global music forums for nearly three decades is a career graph, perhaps, typical of the wider scene in the performing arts these days. At the same time, it is the emotional need to stay anchored to the cultural milieu of one’s roots that probably explains Yogeswaran’s crucial engagement with Carnatic music. […] The challenge now, he says, is to nudge current generation of South Asians from a false sense of security about the future of this traditional art form. The conveniences afforded by technology, in terms of access to the treasure trove of recordings of great masters, ought not to breed complacency in the search for creativity, he argues. The key lies in continued reliance on the rigours of relentless individual ‘sadhana,’ a hallmark of classical music.”
Whatever we understand and enjoy in human products instantly becomes ours, wherever they might have their origin – Rabindranath Tagore*
During this presentation, musical figures from several distinct traditions were explored in a practice-oriented manner. The figures selected are appealing beyond South Asia where they originated many centuries ago and continue to play a key role in classical and applied music.
Our shared goal was to enable young and old to collaborate in a memorable learning process that blends seemlessly into any chosen subject, academic and otherwise.
The criteria for selecting a particular figure were (1) its flexibility as for combining it with another subject, for instance mathematics, geography or history; (2) its appeal going by prior experience with learners from different age groups; and (3) its scope for variation, movement, visualisation and analysis in accordance with learners’ specific needs and abilities.
As part of integrated music education, Indian music enables even complete strangers to share a useful learning process. This calls for a natural and playful approach to melody, rhythm, hand signs and body movement. In this manner we are prepared to include newcomers – children and adults lacking a common language – to instantly participate in music.
Indian music is valued for fostering memory, analytical thinking, concentration, and cooperation among peers. Its basic concepts are exhilarating and liberating whether or not there is scope for studying Indian culture in its own right. This is a boon in circumstances where verbal or written instructions fail to engage learners. Rather than resigning in the face of such formidable challenges, educators are free to experiment and spread solidarity through instant inclusion – the essential joy of “creating” music oneself. This aspect addresses a common fear among learners, namely to be left behind (again!), be it in music or other subjects – a fear that is all too often justified in competitive modern society.
To help educators to overcome such fears, we build lessons around simple figures that bind tunes, rhythms and movements together into a rounded whole. Some of these may appear familiar enough to “break the ice” if needed; and others are so fresh and mind-boggling as to trigger further experimentation among peers in informal settings – anywhere and anytime. For this to happen, we dispense with technical resources of any kind.
Adaptation is the key to rapidly changing learning scenarios wherein cultural stereotyping, a known stumbling block for educators all over the world, must be overcome. This is easily achieved by integrating Indian music into discussions of academic concepts, or by letting its rhythms enrich social and outdoor activities. Such activities are by definition location specific and all-inclusive.
Educators from Canada, Finland, Germany, Hungary, India, Singapore and Switzerland were among the eleven participants in this one-hour session. They explored a time proven method suited to the needs of a wide range of abilities and learning goals; and this irrespective of participants’ cultural roots.
Date: 28 July 2016 | photos by courtesy of Dr. Tony Makarome, Yong Siew Toh Conservatory Singapore
“Unity in Diversity, Antiquity in Contemporary Practice? South Indian Music Reconsidered” by Ludwig Pesch (Amsterdam) in Gardner, Matthew; Walsdorf, Hanna (Hrsg.). Musik – Politik – Identität / Music – Politics – Identity. Göttingen: Universitätsverlag, 2016 (Musikwissenschaften) | Abstract and contents >>
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 Artist *
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
Notes & references
Sunil Khilnani quoted in a review by William Dalrymple in The Guardian, 14 March 2016[↩]