Category: Music

Categories
Arts & Culture Lite Blogs Music

Embracing a Timeless Legacy of Arts at SIFAS Festival of Arts 2024

Established in 1949, SIFAS has been a cornerstone of Indian cultural heritage in Singapore, fostering art and cultural appreciation through its diverse disciplines…reports Asian Lite News

As the Singapore Indian Fine Arts Society (SIFAS) commemorates its 75th year of enriching Singapore’s cultural landscape, the much-anticipated SIFAS Festival of Arts, continues to captivate audiences till May 1, 2024, in Singapore.

The celebration by SIFAS is jointly organised with SIFAS Productions Limited (SPL) and will feature enthralling performances by leading Indian classical artistes Ranjani and Gayatri (RaGa Sisters), Jayateerth Mevundi, Abhishek Raghuram and dance drama by Kalakshetra Foundation in collaboration with SIFAS.

Established in 1949, SIFAS has been a cornerstone of Indian cultural heritage in Singapore, fostering art and cultural appreciation through its diverse disciplines.

2024 marks SIFAS’ Diamond Jubilee, a significant milestone for the non-profit organisation committed to nurturing talent and promoting Indian fine arts in the region. As Singapore transitions into a global arts hub, SIFAS continues to uphold its mission of preserving and promoting Indian cultural heritage while embracing multiculturalism. 

The SIFAS Festival of Arts 2024, an iconic event in SIFAS’ cultural calendar, celebrates the institution’s legacy as the heart and hub of Indian arts in Singapore. Themed ‘Virasata: Celebrating a Timeless Legacy of Arts,’ this year’s festival also serves as a curtain-raiser to SIFAS’ 75th anniversary celebrations that will extend throughout the year.

With over 75 programmes of classical Indian music, dance, and visual arts, the festival promises a mesmerising journey through the rich tapestry of Indian arts. From traditional Kathak and Bharatanatyam performances and soul-stirring renditions of Hindustani and Carnatic vocals and instrumentals to a visual arts exhibition and arts and craft workshops, the festival showcases the depth and diversity of Indian cultural heritage.

“We are thrilled to present the SIFAS Festival of Arts as a tribute to SIFAS’ illustrious journey over the past 75 years,” said K V Rao, President, SIFAS. “This festival not only celebrates our heritage but also embraces the future of Indian arts, showcasing the talents of both emerging artists and iconic maestros.”

“The 75th Anniversary milestone is being celebrated with SIFAS collaborating with organisations as well as leaders in the arts industry, both locally and globally, especially from India,” said Menaka Gopalan, Executive Director, SIFAS. “We have also made a conscious effort with our outreach towards different communities, including the underrepresented, to promote arts and mental well-being.”

Scheduled at the SIFAS Stage and Esplanade – Theatres on the Bay, the festival promises an unforgettable experience for art enthusiasts of all ages. Through its immersive programmes and vibrant performances, the SIFAS Festival of Arts 2024 invites audiences to celebrate the enduring legacy of Indian arts and culture in Singapore. Air India is the official carrier for the SIFAS Festival of Arts, enhancing the cultural journey for attendees from around the world.

In addition to the milestone anniversary, SIFAS also celebrates 20 years of the SIFAS Festival of Arts this year. The SIFAS Festival of Arts has been an eminent platform for showcasing the best in Indian fine arts in Singapore. Evolving with each year since 2003, they have collaborated with Esplanade since 2005 to bring both internationally renowned and emerging local talent to the forefront. This year, the festival marks two decades of cultural brilliance and community engagement. Through the festival, a year-long celebration from May 19, 2024, to May 19, 2025, and a series of events and activities, SIFAS aims to underscore its enduring legacy and its vision for the future of Indian fine arts in Singapore.

ALSO READ-Santanu and Sunita Dinda’s Artistic Ode to Indianness

Categories
Hollywood Music

‘The Tortured Poets Department’ Album Set to Wow Fans

Speaking at her Eras Tour shows, Swift revealed the therapeutic nature of the album’s creation, emphasizing the role of songwriting in navigating life’s complexities…reports Asian Lite News

Taylor Swift electrified the audience at the 2024 Grammys with a surprise announcement that left Swifties worldwide buzzing with anticipation.

During her acceptance speech for Best Pop Vocal, Swift revealed that her 11th studio album, titled ‘The Tortured Poets Department’, is slated for release this year.

The Grammy-winning artist tantalized fans further by unveiling the album’s cover, a sultry black-and-white image, shortly after the revelation on stage. Styled in a black cami tank top and matching high-rise briefs, Swift’s mysterious pose hinted at the thematic depth awaiting listeners.

Scheduled to drop on April 19, ‘The Tortured Poets Department’ promises a journey into Swift’s soul, with 16 tracks and a bonus offering insight into the artist’s most intimate thoughts. Collaborations with Post Malone and Florence + The Machine add further intrigue to the album, showcasing Swift’s versatility and musical prowess.

Swift’s partner, Travis Kelce, expressed his excitement in an interview statement obtained by Billboard.

He described the album as “unbelievable” after being one of its beta listeners. Swift herself shared that the album has been in the works for about two years, indicating a deeply personal and meticulously crafted project.

Not content with one version, Swift unveiled multiple editions of ‘The Tortured Poets Department’.

As per Billboard, from ‘The Bolter’ to ‘The Albatross’ and finally ‘The Black Dog’, each edition offers a unique experience, reflecting different facets of Swift’s artistic vision.

Speaking at her Eras Tour shows, Swift revealed the therapeutic nature of the album’s creation, emphasizing the role of songwriting in navigating life’s complexities.

As the release date approaches, anticipation continues to mount, with fans eagerly awaiting the arrival of what promises to be a landmark addition to Swift’s illustrious discography. (ANI)

Swift and Kelce’s Relationship Blooms

Singer-songwriter Taylor Swift and her beau Travis Kelce were spotted enjoying their time at the Coachella festival.

The duo was spotted kissing and dancing together backstage as Swift’s friend Jack Antonoff’s band Bleachers performed their set, as reported by ‘People’ magazine.

The night prior to their appearance at the fest, Swift and Kelce were spotted holding hands while leaving a date night at Sushi Park, as seen in photos obtained by ‘People’.

Swift has a few weeks off from her Eras Tour before she resumes shows in May in Paris, France.

As per ‘People’, next week, the Grammy-winning singer will release her 11th studio album, ‘The Tortured Poets Department’.

She teased some lyrics from the forthcoming album in honour of the solar eclipse on April 8.

Meanwhile, Kelce recently received his college diploma alongside his older brother Jason Kelce at a “surprise commencement” ceremony at the University of Cincinnati.

During the ceremony, Travis notably wore a beaded bracelet reminiscent of the kind Swift’s fans famously exchange during the singer’s Eras Tour.

Ahead of their trip to Coachella, the couple was spotted holding hands during a trip to the Bahamas.

“They vacationed in the Bahamas for several days,” a source said. “It was a much-needed break for both of them. They very much enjoyed it. They are so happy together.”

ALSO READ-Taylor Swift Tops Beauty Charts

Categories
Bollywood Lite Blogs Music

Remembering Shamshad Begum

Hindi films’ first female playback superstar, Shamshad Begum held her own against existing singers like the classically trained Ameerbai Karnataki and Zohrabai Ambalewali and singing actresses like Noor Jehan and Suraiya. In fact, Lata Mangeshkar and Asha Bhosle, who were emerging then, were counselled to sing in her style…writes Vikas Datta

Her influence persists in Bollywood even after her name has faded from public memory, althrough remixes of her rollicking hits from the 1950s continue to be in circulation. Another, and not that well-known, legacy of Shamshad Begum, though, was initiating what later became “item numbers”, though her contributions were more perky than provocative, saucy than raunchy, and racy without being ribald.

And then, they were delivered in a robust voice, whose clarity was compared to a temple bell by composer O.P. Nayyar, with a full-blown gusto and sense of abandon.

“Udan khatole pe udh jaaun” (“Anmol Ghadi”, 1946), “Mere piya gaye Rangoon” (“Patanga”, 1949), “Kabhi aar kabhi paar” (“Aar Paar”, 1954), “Bisvi sadi hai ye bisvii sadi” (“Chaalis Baabaa Ek Chor”, 1954), “Leke pehla pehla pyar”, “Kahin pe nigahen kahin pe nishana”, and “Boojh mera kya naam re” (“CID”, 1956) are prime examples.

And then, nearly forty years before Madhuri Dixit in “Tezaab” (1988), Shamshad Begum, who was born on this day (April 14) in 1919 and passed away days after her 94th birthday in 2013, had already made the nation count “Ek do teen…”, in Raj Kapoor’s “Awara” (1951).

However, she was not just the singer for these foot-tapping but peripheral songs, but also the voice of many heroines, as songs like “Mohan ki muraliya baaje” (“Mela”, 1948), “Milte hi aankhen dil hua deewana kisi ka” (“Babul”, 1950), “Saiyan dil mein aana re” (“Bahar”, 1951), “Door koi gaye dhun ye sunaye” (“Baiju Bawra”, 1952), and many more show.

Hindi films’ first female playback superstar, Shamshad Begum held her own against existing singers like the classically trained Ameerbai Karnataki and Zohrabai Ambalewali and singing actresses like Noor Jehan and Suraiya. In fact, Lata Mangeshkar and Asha Bhosle, who were emerging then, were counselled to sing in her style.

Shamshad Begum’s musical abilities were recognised at school, where her principal made the five-year-old lead prayers. She sang at religious and family functions, though her conservative family was not very keen, given the prevailing norms, her daughter Usha Ratra had told IANS soon after her mother’s demise.

However, her father’s younger brother, who was fond of music, paved her way, taking her, aged 11, to an audition with Lahore-based music composer Ghulam Haider, who was so impressed with her that he signed her for a gramophone record. More importantly, her uncle also convinced her father to let her go ahead.

However, her father imposed two conditions – that she would be veiled while recording and never photographed and Shamshad Begum duly honoured them – for many decades later, there wasn’t a single photograph of her.

She came to public notice in 1937 when she was chosen to sing on All India Radio in Peshawar and Lahore. Legendary filmmaker Mehboob Khan was instrumental in beginning her film career, convincing her family, especially her father, to let her move to Bombay, offering to provide all facilities for her family.

She hit it big right with her first film – murder mystery “Khazanchi” (1941), and then “Taqdeer” (1943), the debut of Nargis. She was eagerly sought after and several composers including Naushad, Nayyar and S.D.Burman, owed their rise to her willingness to sing for them when they were trying to gain a foothold.

With no classical training, Shamshad Begum had no restrictions in singing full force but she never neglected rhythm and diction – take the famous “Kabhi aar kabhi paar”, where she speeds up her tempo in the antaras and slows down a shade to emphatically deliver the punch lines: “..Luta chain qarar”, “… Hothon par takrar” and finally “…Ab to ho gaya pyar”.

Then there is “Aana meri jaan Sunday ke Sunday” (“Shehnai”, 1947), where she provides the homespun voice to the mock Anglicised versions of C. Ramchandra and Meena Kapoor.

While she maintained her position amid the rise of Lata Mangeshkar, Asha Bhosle, et al, the death of her husband Ganpat Lal Batto – whom she married in 1934 despite family opposition to the inter-faith marriage – in an accident in 1955, led her to withdraw from singing.

Naushad and Nayyar did manage to coax her back for songs like “Holi aayi re kanhaai” (“Mother India”, 1956), “Reshmi salwar kurta” (“Naya Daur”, 1957) and “Teri mehfil mein qismat” (“Mughal-e-Azam”, 1960), but then, she quit for good – only making a brief comeback to render “Kajra mohabbatwala” (“Kismat”, 1968), a duet where she proved her voice had not lost any vigour.

She spent the rest of her life with her daughter, coming back into the limelight in 2004 when there were reports that she had passed away.

Belated recognition followed as she was conferred the Padma Bhushan in 2009, and a special series of India Post stamps of 10 popular singers in 2016 had her as one of the only two women – along with Geeta Datt.

ALSO READ-U=Me: Umesh Kulkarni’s Latest Short Film Takes on AIDS Stigma’

Categories
Lite Blogs Music

Kutle Khan to Enchant Kasauli Music Festival

Belonging to the 14th generation of musicians, Khan, who was also honoured as the ‘Best Folk Singer of the Year’ by the Indian Icon Film Awards in the year 2019, stresses that singing in Kasauli is always a treat…reports Asian Lite News

In his music, the tale is always continual. The narratives do not let go of the past but never shy away from embracing the sensibilities of the present. When he sings, multiple eras are recreated. The audience is forced to oscillate between the past and present, evoking both tradition and modernity.

Rajasthani folk musician Kutle Khan, who has mastered more than nine percussion instruments, and moves between genres with smoothness insists that it is important not to forget the past as it paves the way to the future. Perhaps that is the reason he is now exploring ancient Rajasthani songs and planning on presenting them in a format that is ‘accessible’ to the newer generation.

“Currently I am focusing on very old Rajasthani folk songs, and presenting them in a way that the young relate to them. I will be fusing them with newer instruments from both Indian and Western music to ensure that the young are acquainted with the richness of our culture. I want everyone to get touched by the wind of Rajasthani music,” he tells.

Khan, who will be at the Music Festival Kasauli — MKF 2024, curated by Naani Singh, that will be held on March 29 and 30 at Santa Roza, says, “People will get to listen to a lot of new sounds — from Rajasthani culture to my renditions of Ustad Nusrat Fateh Ali Khan’s best-known numbers.”

Khan, a singer and musician who plays dholak, khartal, bhapang, harmonium, sarangi, morchang, and also writes and composes his songs, moving with ease between different genres stresses, “Rajasthani folk is always the base in my work, no matter what. Of course, I also sing classical and Sufi, but the thrust is to introduce people to the enigmatic music of my state.”

Belonging to the 14th generation of musicians, Khan, who was also honoured as the ‘Best Folk Singer of the Year’ by the Indian Icon Film Awards in the year 2019, stresses that singing in Kasauli is always a treat.

“The ambience, the audience, the whisper of the winds from pine trees… everything becomes magical in this hill town that is unadulterated in the true sense. I always look forward to coming here.”

For someone who has performed in more than 80 countries, even in front of non-Indian audiences, it is the richness of folk that makes the audience ask for more.

“They are very open to new sounds and what they do to them. Of course, considering Western instruments are also incorporated, they do not feel completely alienated from what is happening on the stage. But their willingness to embrace what is not a part of their culture always touches me.”

Stressing that it is important for him to add contemporary elements to ancient Rajasthani folk, the musician says, “Look, I also want the young to acquaint themselves with our legacy. And what is wrong with including Western sounds? Frankly, I have never had a problem with purists as they also understand that certain elements need to be included to make folk ‘relevant’ to youngsters.”

However, in his much talked about ‘Sounds of Desert’, he sticks to pure Rajasthani folk.

“It is a musical production of 19 artists where the audiences get to listen to pure Rajasthani folk. There is no fusion. And it is always well received across age groups.”

Besides an active touring circuit, Khan, who also has TV shows like ‘Dewarists’, ‘MTV Unplugged’ and ‘Coke Studio India’ to his credit, feels multiple elements make Rajasthani folk enigmatic, thus ensuring full houses.

“We use multiple instruments, the tonal quality is unique and the pitch is high. Not to mention, our unique get-up. Precisely why you get to witness audience members stand up and start dancing.”

The artist, who has given his voice to movies like ‘Afwaah’ and several web series, besides Tollywood films and has five albums to his credit, is a firm believer in collaboration.

He has toured with Susheel Raman, Ranjit Barot, Amit Trivedi, Afsana Khan, Jonita Gandhi, Karsh Kale, Darhan Doshi Collective, and says, “Working with musicians across genres is always an enriching experience. You not only get acquainted with other schools but also begin to challenge yourself.”

Considering his popularity, the musician often gets calls from individuals to become their guru.

“Sadly, I am unable to do that. I have been travelling non-stop for the past 15 years, and it would be unfair to become a teacher if I am unable to give full attention to my students. However, I do guide them, telling them what to study, and looking up videos on streaming platforms.”

All set to perform in Maldives and London after Kasauli, he hopes, “I pray that youngsters acknowledge the richness of our own culture and what it has to offer.”

ALSO READ-Echoes of Earth 2023: India’s Greenest Music Festival Returns

Categories
Lite Blogs Music

‘Lyrics Are My Driving Force’

Fascinated by Sufi, the singer whose first experience of it was when she accompanied Abida Parveen during the debut edition of Jahan-e-Khusrau in the national capital recounts that while she was singing in multiple genres, there was ‘something amiss’…writes Sukant Deepak

Be it ‘Iktara’ (‘Wake Up Sid’), ‘Rangisari’ (‘Jugjugg Jiyo’) or ‘More Piya Mujse Bolat Na’ (‘Rajneeti’) among scores of others, what makes singer Kavita Seth accept any assignment is the quality of lyrics. The production house, budget or the scale of the film does not matter.

“Unless the lyrics touch me inside, and offer a deeper meaning, the song is not for me, and I flatly refuse. Singing is more than a profession for me, it is part of my very being, and thus I can not do injustice to it. If you have listened to my songs, you will know what I mean,” Seth tells IANS.

Despite being a successful classical singer, it is live performances that give the singer high. Stressing that the energy a singer derives from a live audience is enigmatic, she adds: “I have been singing live ever since I was a child, it is only when I shifted base to Mumbai, that playback came into my life. During live, I sense the audience’s mood and even change the songs. Everything is spontaneous, thus more exciting as compared to playback where one is confined within a set structure.”

Fascinated by Sufi, the singer whose first experience of it was when she accompanied Abida Parveen during the debut edition of Jahan-e-Khusrau in the national capital recounts that while she was singing in multiple genres, there was ‘something amiss’.

“I did not know what it was, but that magical evening gave me the answer. I started reading about it and training myself. It is tough to define the divine energy that I connect to while singing Sufi, but the trance and high it always gives makes me grateful,” she smiles.

Seth who also has a successful band ‘Karwaan Group’ feels things have become much better for independent musicians and bands post Covid.

“There is now a huge market for independent music and we are witnessing several fantastic bands coming up. A lot of avenues have opened up.”

The singer, who will be performing at the Music Festival Kasauli – MKF 2024, curated by Naani Singh, that will be held on March 29 and 30 at Santa Roza is looking forward to the concert.

“It is not just the beautiful ambience, but also the development that many cultural events have started taking place in small towns. This concert is bound to attract people from Himachal Pradesh, Punjab, Chandigarh and Haryana. Also, the metros are saturated,” she states.

Seth who sang and composed songs for Mira Nair’s ‘A Suitable Boy’ recalls working with her was exciting. “She came fully prepared and gave me absolute freedom. A thorough professional, I learnt so much from her.”

A Master’s degree holder in Music, who has also learnt from gurus belonging to different gharanas, Seth is still training with a guru.

“Learning cannot and should not stop. I thank my classical training base for my range,” concludes Seth whose two sons are also part of her band.

ALSO READ-Colourful musical encourages us to be proud of who we are

Categories
India News London News Music

London-based Amol enthralls audience with his Marathi film background score

What is  India’s renowned vocalist  Rahul Deshpande’s debut-making Marathi film Amaltash’s London connection? Rahul Laud seeks the answer

The growing connection between Marathi films and London is demonstrated in the latest Marathi film Amaltash which hit the theatres on 8 March. Reviews for the film are rave. Actor Chinmayi Surve (wife of actor Sumeet Raghavan) has gone on record saying that this film is unique to Marathi films – “a must-watch and a must to be heard in big halls for its rich experience,” she said.  What makes the film  Amaltash so unique? The background score to the entire film plays a significant role and is a character of the film which is composed by London-based Amol Dhadphale with additional music by Johann Matthew and music director Bhushan Mate. The background score, in particular, transcends the cinematic experience as the discerning say it’s not run-of-the-mill, typecast, stereotyped sound usually seen in popular Marathi cinema. Amol was briefed by the producer and director of the film   Suhas Desale who had a clear vision that inspired Amol to watch Japanese anime.  The whole treatment is thus global giving it an international feel and beautifully synced with the images on the editing table. It was a challenging task for Amol to think creatively and compose orchestral music in a way that could resonate with Marathi culture, especially in a scenario where the film didn’t have the budget to use any live instruments. Amol composed and played the entire music out of his studio in London.

 Amol is a London-based film composer, pianist, harmonium player, and an experienced mastering engineer. He has been a practitioner of classical, jazz, and pop music and has performed in over 500 live concerts across the globe. At a recently held concert organised by the SAJDA Festival for Performing Arts, he accompanied on harmonium Koyel Bhattacharya – a disciple of the late Ustad Rashid Khan.  

By profession, Amol is recognized as a senior executive with a background in management consulting and has helped several Fortune 500 companies transform their business. Pune-born, he has lived across the globe in  Tokyo, Amsterdam, Dubai, California, and London.n This has helped Amol to be exposed to the finer nuances of international music and cultures. It’s his passion for music that attracted him to an opportunity to compose film for Amaltash he admits. Amol had met Desale during his visit to Rahul Deshpande’s home in Pune where Amol and Rahul were ‘jamming’ together for a Facebook livestream session. This introduction led to Amol and Suhas working together on the journey of Amaltash. 

Categories
Lite Blogs Music

Bhangra Nation: A Musical Celebration of Identity and Unity Takes Birmingham by Storm

When a huge row changes the team forever, students Mary and Preeti start on journeys of discovery into what they stand for and who they want to be…reports Asian Lite News

Bhangra Nation is an uplifting, moving and funny new musical about friendship, family, rivalry and identity, brought to life with boundless energy and joy, incredible dance moves and a truly bhangin’ soundtrack. Originally called Bhangin’ It, this musical was premiered in San Diego in 2022.

As the Uni Bhangra dance team wait nervously backstage to find out if they’ve made it to Nationals, the real showdown has already begun as team mates Preeti and Mary clash over what Bhangra really means to them. Whilst Preeti, who is 100% South Asian, believes that the team needs to stick to tradition, Mary, who is bi-racial, is passionate about shaking things up to belong to today.

When a huge row changes the team forever, students Mary and Preeti start on journeys of discovery into what they stand for and who they want to be.

By focusing on the two students and their different ideals of dance, Bhangra Nation explores how we see ourselves and how we view others.

At the core of this approximately 150-minute musical is a story about how you fit in, according to its Director, Stafford Arima. “I think, no matter if you are British, South Asian, Canadian or whatever, we all struggle on so many levels on how to fit into the world these days,” he added. Asked what excites him about this musical, “that we’re pulling from the community of Birmingham but also introducing to the community of Birmingham new faces and new voices. We’re making it a big kind of soup of different ingredients from different places.”

A house-full audience reflecting multicultural Birmingham, attendees included director Stafford Arima, media representatives including Indy Deol, Satnam Rana, Amit Roy and Boy Chana, relatives of the cast and TV personality Dr Ranj. At the end, the audience took to their feet to applaud the fabulous cast. After the show, VIP guests were treated to drinks and food, the latter provided by Dishoom. Hats off to The REP’s Communications Team, including Aaliyah Collins, Samantha Lyster as well as Nada Zakula.

Local lad’s dream role

For 22-year-old Ajay Sahota, pictured, this is his first time on a professional stage. Ajay, from Great Barr in Birmingham, plays student Gobind. He had never dreamed he would be on stage at The REP, and is enjoying the experience. “I’ve only done amateur musicals at university and at school but I’ve always loved musical theatre and this show is a combination of dancing, singing and the cultural part of being a South Asian in the UK. It’s the perfect opportunity,”

Parambeer Samrai is a bhangra consultant from Walsall. “This show is fostering an understanding of cultural appreciation whether you’re South Asian, black or white,” says Parambeer. “We’re creating a memorable performance for all ages and we want this show to be accessible to anybody and everybody. Bhangra is a super cool dance and music tradition that lots of people in Birmingham enjoy but it’s not just about dancing. It’s about bringing people together and having fun.”

Bhangra Nation runs at Birmingham REP until 16 March. Receive one free teen (aged 13-19) ticket when you book a full priced ticket for a Mon to Thu performance.

ALSO READ-Birmingham Declares Bankruptcy After Equal Pay Claims, Halts Non-Essential Spending

Categories
Lite Blogs Music

Dastaan Live: A Musical Journey Through the Voices of Masters

Ghosh, who also teaches at Ashoka University, and runs an NGO along with his partner at the Nizamuddin slums in Delhi, says that only those people inclined with their social and political ideas come on board, and that is the reason their music works…reports Asian Lite News

Faiz Ahmed Faiz, Sahir Ludhianvi, Majaaz, Nazeer Akbarabadi, Baba Nagarjuna, Paash and Kabir — ‘Dastaan Live’, an independent music band, does not believe in taking the convenient/safe road out, instead uses the words of these masters to reflect on the contemporary social realities.

Perhaps the reason that in recent times, this band has earned a cult following.

With 11 members – five vocalists, three percussionists and three guitarists — ‘Dastaan Live’ primarily works with music, poetry, visual art, lighting design and performance art, with music at its core.

They also incorporated puppetry in their music video of ‘Mat Ro Bachche’.

“For us, it is paramount to constantly challenge ourselves by incorporating varied genres and forms,” band co-founder Anirban Ghosh tells IANS.

The inaugural show of the project, titled ‘Surviving Democracy’, was conceptualised by Anirban Ghosh (Baan G), Nikhil Vasudevan and Sumant Balakrishnan in 2016, and since 2018, they have carefully chosen content that is in line with their critical and political work.

Ghosh, who also teaches at Ashoka University, and runs an NGO along with his partner at the Nizamuddin slums in Delhi, says that only those people inclined with their social and political ideas come on board, and that is the reason their music works.

“Most of us are interdisciplinary artistes. The genres they practice are just ‘byproducts’ — it is primarily the thought that matters. We are consistently pushing boundaries, and the project strives to enhance audience immersion, fostering dialogues, interpretations, and, above all, inspiring critical thinking,” adds Ghosh.

The band which was in Amritsar for the ‘Sacred Amritsar 2024’, presented by Sleepwell and produced by Teamwork Arts, staged their ‘rock opera’ – ‘Kabira Khada Bazaar Mein’, written by Bhisham Sahni and originally staged by theatre director M.K. Raina to critical acclaim. The show re-interprets the music of the play, retaining its core aesthetics and updating the arrangement and instrumentation for modern sensibilities.

“While Kabir is seen as a saint-seer, let us not forget that he asked very uncomfortable questions. We have always believed that the arts must raise pertinent inquiries and respond to what is going on around us. Anant Raina, who is a filmmaker, has come on board for this,” says Ghosh.

But are they not apprehensive about putting out critical content?

He says, “There will always be people uneasy with the kind of themes we work on. But it is important to speak out.”

Believing that it is important to have spaces where younger artistes across genres can push the envelope without the roadblocks that are synonymous with the market-driven arts ecosystem, Ghosh feels community arts may be the solution.

Even as several major independent bands continue to feel financial heat, the musician stresses the situation is no different for them.

However, accepting corporate funding and grants also means that their content gets compromised.

“And this is something we do not want to do.”

Planning an album, the group will be taking the Kabira show to different cities across the country.

“Kabir needs to be listened to more, much more by everybody,” he concludes.

ALSO READ-Raja Sir S M TAGORE: Tagore Medal Awards and the Royal College of Music

Categories
Lite Blogs Music

NCPA’s Living Traditions Festival Spotlights Jharkhand’s Rich Folk Heritage

India is perhaps the most musical and musically diverse region in the world. This diversity is evident in the folk traditions associated with different regions. Through this festival, we try to showcase the folk traditions of different regions. During the NCPA’s Living Traditions’ 13th Edition, the focus is on Jharkhand.

Established in 2000, Jharkhand is one of the newest states located in the North-eastern part of India. Meaning ‘The land of forests and bushes’, the region has an amazing diversity of flora and fauna coupled with a variety of minerals and beautiful natural resources including hills and waterfalls. The state is equally or more rich in its cultural heritage. Be it Chhau, Mundari, Kathi Mage, Dasai, or Nagpuri and Jhoomar, these performing art-forms are not only means of entertainment for the different tribes of adivasis, but they also have a place in worship.

During the two day event, over 100 artistes comprising six well-known troupes from various parts of Jharkhand will present varied forms of music, dance and folk theatre. Each presentation will be introduced with an appropriate socio-cultural and aesthetic context. Additionally, on both days, artisans will demonstrate mask-making and bamboo artwork in the Experimental Theatre foyer.

•             #Day 1

•             When: March 8, Friday- 6.30 pm

•             Where: Experimental Theatre

•             Tickets: BookMyShow

Nagpuri songs by Prithviraj Sinhdeo & group

Regarded as a derivative of Bhojpuri, Nagpuri is the main language of Sadan, an ethno-linguistic group of the Chhota Nagpur region, which covers some areas of Jharkhand and neighbouring states of Bihar, Chhatisgarh and Orissa. It is also the main language of several tribal groups such as: Kharia, Munda, Bhumij, Kurukh and others. Couched in Nagpuri language, the musical renditions are based on diverse melodies, reflecting the typical folk flavour of the region. Until recently, only locally made instruments were used for accompaniment.

Ho Dance by Uma Kumari & group

Ho Munda are the scheduled tribe of Singbhum district of Jharkhand. Performed together by men and women, it is essentially regarded as a courtship dance. But often, it is also performed during the harvest season and wedding celebrations. White, red and yellow colours dominate attires of both men and women. Holding each other, they move with the melody of bansuri (bamboo flute) in a semi-circular fashion with graceful footsteps and waist movements, matching with the beat of drums and percussion instruments such as dama, dumeng and rutu, to name a few. The songs vary with the change of season and occasion; as a result, there are several variations of this dance form. Mage Porob, organised in the month of Magh, is the well-known dancing festival of the Ho Munda community. 

Gohaeer Jatra: Folk play written and directed by Deepak Lohar – A Presentation by Birsa Kala Kendra

The title of the play points to loud communication amidst the pandemonium of the countryside fair. This is the story of a village girl, Roopa, caught in human trafficking. The play unfolds the heartrending plight of the victim along with that of her brother, Kanhu, who also has his share of life struggles. The play has a tragic end, highlighting the menacing effects of rural poverty that is rampant in most Indian villages.

•             #Day 2

•             When: 9 March, Saturday – 6.30 pm

•             Where: Experimental Theatre

•             Tickets: BookMyShow

Kudmali Jhumar songs by Kamal Mahato & group 

Regarded as an Indo-Aryan language, Kudmali is one of the several languages spoken in Bihar. While mainly prevalent in the Chhota Nagpur region of Jharkhand, it is also widespread in the border regions of Orissa and West Bengal. Though mainly written in Bangla script, Kudmali literature is also available in other languages such as Devnagri and Odiya. Closely linked with the lives of common people, Kudmali folk songs are simple, yet appealing. There is no aspect of life in this region that can be considered complete without the inclusion of these extremely popular songs, known as Kudmali jhumar geet.

Chhau dance by Dildar Ansari & group

Recognised by the UNESCO as the intangible cultural heritage of the humanity, chhau is a popular dance form prevalent in the three states of eastern India: Jharkhand, Odisha and West Bengal. Although there are regional variations, generally, topics range from the great epics to mythology, nature, and even folklore, that are presented using combinations of hand, neck and eye movements. Some varieties also deploy martial arts techniques. Instruments used are: bamboo flute, cymbals and varieties of native drums. Within the state of Jharkhand, there are three prevalent styles of chhau: Saraikela, Kharsawa and Manbhum. This chhau dance presentation revolves around the hunting tradition of this region replete with lush green hills, forests, animals and tribals, in which hunters kill animals for their flesh. When persuaded by their wives to abandon the age-old anti-environmental practice, hunters understand the importance of maintaining an ecological balance by protecting all kinds of flora and fauna, that would in turn protect the human species.

Phurgal Dishom Rin Bir Ko: Folk play by Jeet Rai Hansda & group

The play portrays the saga of several adivasi men who fought relentlessly with the rulers of British Empire in pursuit of freedom. Starting in 1784, Baba Tilka Manjhi led uprising against British landlords at Bhagalpur. His brutal execution gave impetus to further rebellion by other young men including four brothers: Siddhu, Kaku, Chand and Bhairav around 1855, who dared to fight British along with thousands of adivasis from Santhal region. Legend has that their sisters as well as lovers also joined the freedom struggle. Later, Birsa Munda led the struggle from Chhota Nagpur region. The sacrifices made by these iconic leaders along with thousands of men, women and children are depicted in a style replete with song, dance and action. 

ALSO READ-NCPA Hosts Youth Theatre Extravaganza

Categories
Lite Blogs Music

Gurugram to Groove to Sonu Nigam’s Melodies on March 9

 Stepping into the dynamic realm of Live Events and IP Projects, the Sonu Nigam Concerts stand as a pivotal offering among the numerous initiatives for 2024…reports Asian Lite News

Save the dates for an upcoming musical extravaganza – the eagerly anticipated Sonu Nigam Live in Concert 2024. Experience the magic in Surat on February 18th at CB Patel Cricket Ground, powered by LIC India, and let the rhythm resonate through Gurugram on March 9that Backyard Sports Club.nThis concert is more than just a performance; it’s a unique experience meticulously crafted by Laqshya Media Group and artist managed by ITW Playworx. 

Get ready for an exciting musical journey with Laqshya Media Group! with Sonu Nigam’s amazing tunes, from Bollywood hits to timeless melodies. The concert promises an enchanting evening featuring diverse hits ranging from Bollywood chart-toppers to timeless melodies.

In anticipation of his upcoming multicity tour, Sonu Nigam, the acclaimed artist, shared his sentiments about the event with a humanitarian touch, stating, “The transformative essence of music unites people and catalyzes positive transformations. Let’s come together and make a difference by joining me in this concert, orchestrated by Laqshya Media Group, not just for the love of music but also to create a meaningful impact through the universal language of melodies.”

 Stepping into the dynamic realm of Live Events and IP Projects, the Sonu Nigam Concerts stand as a pivotal offering among the numerous initiatives for 2024. Addressing this initiative, Atul Shrivastava, Chief Executive Officer of Laqshya Media Group, said, “India’s concerts and events industry has witnessed substantial growth, following an upward trajectory post the COVID-19 pandemic. We are exhilarated to contribute to this thriving space, curating countless memorable experiences for consumers nationwide.”

“Looking ahead, the Group is gearing up for an exciting future with a lineup of dynamic projects and ventures.

ALSO READ-Sudha Ragunathan Reflects on Four Decades of Musical Journey