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     Evening Performances
     6:30 to 9:00 pm at IGNCA Amphitheatre, Janpath, New Delhi

 

friday 5th march at 6:30 pm

"Sounds from Heaven" by Kelsang Chukie Tethong accompanied by Tsewang Choeden & Pheruk Lhakp 

Tibet is a symbol of mystery and untouched beauty with a unique landscape and undiluted culture that has long fascinated people from around the world. With its sophisticated Vajrayana traditions and primary emphasis on compassion, Tibetan culture has been blessed with a spiritual expanse as vast as the windswept passes and mountains of its terrain.  

Tibetan music reflects the cultural heritage of the trans-Himalayan region. First and foremost it is religious music, reflecting the profound influence of Tibetan Buddhism. Chanting, therefore is an essential element in the recitation of sacred texts and celebration of various festivals. It is sometime performed without metrical timing, accompanied by resonant drums and low, sustained syllables.

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friday 5th march at 8:00 pm

 “Music for Meditation”
 A flute recital by Nawang Khechog

The meditative and spiritual content of Tibetan music is well known. Add to that the beautiful snow clad mountains and the cool crisp air of this high plateau. Further add to that the military occupation of this beautiful land and the many inhabitants living in exile while their culture is being systematically destroyed                          

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saturday 6th march at 8:00 pm
"Al Darawish -The Sufi Dance" by  Al Tannoura

Tahmeil: Prelude Music
Al Darwaish: The Sufi Tannoura Dance
Fiqrpaiip: Break Music
The costume show of Tannoura Dance


The Mulawia sect of Egyptian Sufis, believe that the universe stems from the same point of rotation. This philosophy is translated directly into the rotational whirling of the ‘Darwaishes’ of this sect. The senior dancer (Lafife) represents the sun and will start and end his whirling from the same point. The junior dancers (Hanatia) represent the stars and move around him in anticlockwise, concurrent circles replicating the movement of the planets, echoing the 4 seasons and the pilgrim’s movement around the Ka’ba. Once the senior dancer stretches his right hand upward and his left downward he establishes the connection between earth and sky, reaching ecstasy he unties the belt around his waist in a symbolic attempt to reach heaven. The entire ritual is based on symbolism, the dancer departing from his ego and turning towards truth and spiritual perfection.
                                                                  

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sunday 7th march at 6:30 pm

“Sounds from the past”
 A Didgeridoo recital by William Barton

The Didgeridoo is a wind instrument developed by Indigenous Australians of the Kakadu region of northern Australia about 1500 years ago. It is described as a natural wooden trumpet and by musicologists as an aerophone. The instrument is made from Eucalyptus trees which have had their interiors hollowed out by termites or died of other causes. A modern didgeridoo is cylindrical or conical and about four feet long.  

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sunday 7th march at 8.00 pm
"Soham Asmi" Odissi recital by Madhavi Mudgal
 

 

 

 

 

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monday 8th march at 6.30 pm
 
“Joyful Gnosis” – overtone harmonic chant by David Hykes and the Harmonic Choir  

Harmonic singing is a universal contemplative music practice based on the natural harmonic presence found at the heart of all musical sound in the universe as well as deep in the heart of our listening consciousness. There are deep relationships between primordial and sacred sound, listening awareness and the mind, meditation practice, healing harmonization and well-being.

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monday 8th march at 8.00 pm
“Songs from an itinerant Sufi” by Madan Gopal Singh

The term Sufi music is paradoxically easy to recognize yet difficult to define. It is obviously related to the philosophy of Islamic Sufism yet sung by many who do not believe in Islam. It is the bedrock of the music of cultures as diverse as those of Turkey, the Middle East and Central Asia and the Indian Subcontinent and Indonesia. In India it takes the form of the Qawwali, The Ghazal or Kafi, where it is sung in Urdu, Hindi or Punjabi.  Musicians draw liberally from the rich and all inclusive heritage of both Sufi and Bhakti poetry and music that to attempt to categorize this intangible and unformalized music is almost a disservice. Would it be too bold to say that Sufi music has never been excusively about music? The most one should attempt is to stress its main features “ Sufiana Kalaam” (its mystical poetry, specially that of Rumi, Hafez, Faiz, Bulleh Shah, Waris Shah and even Kabir). Its search for spirituality through ecstasy and as Madan Gopal Singh himself says “ Earlier it was driven by an etiquette of spirituality and its concomitant rituals; today it is monitored by the cultural industry as a fetish object on the one hand and also espoused by radical cultural activists as a poignant tool of resistance.”

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tuesday 9th march at 6.30 pm
Name of the play: Once Upon A Time – Manipuri Theatre directed by Kanhailal


                                                                This is a work-in-progress of research theatre. In the continuity of retelling the tale the performance is focused on the Ucheklangmeidong, the Meitei folk tale of Langmeidong, the bird. It is a tale of torture of a maiden by the step-mother leading to the transformation of the maiden into a bird that flies away fleeing from the claws of the torture.

 Paradoxically, in the process of re-telling, the stream of performance diverts to a therapeutic course of actions in making the presence akong tattabi arai Kangdabi, the eternal feminine,(according to Meitei ancestral lore.) It thus suggests how this presence wards off the evil intentions of torturing the skin and spirit of woman by woman.

 This may well, may be a process of ‘provoking’ with its objective impact, to create a perception in the spectator in between experience and reflection. It is a way of justifying the efficacy of art too through the sensory manifestation of the sheer sound and movement, the specific powers of live theatre that is conceived as ‘ethnic-neutral’.

 Actors and acting disappear, uncovering the over painted and illusory layers of the psyche, to identify with the conjuror who privileges the self over the character. Essentially this is live theatre that rejects the legitimate theatre of academic and intellectual exercise.

The performance is drawn from ancient Meitei ritual, the Shamanic tradition of Manipur.

                                                                      

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tuesday 9th march at 8.00 pm
‘PEOPLE OF THE PACIFIC- An Ancestral Musical Journey through Polynesia’ by The Kahurangi Maori Dance Theatre of New Zealand


Though the Maori people of New Zealand are often referred to as Polynesians, their relative isolation from the main Pacific Island groups has given them a somewhat distinctive musical culture. Their traditional performance, a fusion of song and dance, is known as kapahaka.( ‘kapa’- Row, ‘haka’- Maori Dance)

The Kahurangi Maori Dance Theatre have chosen to present this evening the mythological story of the voyage of their ancestors on the ‘Takitimu Canoe’ through Polynesia to New Zealand including Tahiti, Hawaii, Samoa, and finally departing Rarotonga ( the Cook Islands) with the great migration of seven canoes to New Zealand. Their programme will include traditional dances from all the countries they passed through.

The most famous Maori dance the ‘Haka’ was originally performed by warriors before a battle. This intimidating warlike routine has been adopted by the ‘All Blacks’ the New Zealand Rugby team before commencing a game. (not always successfully)

                                                                                                      

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