Music
ICH Exhibition 4
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NEWS
Festival for Building Resilience
Shola craft at Surul © Banglanatak dot com
This year, 2021, is the Year of Creative Economy for Sustainable Development. banglanatak dot com, headquartered in Kolkata and specializing in culture and development, was supported by the British Council to hold the Ripples Festival—Reveling in the Rarh (https://ripplesfestival.com/) between 15 and 17 January 2021. The Ripples Festival promoted an interesting model of integrating heritage and place-making and develop responsible tourism where the local communities are positively impacted. Santiniketan at Bolpur, embodying the first Asian Nobel Laureate Rabindranath Tagore’s vision of universalism and heritage sensitive development, is a popular tourist destination. The Ripples Festival created opportunities for people to interact directly with the folk artists and craftspersons living in the villages in and around Bolpur. It offered a rich experience of art, craft, beautiful landscape of river and red soil, along with exchanges of perspectives and ideas for building a resilient and creative future. Baul songs are inscribed on the UNESCO Representative List of Heritage of Humanity. They propound the philosophy of searching within and universal brotherhood to attain the divine. In the festival, the Bauls of Bolpur, Ilambazar and Joydev Kenduli, performed and shared their philosophy. Women held workshops and exhibitions on making Kantha embroidery—a quilting tradition of recycling old clothes and beatifying embroidery with simple run stitches. Craftspersons who make intricate crafts from the spongy white stem of the Shola plant held workshops. A theater festival, Tribute to Shakespeare, explored telling the timeless stories using traditional folk drama forms.
Raibenshe performance in About Caliban © Banglanatak dot com
The festival also reached out to art lovers through online components. The rural artists enjoyed their first opportunity of sharing their art form and village on a global platform. Videos and live interactions provided a unique experience to people connecting online. The webinars were held on the themes of Heritage and Festivals, Heritage and Creative Economy, and Heritage Resilience. The speakers were from India and the UK with extensive experience in theater, music, craft, and art as well as multicultural collaboration and exchange. They included Simon Broughton, Chief Editor of the prestigious Songlines magazine; designer, Amber Khokar; artist-entrepreneur, Ali Pretty; Dr. Joseph Lo with extensive experience in the world of craft; theater exponent, Parnab Mukherjee; founder of Tapantar, Kallol Bhattacharya, along with Dr. Debanjan Chakrabati and Jonathan Kennedy from the British Council. The webinars have helped in creating global awareness on the art forms and gathering international perspectives on key needs for building resilient creative economy. Different speakers stressed the need to look at festivals and heritage as integral components to fostering inclusive and sustainable development. The festival highlighted the importance of cultural collaboration and exchange for rejuvenating art forms and creating new markets and audiences. It empowered rural artists with new digital skills and highlighted technology’s power in bringing the world closer with online participants.
Ripples Festival video: https://youtu.be/CGdfuuAgYNI
03/12/2021
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NEWS
Basanta Panchami: Arrival of Spring
Sister teaching younger brother to write on the wall within the premise of temple. © Monalisa Maharjan
On 16 February 2021, Hindu Buddhist population of Nepal celebrated Basanta Panchami also known as Shree Panchami or Sarashwoti Puja. This day marks the arrival of spring that could be seen with blooming peach trees and other flowers in the neighborhood. This day falls on the fifth day of shukla pakshya (waxing moon phase) of the Nepali month of Magha. So literally basanta panchami means spring on the fifth day of waxing moon.
On this day, the special event is organized in an ancient palace—Hanumandhoka Durbar Square of Kathmandu known as Basanta Shrawan. According executive director of the Hanumandhoka Museum, Mr. Sandeep Khanal, this event has continued since the Malla period (1100 to 1769 CE). At that time and until the monarchy was abolished in 2008, the king used to attend the ceremony. Even though in the Malla period, the ceremony was not known as Basanta Shrawan, but the inscriptions mention about worshipping the god Kamadeva.
Wall of deity full of writings of kids during the worshiping. © Monalisa Maharjan
The president of Nepal as a head of state attends this ceremony accompanied by the prime minister and other VIPs. The ceremony welcomes the spring, the second stanza of book Geet Govinda is recited. From this recitation this ceremony is named Basanata Shrawan. Along with Geet Govinda, Byachali raag is also recited. Priest performs the special worshiping on the auspicious time set by the panchanga samiti (group of astrologers who sets time and date for the auspicious occasions of major events). Normally the auspicious times are in morning and this year the auspicious time was set on 10:17 am. A group of musicians also play sitar in this event.
It is also celebrated as Saraswati Pooja, worshiping the goddess of knowledge, music, art, speech, wisdom, and learning. On this day, early morning parents are seen with the kids learning to write on the walls of temple of Goddess Sarashwoti with chalk. This is the symbolic meaning for asking blessing from Goddess Sarashwoti to read and write. On this day many parents start initiating teaching alphabets to the kids. Schools around the country also organize events to worship goddess with various other entertainment programs.
Buddhist in Nepal believes Maha Manjushree arrived to Kathmandu from Lasha on this day. Manjushree is associated with the legends of formation of Kathmandu Valley. Manjushree came to worship the light in the lotus blooming at the center of lake. He could not reach there so, cut the hill (which is now believed to be chovar) with his sword and let water out of the lake. After the drainage of water settlement in the valley stated. Manjushree is one of the Bodhisattva that symbolizes wisdom and worshiped on this day. So along with the Sarashwori Temple, the temples of Manjushree are crowded as well.
So, this day is considered auspicious. For the start of new ventures, building houses or getting married according to the Nepali culture, people check the auspicious date with the astrologers. This day Of Basanta Panchami is considered to be so auspicious that people don’t need to consult for an auspicious date. Therefore, on this day we can see many marriages taking place and people starting new houses or constructing new houses.
As in other many festivals and rituals, this day is also an example of syncretism of Hinduism and Buddhism in Kathmandu Valley.
03/12/2021
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NEWS
Held the 2nd ichLinks Executive Committee
The Committee meeting screen © ICHACP
The 2nd ichLinks Executive Committee was held online on December 9, 2021 (Thursday), from 2 pm to 5 pm (KST). Twelve Partner Organizations (Malaysia, Mongolia, Vietnam, Bhutan, Singapore, Uzbekistan, India, Kazakhstan, Cambodia, Kyrgyzstan, Tajikistan and Fiji) participated and had a fruitful discussion.
The Committee was chaired by Dr. Rustam Muzafarov, Deputy Chairman of Kazakhstan National Committee for the Safeguarding of the Intangible Cultural Heritage, who was elected at the first Committee meeting in June. The agenda discussed were as follows.
[Agenda 1] Share ichLinks Project Guidelines
[Agenda 2] Reports on 2020-2021 ichLinks support projects’ results and suggestions to improve ichLinks
[Agenda 3] Reports on 2021-2022 ichLinks support projects’ plans and suggestions to improve ichLinks
[Agenda 4] ichLinks’ mission, vision, roadmap and suggestions for future programmes (ICHCAP)
[Agenda 5] Adopt Operational Rules on ichLinks Executive Committee
Dr. Rustam Muzafarov, Chairperson of the ichLinks Executive Committee © ICHCAP
ICHCAP, the Secretariat of the ichLinks platform, shared ichLinks’ mission, vision and the 1st phase roadmap (2020-2025), and also explained each stage’s goals and activities. In addition, cooperative projects that all Partner Organizations can participate in was proposed. In particular, the programme for artisans’ networking to share good practices of sustainable development through modernization and commercialization of traditional crafts was supported by many Partner Organizations.
Proposed programme for exchange of traditional artisans © ICHCAP
Partner Organizations also proposed several cooperative projects such as joint research on shared ICH elements, multilingual translation of ichLinks content, and establishment of a common archive on the theme of traditional music and musical instruments. Furthermore, the Partner Organizations expressed great interest in the archive management package that is being developed by ICHCAP this year.
The Chairperson, Dr. Muzafarov expressed his special thanks to ICHCAP for initiating the ichLinks project. He mentioned that ichLinks opened a new chapter in the safeguarding of ICH. He also pointed out that the general public in Kazakhstan is starting to take an interest in ICH and understand the need to safeguard ICH through ichLinks.
ICHCAP plans to share the results of the 2nd Executive Committee with all Partner Organizations and hold a working-level meeting early next year as soon as the archive package development is completed. Also, the cooperative projects proposed during the meeting will be further elaborated and be implemented in collaboration with Partner Organizations next year.
12/14/2021
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NEWS
Drangyen, Bhutanese Instrument and Lessons
Two drangyens of Bhutan at Linden Museum (public domain image)
The Bhutanese lute, the drangyen, is the oldest and most well-known instrument of Bhutan. The word drangyen itself roughly translates to “hear the melody,” where dra means “melody,” and ngyen means “listen.” The drangyen is often used in religious festivals accompanied by folk dances and stories. Some date back to the eighth century CE when Buddhism was introduced to Bhutan.
The instrument is made from wood (preferably from cypress trees), leather, and yak bone and is about one meter long. Structurally, the top or head is intricately shaped like a sea monster to scare away evil spirits that may be attracted to the beautiful music that the instrument makes. The head stands upon a long fretless neck that attaches to a rounded body that pictures the goddess of music. The seven strings, which are made from the bark fiber of the jute tree, are played with a triangular plectrum made of wood or bone.
Kheng Sonam Dorji is a master folk musician of Bhutan. He has assembled a series of videos that show how the drangyen is made and how to play it. They are available in several lessons on YouTube. Visit the following links to find out more about the drangyen.
Drangyen Lesson -1: Brief Introduction ( with Eng Sub) – YouTube
Drangyen Lesson – 2(A) : Note Introduction & Tunning – YouTube
Drangyen Lesson – 2 (B) : Note Introduction & Tunning – YouTube
Drangyen Lesson – 3: Octave/Yangduen/ Saptak – YouTube
Drangyen Lesson – 4: Fingering & Note familiarization. – YouTube
03/12/2021
