Mois : janvier 2017

Kalachakra Ritual Offering Dance

Kalachakra Ritual Offering Dance

Published

on Jan 9, 2017

The Kalachakra Ritual Offering Dance from the 34th Kalachakra Empowerment in Bodhgaya, Bihar, India on January 9, 2017. Performed by monks of Namgyal Monastery to a musical accompaniment of horns, drums and cymbals, the dancers represent offering goddesses who make offerings to the Kalachakra Mandala. Along with the Offering Dance, different groups of artists perform their own traditional music, providing a striking contrast.

Akouna Farma, messager du royaume – Burkina Faso (VF)

Akouna Farma, messager du royaume – Burkina Faso (VF)

Published on Dec 21, 2016

Akouna Farma est un véritable auteur-compositeur-interprète traditionnel. Il vit dans le dernier petit royaume du Burkina Faso : le royaume gan. Handicapé par sa cécité, il n’a appris ni à lire ni à écrire. Sa connaissance, sa création, passent par l’oralité. Il se déplace seul avec sa harpe sur de longues distance à travers les pistes de brousse pour aller animer fêtes et cérémonies. Adulé dans tout le pays gan, sa présence est un gage de réussite des festivités. Si sa musique est imprégnée de la tradition ancienne, les paroles de ses chants puisent à la fois dans son vécu et dans les problématiques contemporaines, telles le SIDA et l’immigration. Le roi témoigne de l’importance de la musique dans toutes les activités profanes et religieuses de son royaume. Mais Akouna Farma n’est pas seulement harpiste…
© Patrick Kersalé 2012

Calabash friction drum / Tambour à friction en calebasse – Gan – Burkina Faso

Calabash friction drum / Tambour à friction en calebasse – Gan – Burkina Faso

Published on Jan 3, 2017

This calabash friction drum is called to.koloma.jara. The term is an association of three words: to – boiled cereals or tubers -, koloma – stick used to turn the to when cooked – and jara – lion.
The instrument consists of a large calabash commonly used as a kitchen receptacle and the koloma stick.
To play, the woman topples the calabash on the ground and then takes the koloma stick. She puts wood ash on the inside of the index finger or middle finger. She places the top of the finger on the calabash and then alternately rubs the inside of the second phalange with the stem. The result is a coarse sound to imitate the cry of the lion.
This noisy instrument is played to children when they are not wise, especially when they cry. They are told that jara will come and eat them!
@ Patrick Kersalé 2014

Ce tambour à friction en calebasse est appelé to.koloma.jara. Cer terme est une association est une association de trois mots : to — bouillie de céréales ou de tubercules —, koloma — baguette servant à tourner le to lors de sa cuisson — et jara — lion.
L’instrument est constitué d’une grande calebasse servant ordinairement de récipient de cuisine et de la baguette koloma.
Pour jouer, la femme renverse la calebasse sur le sol puis prend la baguette koloma. Elle met de la cendre de bois sur la face intérieure de l’index ou du majeur. Elle pose le dessus du doigt sur la calebasse puis on frotte alternativement l’intérieur de la deuxième phalange avec la tige. Il en résulte un son grossier sensé imiter le cri du lion.
Cet instrument bruiteur est joué aux enfants lorsqu’ils ne sont pas sages, notamment quand ils pleurent. On leur disant que jara va venir les manger !
@ Patrick Kersalé 2014

Pin Peat in Ang Chek Ang Chorm temple – Khmer – Cambodia

Pin Peat in Ang Chek Ang Chorm temple – Khmer – Cambodia

Published on Jan 3, 2017

ENGLISH
Facing the royal palace of Siem Reap, along the National Road 6 is a sanctuary containing two Buddha statues in the position of abhaya-mudrā, defined position of the hand representing the absence of fear, peace and security. They were discovered in the 1950s. They are considered as two sisters: Preah Ang Chek the eldest and Preah Ang Chorm the younger. There are many legendary and real stories around them. Popular belief sees them as representations of two Angkorian princesses!
Both statues are venerated by both Cambodians and Thais. Believers come here to influence the future of their lives (luck, money, health, work, child …). For this they pray, make requests, offerings of various natures sold behind the temple (Flowers, incense, perfume, light, fruits, various foods, money, music, liberation of sparrows …) and promises of new offerings in the temple if the first ones are granted.
Today popular belief regards these two entities as the protectors of the city of Siem Reap.
Another statue is found in the middle of National 6, under a large sacred tree. It is, according to the belief, Ya Tep. This entity is today considered as a Neak Ta, a protective tutelary entity. According to belief, it even helps in the prediction for the lottery! This statue looks like that called the « leprous king » originally on the eponymous terrace in Angkor Thom. But it’s actually Yama, the god of death. Today the original statue of Yama is at the National Museum of Cambodia in Phnom Penh and that in situ is made of cement.
The Pin Peat Orchestra plays every day of the year. Several teams of musicians take turns. Unlike the Pin Peat set of the Vat Bo pagoda (https://youtu.be/GVBND4o84m0) widely deployed, this one is reduced to its simpler expression: xylophone (roneat aek), gong chime (kong vong thom), barrel drum on support (sampho), pair of barrel drums (skor thom), oboe (sralai thom). Like the material offerings cited above, music is supposed to flatter the hearing of divinities and to give them pleasure. Daily, the Pin Peat ensemble is used in Buddhist pagodas, at the royal court to accompany the Ballet, in the shadow theater or the masked theater.

FRENCH
Face au palais royal de Siem Reap, le long de la Route Nationale 6 se trouvent un sanctuaire abritant deux statues de Bouddha en position d’abhaya-mudrā, position définie de la main représentant l’absence de peur, la paix et la sécurité. Elles ont été découvertes dans les années 1950. Elles sont considérées comme deux sœurs : Preah Ang Chek l’aînée et Preah Ang Chorm la cadette. Il existe autour d’elles nombres d’histoires légendaires et réelles. La croyance populaire les considère comme les représentations de deux princesses angkoriennes !
Ces deux statues représentent le Bouddha.
Ces deux statues sont vénérées à la fois par les Cambodgiens et les Thaïlandais. Les croyants viennent ici pour influencer de manière le futur de leur vie (chance, argent, santé, travail, enfant…). Pour cela, ils prient, font des requêtes, des offrandes de natures variées vendues derrière le tempe (fleurs, encens, parfum, lumière, fruits, nourritures diverses, argent, musique, libération de moineaux…) et des promesses de nouvelles offrandes dans le cas où les demandes seraient exaucées.
Aujourd’hui la croyance populaire considère ces deux entités comme les protectrices de la ville de Siem Reap.
Une autre statue sur trouve au beau milieu de la Nationale 6, sous un grand arbre sacré. Il s’agit, toujours selon la croyance, de Ya Tep. Cette entité est considérée aujourd’hui comme un Neak Ta, une entité tutélaire protectrice. Selon la croyance, elle aide même à la prédiction pour la loterie ! Cette statue ressemble à celle dite du « roi lépreux » originellement sur la terrasse éponyme à Angkor Thom qui est en réalité Yama, le dieu de la mort. Aujourd’hui la statue originale de Yama se trouve au Musée National du Cambodge à Phnom Penh et celle in situ est en ciment.
L’orchestre Pin Peat joue tous les jours de l’année. Plusieurs équipes de musiciens se relaient. Contrairement à l’ensemble Pin Peat de la pagode de Vat Bo (https://youtu.be/GVBND4o84m0) largement déployé, celui-ci est réduit à aa plus simple expression : petit xylophone roneat aek, grand carillon de gongs kong vong thom, tambour en tonneau sur support sampho, paire de grands tambours en tonneau skor thom, grand hautbois sralai thom. À l’instar des offrandes matérielles citées plus haut, la musique est censée flatter l’ouïe des divinités et leur procurer du plaisir. Au quotidien, le Pin Peat est utilisé dans les pagodes bouddhiques, à la cour royale pour accompagner le Ballet, dans le théâtre d’ombres ou encore le théâtre masqué.

ambodia

 

Pin peat ensemble – Khmer – Cambodia

Pin peat ensemble – Khmer – Cambodia

Published on Jan 2, 2017

The Pin Peat ensemble of Wat Bo pagoda (Siem Reap)
This sequence was filmed during the Pchum Ben festival in 2016.
This ensemble includes a roneat deik made of bronze. This element of the orchestra become rare.

L’ensemble Pin Peat de la pagode Vat Bo (Siem Reap)
Cette séquence a été tournée durant la fête de Pchum Ben en 2016.
Cet ensemble comporte un roneat deik à lames de bronze. Cet élément de l’orchestre est devenu rare.
Il convient de saluer ici les initiatives du Vénérable Pin Sem qui défend la culture du Cambodge dans ce qu’elle a de plus noble.

Pin peat during Pchum Ben festival in Wat Bo (Siem Reap)
© Patrick Kersalé 2017

Board zither by Nyel Che – Bunong – Mondolkiri, Cambodia

Board zither by Nyel Che – Bunong – Mondolkiri, Cambodia

Published on Dec 17, 2016

Board zither by Nyel Che (untitle song) — Bunong — Mondolkiri
Created and made by this blind musician, this board zither is probably unique in the whole Southeast Asian! It incorporates the principles of the tube zither with melodical strings and accompaniment ones. Here, the strings are distributed either side of the board.
Nyel Che is at the same time author, composer, arranger and performer. He died in 2014.
Artists: Song Pru (singing) & Nyel Che (board zither)

Cithare sur planche par Nyel Che — Bunong — Mondolkiri
Création et réalisation de ce musicien non-voyant, cette cithare sur planche était probablement unique dans toute l’Asie du Sud-Est ! Elle reprend toutefois les principes de la cithare tubulaire avec ses cordes mélodiques et d’accompagnement. Ici, les cordes sont réparties de part et d’autre de la planche.
Nyel Che était à la fois auteur, compositeur, arrangeur et interprète. Il est mort en 2014.
Interprètes : Song Pru (chant) & Nyel Che (cithare sur planche)
© Patrick Kersalé 2016

« Escale à Sunda », Patrick Kersalé – Khmer harp / Harpe khmère

« Escale à Sunda », Patrick Kersalé – Khmer harp / Harpe khmère

Published on Jan 15, 2017

Dedicated to Kati Basset …
The Khmer harp with 16 strings has all it take to tackle a wide musical repertoire. To prove it, here is a work with sundanese accents that allows for the first time in the world to explore the instrument beyond its traditional use. Like a vessel whose sails would be strings, the Khmer harp undulates or sways in the wind.
To now more about the reconstruction of the Khmer harp (pin): https://youtu.be/68PfplM3MNo
© Patrick Kersalé 2017

Dédié à Kati Basset…
La harpe khmère à 16 cordes possède toutes les qualités pour aborder un large répertoire musical. S’il fallait en faire la démonstration, voici une œuvre aux accents soundanais qui permet pour la première fois au monde de faire voyager l’instrument au delà de son berceau. Comme une goélette dont la voilure en serait les cordes, la harpe khmère vogue au gré du clapotis ou de la tempête…
Pour en savoir plus sur la reconstruction de la harpe khmère (pin) : https://youtu.be/KuAJXuY9nZ8
© Patrick Kersalé 2017

NGỌC AN : Hà Thành xưa được tái hiện trong MV xẩm

06:04 PM – 25/01/2017 Thanh Niên Online

http://thanhnien.vn/van-hoa/ha-thanh-xua-duoc-tai-hien-trong-mv-xam-786656.html

Nhân dịp năm mới, nhóm Xẩm Hà Thành ra mắt MV xẩm Tương tư, phổ theo bài thơ nổi tiếng của nhà thơ Nguyễn Bính.

Xẩm Tương tư là bài xẩm nói về tình yêu đôi lứa của những chàng trai, cô gái. Họ nhớ nhung, mong mỏi và khát khao đến được với nhau, được yêu nhau và được sống bên nhau trọn đời. Câu chuyện ấy được truyền tải qua xẩm, sự nhớ thương càng trở nên da diết khi hai giọng ca cứ liên tiếp nhau trao gửi những tâm tình.

Nghệ sĩ Nguyễn Quang Long và Mai Tuyết Hoa song ca ca khúc, phần thu âm do nghệ sĩ Trường Linh thực hiện. Điều đặc biệt, cây đàn bầu do cụ Phạm Chí Đương – nghệ nhân chế tác nhạc cụ nổi tiếng Hà Thành xưa làm, được sử dụng trong MV. Người trình diễn cây đàn bầu là cháu nội cụ – nghệ sĩ Phạm Trang.

Vào thế kỷ trước, cụ Trùm Nguyên – một trùm xẩm Hà Nội thập niên những năm 70, thường ghé qua cửa hàng của cụ Phạm Chí Đương trò chuyện và nhờ chế tác hoặc sửa tiếng đàn. Đến giờ, con của cụ Phạm Chí Đương là ông Phạm Chí Khánh đã nối nghiệp cha, trở thành một nghệ nhân chế tác nhạc cụ nổi tiếng, đồng thời là một tay trống của Nhà hát Tuồng Việt Nam.

Đạo diễn Vũ Lâm cho biết, anh quyết định dựng bối cảnh trường quay của MV là góc phố cổ Hà Thành xưa, cùng những vật dụng như thúng, mủng, nong, nia, dần, sàng… “Chúng tôi muốn MV mang nhiều màu sắc dân gian, nhưng được thể hiện gần gũi và đơn giản. Bởi vậy ê kíp chọn bối cảnh ở hè phố, trong một không gian nhiều màu xanh và những công cụ lao động truyền thống. Chúng tôi muốn đưa thông điệp nhẹ nhàng vào trong MV, đó là việc người xem thấy được sự khác biệt lớn giữa cách người ta yêu nhau, cách người ta nghĩ đến nhau trước kia và bây giờ. Tương tư có thể khiến ta nghĩ chậm lại, và yêu chậm lại”, đạo diễn Vũ Lâm chia sẻ.

Theo đạo diễn này, không thể kể câu chuyện một cách quá hiện đại, cũng như quá cũ trong MV. “Cái khó nhất là làm sao ra được cái tinh thần của tác phẩm, tái hiện được một góc Hà Thành xưa cũ với tone màu nâu trầm và rất nhiều màu xanh của cây cỏ”, anh nói.

Cũng như nhiều MV trước, MV Tương Tư được nhóm xẩm Hà Thành tự bỏ tiền túi ra để thực hiện hiện với mong muốn nghệ thuật truyền thống đến với đông đảo công chúng.

Ngọc An

GAMELAN and MUSIC for Cremation Ceremony in UBUD, Bali

GAMELAN and MUSIC for Cremation Ceremony in UBUD, Bali

Published on Nov 15, 2013

A collection of Music from Ubud Bali with Gamelan Music and rhythmic based music for Cremation Ceremony which is an important event of Balinese people..
Inhalt / Content of music video::
1. Gamelan music for Barong Puri Menara 8:31
2. Music for Barong Puri Menara Crew 2:22
3. Music Rehearsal Sambahan Youth Commun. 4:54
4. Rehearsal of Music for Cremation Ceremony 3:28
5. Full Performance of music for Cremation 14:34
6. Music for a Royal Cremation Ceremony before Procession in streets of Ubud 4:57
Jens Egert (Sarod) Indian String Instrument is playing a short melody
based on a typical balinese 5 tone scale. C-E-F-G-B-C
the original purpose of beleganjur was to accompany armies into battle and strike fear into the hearts of the enemy. In fact, gamelan beleganjur literally means gamelan of walking warriors. Also like its Western counterpart, today beleganjur has mostly lost its association with warfare, and instead is associated with festivals, contests, and cremation ceremonies.
Gamelan beleganjur is essential to the Hindu religious ceremonies of Bali. There are rites to appease evil spirits and honor good ones, temple festivals to celebrate the anniversary of a temple’s dedication, and cremation ceremonies to cleanse the souls of the deceased and prepare them for reincarnation.
Watch also: MUSIC and DANCE Impressions of BALI movie HD
https://www.youtube.com/watch?v=XOhq-…

Singing – Chant – Lô Lô – Vietnam

Singing – Chant – Lô Lô – Vietnam

Published on Jan 3, 2017

The Lô Lô have a wide repertoire of love songs. According to custom, the boy generally takes the initiative to come to the girl. But since he cannot enter the house of his own free will, he begins to sing outside, until the mistress of the place (usually the courted girl) invites him to enter. Once in the square, the singing turns come alive. As the Lô Lô live in high, cold and humid regions, most of these events take place inside the house.
This love song in duet is conducted according to the so-called echo technique. The oldest singer leads the singing, the other follows. This is a very common practice in this geographical area. The song is articulated around a single minor third. Three notes are enough for its expression.
© Patrick Kersalé 2016

Les Lô Lô possèdent un large répertoire de chants d’amour. Selon la coutume, le garçon prend généralement l’initiative de venir chez la jeune fille. Mais comme il ne peut entrer de son plein gré dans la maison, il commence à chanter à l’extérieur et ce, jusqu’à ce que la maîtresse des lieux (généralement la jeune fille courtisée) le convie à entrer. Une fois dans la place, les tours de chants s’animent. Comme les Lô Lô vivent dans de hautes régions froides et humides, l’essentiel de ces manifestations se déroule à l’intérieur de la maison.
Ce chant d’amour en duo est conduit selon la technique dite de l’écho. La chanteuse la plus âgée conduit le chant, l’autre suit. Il s’agit d’une pratique tout à fait commune dans cette aire géographique. Le chant s’articule autour d’une unique tierce mineure. Trois notes suffisent à son expression.
© Patrick Kersalé 2016

To know more / Pour en savoir plus:
http://lugdivine.com/cd-dvd-livres/no…