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FESTIVAL ORIENT |
The first ever concentrated show of oriental music in Estonia, a tradition going back to the year 1992, has brought the most authentic performers from India, Siberia, Middle East, Central Asia, Far East, and South East Asia. It is certainly a leading musical event in the Baltic States where music lovers can enjoy performers like Hariprasad Chaurasia, ensemble “Kodō”, Ravi Shankar, Anoushka Shankar, Jivan Gasparyan, ensemble “Huun-Huur-Tu”, Alim Qasimov, Burhan Öçal, Sevara Nazarkhan, Gyuto and Gyume Buddhist monks, etc.
Sun 10th May at 7 pm in Sapnu Fabrika, Riga, Latvia (in co-operation with Origo Festival)
Sat 11th May at 1 pm at Origo Square, Riga, Latvia (in co-operation with Origo Festival)
Ensemble
“Galaxy” (Senegal): Yamar Thiam (talking
drum tama), Alassane Diallo, Libasse Sall (sabar-drums,
guit, voc),
Ousseynou Mb’Aye (sabar-drums, voc), Ismaila Sane Badiane (sabar-
& djembe-drums, voc), Bintou Sarjo (dance), Ampiaba Jalava,
Ndioba Gueye, Aliko Edson Mwakanjuki
Mbalax (or mbalakh) is the national popular dance music of
Senegal and the Gambia. Mbalax is a fusion of popular Western
music and dance sabar, the traditional drumming and dance music
of Senegal. The genre’s name derived from the heavy use of accompanying
rhythms used in sabar called mbalax. Mbalax developed in Senegal in the late 1960s and early 1970s.
Influenced by the “back to roots” philosophy of Negritude and the
receding influence of colonialism, artists began to mix these sounds
with traditional Senegalese music and forge new sounds incorporating
their new national identity. Musicians began singing in Wolof (Senegal’s
lingua franca) instead of French and English, and incorporated rhythms
of the indigenous sabar-drum. Dancers began using moves
associated with the sabar, and tipping the singers as if they
were traditional griots. However, it’s sabar rhythms and Islamic
influenced vocals continue to make mbalax one of the most
distinctive forms of dance music in Western Africa and the diaspora.
Download:
Galaxy, La Famille, fragm, 109 sec, mp3, 1710 KB
Download:
Galaxy. Sonno no la, fragm, 142 sec, mp3, 3336 KB
Sat,
Sep 13th at 7 pm Estonia Concert Hall
Sun,
Sep 14th at 7 pm Vanemuine Concert Hall (in co-operation with
VKM)
Wed,
Sep 17th at 7 pm Pärnu Concert Hall (in co-operation with
PKM)
Thy, Sep 18th at 7 pm Latvian University Aula, Riga
Sat, Sep 20th at 4 pm Ventspils Culture Centre, Latvia
Fri, Sep 26th at 7 pm Dom Kino, Moscow
Sun, Sep 28th St Petersburg
VAJRA MUSIC & DANCE
Tibetan Buddhist monks from Phiyang monastery (Ladakh)
11-member ensemble: Theles Chhokdup, Rigzin Dorje, Tashi Gyaltsen, Konchok
Namdak, Dorje Namgyal, Tondrup Namgyal, Sherab Jamba, Dorje Stanzin, Konchok
Thupstan, Konchok Tsultrim, Konchok Zangpo
Under the patronage of His Holiness, the
XXXVII Drikung Kyabgon
Rinpoche
Program: Mahakala dance, Achi dance, Pehar Gyalpo dance, Tsimar
cham, Deer and Buffalo dances, Black Hut dance, Chöd meditation, Kunrig
Vajra music & dances of Drikungpa’s
The history of the specific Drikung Kagyu vajra dances began in 13th cent
during the term of then 10th Drikung throne holder Nyer Gyedpa Dorje Gyalpo.
Further dances were added by later successors to the throne and the
tradition of the vajra dances spread to various monasteries through Tibet.
In 15th cent, the Phiyang monastery was founded in Ladakh by Choje Dhanma
Kunga Dagpa who came from the area of Mt Kailash, Tibet. Later, in 16th
cent, the vajra dances were introduced there by Choje Gyaltse Tsang. The
traditional dances and music which are performed nowadays at Phiyang
monastery, are very authentic, without any Western nor modern influences.
There are at least four vocal styles in use in Tibetan Buddhist monasteries.
The basic difference between them is the way in which the sounds are
created. Chants may be sung using the normal sound, which is the everyday
voice used for speaking and singing. Chanting in an extremely low voice is,
however, more common. Sometimes it is difficult to believe that it is
possible for a human being to produce such deep sounds. Technically,
overtonal guttural singing is the most complex. Two or three different
sounds can be distinguished simultaneously: a basic tone and one or two
overtones, which somehow seem to be unnaturally forced and emphasised. The
strained glottal way of singing does not allow for complicated melodies.
Archaic recitative tunes usually range from three to five notes. A later
influence of Tibetan folk songs has expanded the scope of melodies to a
7-tone scale.
Download:
Drikung Kagyu monks. Chöd ritual, fragm, 100 sec, mp3, 1557 KB
Download: video-clip, 17 sec, wmv,
1450 KB
Download: photo, Buddhist
monks from Phiyang monastery, jpg, 300 dpi, 1160 KB
Musical instruments:
Dung-chen is the largest trumpet-like instrument used in Tibetan
Buddhist ritual music. These instruments are generally between 2 and 3 m in
length, but may be as long as 4.5 m. The telescopic tube is made of copper
or brass, and the more expensive instruments are decorated with spectacular
engravings. To be played, the large instrument usually is fixed on a wooden
stand. The dung-chen creates an extremely low bass sound. This
instrument is not primarily used for melodies, but for the basic tone and
occasionally for octaves as overtones. In order to get a continuous sound,
the instruments are always used in pairs, and the two players must not
simultaneously pause for breath.
The principle of generating sound with the kang-dung, another wind
instrument, is similar to that of trumpet. Originally, this instrument was
made of a thighbone of a young girl who had, preferably, died a virgin. This
is because the sound of the kang-dung symbolizes purity; therefore
the instrument was to be pure.
Dung-kar is a ritual wind instrument of Indian origin, made of a
conch shell. Already known in India during the Vedic era, it has been used
ever since in sacred, folk and military music. The dung-kar has
always been regarded as a sacred object. In Indian mythology, it is known as
Vishnu’s weapon. The dung-kar has a mystic timbre and a hollow, deep
vibrating tone. Its sound symbolizes purity and devotion. Its sanctity is so
universal that is used as a ritual instrument in the Vedic religion,
Hinduism and Jainism, as well as in Hinayāna, Mahāyāna and Tantric Buddhism.
Gyaling is a close relative of the oboe. The instrument is a conical
wooden tube with a metal funnel at one end and a metal tube with a
double-reed mouthpiece at the other. The gyaling is often played
with the so-called circular respiration technique, which permits continuous
emission of sound without having to pause for breath. Complicated melodies
can be played on this musical instrument, but skill and tenacity are
required. Consequently, no beginner is trusted to play the gyaling.
Drilbu, which is of Indian origin, may be considered either a
musical instrument or a cult object. In combination with the dorje,
it plays a major role in Vajrayāna Buddhist rituals. The drilbu is a
bronze, copper or silver bell. The total length with its handle is
approximately 20 cm. When played, the bell is always held in the left hand.
When the handbell is shaken, the clapper inside it creates a high piercing
sound that symbolizes ultimate transcendental wisdom.
Damaru is a small, hourglass-shaped hand drum that is used in many
parts of Asia. As the legend tells, this drum consists of parts of two human
skulls. It is said that the dead whose skulls have been made into drum speak
to us in the language of the sounds of a damaru. According to a Hindu
belief, the universe was created by Shiva with the help of a damaru.
The drum has 2 small leather balls attached, sometime with female pubic
hairs in one of the balls and male pubic hairs in the other, symbolizing the
unity of male and female principles. When the drum is swung, the balls begin
to oscillate, hitting the leather membrane, create a heavy rattling sound.
Nga is a large ritual drum with 2 membranes. Although the nga
is only about 20 cm wide, it has a low droning sound, owing to the large
diameter of the membranes. A bent piece of wood, in the shape of a question
mark, is used as a drumstick.
The silnyen and rolmo are cymbals. In sacred music, they can
be used in two different ways: either to provide particular emphasis in
orchestra performances or to create a low monotonous background to text
recitation.
Sun, Sep 21st – Wed, Sep 24th Drikung Jamze Ling, Baltezers, Latvia
SAND MANDALA
Organizers:
Peeter Vähi – artistic director
Tiina Jokinen – management director
Elle Himma – assistant producer
Mart Kivisild – design
Kadri Kiis – accountant
Special thanks: Paul Pihlak, Drikung Kagyu Buddhist school, Lama Sangye, Lama Lodru, Aleksandrs Nemirovskis, Peeter Salmela, Drikung Jamze Ling, Eriks Terehovs
See also:
Orient Festivals
Orient ’09
Orient ’07
Orient ’06
Orient ’05
Festival archives
Orient in Palmyra, “Voices
from The Stars Above The Desert”
“The Path To The Heart Of Asia”, the CD recorded with featuring musicians of “Orient ’92”
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