Flamenca - A Marriage of Spanish and Oriental Music

For the last few months, the only "local" music I've listened to or heard were of the Lebanese Music Video variety, which at its best is comparable to an "Item Number" and at its worst is worse than those Punjabi videos on ETC.

Fortunately this entire imagery associated with local music has been completely replaced by an infinitely superior quality and variety of music. Flamenca Cairo, a group of nine instrumentalists and a vocalist perfomed to a full house at the El Sawy Cultural Center last Friday.

The group was founded by Wael Khedr (who is also the Lead Guitar/Guitar Soloist) in 2003 with traditional Flamenco music and some Latin themes. It was slowly developed to have more oriental flavor with the addition of some oriental instruments. Now, Flamenca has several unique pieces of music where this marriage between flamenco and oriental music is clearly evident.

Amr Darwish plays a mean Electric Violin. The jugalbandis between him and Wael were outstanding.

Raaft Farahat plays an instrument called the Kawla which is an Arabic Flute.

Yamen Abdallah plays the Qanon which sounds like a Santoor - reminiscent of water trickling down a slow waterfall.

Omar El Toudy on Keyboards looked so much like those Senior Masterjis who play the keyboards in desi orchestras. Sameh Ismael and Sherif Kamal are the percussionists, who play a wide variety of instruments some familiar, some not so familiar and some completely tangential like the stool that Sherif was sitting on. Saief Eldawla on the Drums and Moustafa Geuida on Base Guitar completed the instrumental part of the ensemble.

Ahmed Samir intermittently provided vocals to the instrumental pieces. What a voice! Powerful and controlled. Although I could barely understand a word of what he was singing, I could feel the strong emotions and sentiments behind them.

The whole ensemble just blended together so beautifully. It has been a long time since any music has actually touched me. Flamenca's music was moving, it actually spoke to every member of the audience. So the repeated requests for an encore and the standing ovation that followed at the end was no suprise at all.

You can dowload and listen to some of their music on their site. http://www.flamencacairo.com/

Image Sources:These pictures have been taken from the Flamenca website http://www.flamencacairo.com/ and through Google Image Search http://images.google.com/

Published on desicritics.org

Dastangoi - The Lost Art of Story Telling

Photo credit: Mumbai Mirror
Mahmood Farooqui (right) and Danish Husain performed the Dastangoi at the NCPA last Friday, 23rd June.

I initially read about "Dastangoi" in Time Out Mumbai, my source of knowledge for events in Mumbai. Then Dan Hussain posted an invite on the Caferati message board.

I exchanged a couple of mails with Dan in which he told me I didn't need to understand the language to enjoy the performance. I was a bit sceptical, but thought why not attend ? The performance at NCPA was free, so could leave at the interval if I could not make sense of it. Plus inlaws were in town and they love theatre and understand a fair amount of Urdu.

So the six of us bundled ourselves into the car at 4:15 to reach NCPA by 6:30.

The next two hours were completely spellbinding. My knowledge of Hindi is recently acquired and I can barely manage the colloquial stuff, so I was wondering if I would be able to understand any of the proceedings. Inspite of Dan's assurances, my doubts persisted until Mahmood began to weave his tapestries.

Dastangoi is very difficult to describe. It needs to be experienced. But let me try to give you an idea of what to expect. It's a cross between a theatre performance and poetry reading. The words are wonderfully descriptive and conjure visions in your head. The perfomers are seated but use expressions, gestures, tone of voice and a myriad other techniques to transport you into a realm of fantasy consisting partly of "tilisms" (alternate worlds), aiyyaars, sorcerers and magicians.

Farooqui on his blog explains :

Dastangos were those who told 'dastans' (stories). Recounting tales of Amir Hamza, the Prophet Mohammed's uncle, they told narratives of his battles with infidels, sorcerers and other pretenders to divinity.

In the dastani worldview, good and bad are evenly matched, infinitely. When an evil sorcerer dies, a new one rises to replace him. When someone on the righteous side is killed, another one is quickly found to replace him. Hamza is the lead character, he is the Lord of the age.

Dastangoyee is about four things: Razm -- warfare, Bazm -- assembly of singing, dancing and seducing, Tilism -- magical effect or artefact created by the sorcerer, and Aiyyari -- chicanery, trickery, disguise. The aiyyars, the tricksters, are employed by both sides.

If you would like to read more about the subject, do read
Mahmood's interview with Mumbai Mirror
Mahmood's interview with DNA
Mahmood's interview with Tehelka

If you would like to watch a performance, you are in luck. If you already caught the NCPA perfomance, then consider this the next couple of episodes.

Dastangoi: A Presentation of the Lost Form of Storytelling
(A Part of Katha Collage II)

Photo credit: Dan Hussain

The Sea of Eloquence - An Evening of Dastan-e-Amir Hamza
July 1 & 2, 2006 at 9:00 pm, Prithvi Theatre, Juhu, Mumbai

Tickets available at Prithvi on the day of performance itself.

The oral narration of Dastan-e-Amir Hamza was a popular past time in most parts of Central, Western and South Asia and North Africa since medieval times. Originally composed in Persian, the Dastan-e-Amir Hamza describes the battles of Amir Hamza, the Prophet Muhammad's Uncle, against infidels, sorcerers and other pretenders to divinity.

As anecdotes of Mir Baqar Ali, the last known Dastango of Delhi, testify, their performances required an exceptional command over rhetoric, delivery, mimicry, ventriloquism and spontaneous composition.

The performances have come about as a result of a collaboration between S.R. Faruqi, the foremost living authority on these Dastans and the only person to possess a full set of all the 46 volumes,
Invitation Credit : Mahmood Farooqui, New Delhi

Mahmood Farooqui is a self-trained actor and performer whose most recent foray into acting consisted of a role in Mahesh Dattani's English film, Mango Soufflé.

Photo credit: DNA

Danish Husain has done theatre with the best names in the country - Habib Tanvir, M.S. Sathyu, Barry John, Rajinder Nath, Sabina Mehta Jaitley, Aziz Quraishi, et al in a wide variety of roles.

Get to know the performers better at
Mahmood Farooqui's Blog
Dan's poems and his Discontents
Dan's Proseonama

Published on desicritics.org

Review/Photo Essay: Eternal Gandhi - A Multimedia Exhibition

At a time when Gandhiji's ideas seem to have become relegated to tomes of history textbooks, the Eternal Gandhi multimedia exhibition helps to bring his ideas back into focus in a medium that makes it easy for today's kids to relate to and understand.

The exhibits explore Gandhiji's philosophies, the books that moulded him, his ashram stays and other thoughts through computer generated designs and interactive installations. It is an attempt to explore and convey how Mohandas Karamchand Gandhi became the "Mahatma".

Conceptualised and directed by Ranjit Makkuni and his team at Sacred World Research Laboratory, the exhibition first displayed in Delhi and then moved to Bombay a couple of months ago. For awhile it was exhibited at the Cowasji Jehangir Hall.

But since the last month it has been displayed at the CSMVS. You still can catch it until the end of this month.

The Birla Trust has helped bear part of the costs of the exhibition.

What you can expect to see:

• Raghupati Xylophone: The notes are pre-arranged to play Gandhiji's favourite bhajan. You don't need to be a musician to play it.

• Laser India Harp: Allows the visitor to trigger music by touching the laser beams.



• Pillar of Castelessness: Embodies "United we stand and Divided we fall" by lighting up when all around the pillar hold hands and turning dark when they let go.


• Stambha: 11 rotating discs. Each triggers a visual clip of Gandhiji's principles of Satyagraha.
• A wooden replica of Sabarmati Ashram:
  
  Each Pillar when touched starts an audio visual presentation of Ashram Life.


• A Mural of Raja Harischandra's Story


• A fibre optic Jail Cell to mimic the one Gandhi was imprisoned in, which has his Jail journal beamed across the cell floor.


• The Charaka is everywhere,

as a motif, as a theme, as a background, as an exhibit....




• And an extremely life-like wax figure of Gandhiji which could have you thinking its a real person sitting there (the webbed toes gave it away),




...among other exhibits.

The exhibition is best summed up by a kid I overheard at the exhibition "Mommy, mommy! This is so much fun!!!"




To be relevant and speak to today's generation of kids, you need to involve them in the discovery process by stimulating not just their minds but by appealing to their visual and auditory senses too. Since the experience also combines a tactile dimension, it succeeds on all counts. The exhibition is equally appealing to adults too, it shows that we can make Indian museums a better leisure experience.


Posted on desicritics.org