Apr 15, 2016 - a supervisor of the Office of Rites. This celebrated temple is not only the largest. Ming-style wooden ..
Esplanade Presents
A Tapestry of Sacred Music
15 – 17 Apr 2016
An adventure through continents and cultures, A journey through histories and hearts, In love with life, In quest of peace,
Come.
About Esplanade – Theatres on the Bay Esplanade is Singapore’s national performing arts centre and one of the busiest arts centres in the world. Since its opening in 2002, the centre has presented more than 31,000 performances, drawing an audience of 22 million patrons and 84 million visitors. This architectural icon, with its distinctive twin shells, houses worldclass performance spaces complemented by a comprehensive range of professional support services. Its two main venues are the 1,600-seat Concert Hall and a Theatre with a capacity of 2,000. In March 2014, Esplanade’s Concert Hall was listed as one of the “world’s 15 most beautiful concert halls” by Hamburg-based building data company Emporis. Esplanade’s vision is to be a performing arts centre for everyone and it seeks to enrich the lives of its community through the arts. The centre’s programming is guided by its mission – to entertain, engage, educate and inspire. Its year-long arts calendar of about 3,000 performances presented by Esplanade, its collaboration partners and hirers cater to diverse audiences in Singapore and span different cultures, languages and genres including dance, music, theatre, visual arts and more. More than 70% of the shows that take place each year at the centre are non-ticketed. In May 2015, Esplanade was chosen as one of SG Heart Map’s 50 special places. Esplanade regularly presents world-renowned companies and artists that attract international attention and add to Singapore’s cultural vibrancy. The centre is also a popular performance home for arts groups and commercial presenters who hire its venues to stage a wide range of programmes. These carefully curated presentations complement Esplanade’s own diverse offerings for audiences. Esplanade works in close partnership with local, regional and international artists to develop artistic capabilities, push artistic boundaries and engage audiences. The centre supports the creation of artistic content and develops technical capabilities for the industry nationally. Esplanade – Theatres on the Bay is operated by The Esplanade Co Ltd, which is a not-for-profit organisation, a registered Charity and an Institution of a Public Character. Visit www.esplanade.com for more information.
Board Members Mr Lee Tzu Yang (Chairman) Mr Benson Puah (Chief Executive Officer) Mrs Rosa Daniel Ms Kathy Lai Dr Jennifer Lee Mrs Christine Ong Mr Kenny Powar
Mr Ramlee Bin Buang Ms Saw Phaik Hwa Mrs Mildred Tan-Sim Beng Mei Dr Ming Tan Mrs Valarie Wilson Mr Yap Chee Meng Mr Andre Yeap
Esplanade is a proud member of
Association of Asia Pacific Performing Art Centres www.aappac.net
Esplanade’s Community Programmes are supported by Tote Board Family, comprising Tote Board, Singapore Pools and Singapore Turf Club.
All rights reserved. UEN: 199205206G Information correct at time of print. Please note that photographs and videos of patrons may be taken at this event for use in our archival and publicity material. 1 Esplanade Drive, Singapore 038981 Tel: 6828 8222 Fax: 6337 3633 Customer Service Hotline: 6828 8377 SISTIC Hotline: 6348 5555
Festival Message Dear Audience, Welcome to a very special weekend in our cultural calendar, where we get the opportunity to bring you some of the most powerful forms of human expression. These are expressions that are inspired by and devoted to something greater than ourselves—the belief in a divine power. Over three days, we explore the relationship between music and spirituality that has existed since time immemorial; we travel the world to familiar and distant lands to witness the creative fires of different cultures, sparked by the outpouring of passion and piety; and we immerse ourselves in the fluid melodies and rhythms that convey the spiritual depths of one’s soul. Planning this festival has always been an interesting journey for the team. Looking back to when it first launched in 2009, we kicked off with an early morning chanting session titled Call of the Dawn, meant to coincide with the sunrise. As it began at 6.30am, we were understandably nervous about attendance, uncertain if anyone would turn up at all. Fortunately, a modest crowd did, along with a contingent from the Esplanade family offering moral support. To this day, it is often reminisced by those who were there. Eight years on, the festival has grown to include a wide variety of art forms and an intensely packed roster of music genres. Some of these genres have strong links to existing religious practices, while others are more secular but have roots in spiritual traditions. As we continue to grow, we are delighted to bring back Call of the Dawn, which we hope will leave an impression on you just as it did for those who joined us at the start. We also have a threeday itinerary of programmes that starts from morning and continues on into the night, which include meditation, workshops, talks, as well as performances by different cultural groups. We hope that you will have an enriching and enjoyable time at this edition of the festival. It is at its very heart, an opportunity that not only allows us to experience one another’s songs and dances, but also lets us learn about other cultures around the world. In the words of 19th century composer Frederick Delius, “Music is an outburst of the soul”. Beneath the myriad tongues, voices, and sounds, we invite you to discover a shared humanity in the hopes, devotions, fears, and joys that resonate in the music. We look forward to bringing you meaningful encounters at A Tapestry of Sacred Music 2016. Yours sincerely Tan XiangHui Lead Programmer A Tapestry of Sacred Music
3
Contents Ticketed Programmes
Fareed Ayaz and Abu Muhammad Qawwal
pg 6
pg 13
Glory Gospel Singers
Buddhist Music Ensemble of Zhihua Temple
pg 10
Voices from the Land of Fire: Mughams and Ashiq from Azerbaijan
pg 17
Photo credit: Alice Young
Free Programmes
Pipes in Harmony
4
pg 20
Rural Celebrations of Korea
pg 23
Candomblé – The Dance of the Orixas
Pp 26
Buddhist Ceremonial Drumming and Dances of Sri Lanka
pg 28
Dances of Thanksgiving
pg 31
Music of Taoist Rituals
pg 33
Stella Splendens — Medieval Iberian Songs of Devotion & Pilgrimage
pg 35
Qasidah: Islamic Devotional Poetry
pg 37
Sacred Music of Solo
pg 39
Sikh Kirtans: Singing to the Divine
pg 41
Turkish Sufi Music
pg 43
Call of the Dawn and Night Prayers
pg 45
Meditation Sessions
pg 45
Talks & Workshops
pg 46
Visual Arts
pg 48 5
Ticketed Programmes
T
Photo credit: Coke Studio Pakistan
Fareed Ayaz and Abu Muhammad Qawwal (Pakistan)
15 Apr, Fri, 8pm, Esplanade Concert Hall
A singer transfixed in the rapture of
The romantic view of traditional qawwali
religious ecstasy, sits cross-legged on a
sees its protagonists as exclusively male
carpet while he belts out long, improvised
and hailing from long, elite lineages
melismas against a small backup chorus
attached to important Islamic Sufi shrines.
w i t h a c c o m p a ny i n g h a r m o n i u m a n d
In its allegedly oldest and purest form,
percussion instruments—this is the
musicians sing all night, with each song
proverbial image of qawwali, the musical
lasting as long as an hour. A pir, literally
expression of Sufi poetry in South Asia.
referring to an old man, sits at one end of
Today, such an aura of musico-spiritual devotion via extreme emotion is fashioned on two accounts: first, by a contemporary appetite for the mysticism behind the genre’s 1000-year-old history, which traces its roots to the Per sian founders of the Delhi Sultanate on the Indian subcontinent; and second, a result
6
the shrine gathering, acting as de facto chief. Each qawwali session opens with a reading from the Qu’ran. But it is the singers sitting at the opposite end of the shrine who take full control of the scene— manipulating text, musical structures, and hand and body gestures to achieve the state of Sufi sama, or “ecstatic audition.”
of its highly-mediated delivery by a rising
The aim for performers is not only to evoke
pantheon of semi-secular super star s,
their spiritual emotionality through music,
most famously helmed by the late Nusrat
but also arouse this devotion within their
Fateh Ali Khan.
listeners in the act of musical communion
such that they become receptive to the
songs and soundtracks to Bollywood
hidden messages of the songs, delivered
flicks. Thanks to a burgeoning broadcast,
in Farsi, Punjabi, Urdu or literary Hindi.
film and media industry, many qawwali
Not surprisingly, this di vinity—to be found in audition, music and spirituality, and channelled through the singer’s grain of voice—has been interpreted variously throughout the centuries within and beyond the Indian subcontinent. The situation has been further complicated by the often ambiguous nature of qawwali poetry itself, which frequently invokes the sacred by calling to fore the unabashedly profane. The 12th century Sufi poet Ali Qalandar for example wrote of being an “intoxicated slave… the chief of all drinkers and the dog of the streets of the lion of Yazd.” Six centuries later, 18th century Punjab bard Bulleh Shah of Kasur described in his lyrics earthly love, and by extension the pains and pleasures of earthly lovers: Oh, today my air is open In my hands the paranda1 I did not go with you If I had known, my lover, I would have decorated my feet at night Oh, my lover, I forgot
singers have become rock stars in their own right. Nusrat Fateh Ali Khan, already a household name in Pakistan for one, came to the attention of the West following his collaborations with Canadian guitarist Michael Brook. Other recent masters who have made names in the world music circuit include the Sabri brothers, Faiz Ali Faiz, Fareed Ayaz, and Abu Muhammad. Beyond didactic texts, qawwali singers have also become storytellers and entertainers. They code switch between distinct vocal styles of the religious poetry reader, the Bollywood film singer, and even the Western pop/rock artist. Qawwali p e r f o r m a n c e s m a y r u n o n ov e r n i g h t today in temples, although 90-minute sets featuring extensive electronic amplification have also increasingly become the norm. And still, qawwali singers hail the status of their ancient shrine associations and traditional lineages as badges of identity. Pakistanborn Fareed Ayaz and Abu Mohamed for example speak of their distinct gharana,
I did not go with you2
or school, as hailing from the Bachchon
Still, what can be said is that the once
one of the fabled originators of qawwali
guarded realm of qawwali, dominated by
himself, Amir Khusro. The duo wear their
the religious elite, has since opened to
high-collared shervani coats as badges
Ka Gharana of Delhi and descending from
wider worlds following the partition of
of their identity, and hold their spiritual
the Indian subcontinent. Qawwali has also
ecstasy as sacrosanct—even as they rock
benefited from the rise of popular culture,
their stages as modern day idols.
and been rapidly mediatised through the Hindi film industry. It has also been on the forefront of globalisation. Today, qawwali singer s work acti vely in different contexts—and dare we say markets—negotiating the enclosures of shrines, the rock arena stages of world music festivals, and the private rooms of elite politicians. They also thrive in the studio, creating qawwali-inspired theme
1
A hair braid accessory
The poet here refers to his lover who has renounced the world, presumably to seek out the divine, suffering his own spiritual inability to follow suit. 2
7
What to look out for in a qawwali performance Setup and instruments
instruments and a steady rhythm. Leaders
Qawwali performances usually comprise
may take on spontaneous solos, often
a team of six to eight singers, with lead
running off into excursions of call-and-
singers at the forefront and their chorus
response singing with collaborators and
seated at the sides and back. In the past, a
singers, or reintroduce an unmetered alap
small bowed fiddle known as the sarangi
segment again. As singers ramp up their
w o u l d a c c o m p a ny t h e p e r f o r m a n c e ,
emotive dynamics, the speed of the song
although in recent years this has been
increases and the drummers work harder.
replaced by the harmonium. Percussion instruments – usually the tabla and the two-ended barrel-shaped dholak k eep
Repeated choruses, sargam singing and improvisations
time and heighten the ecstatic grooves of
These cyclical segments forge a familiar
the performance.
s k e l e t a l m e l o d y i n t o t h e l i s t e n e r ’s c o n s c i o u s n e s s w h i l e k e e p i n g o n e’s
Types of poetry
memory challenged by variations and
Different types of Sufi poetry are named
extemporisations. Such a process allows
according to their religious subjects.
for the heightening of emotion and a build-
In modern concert settings, a qawwali
up towards a moment of ecstasy, providing
session opens with a hamd, or a song
for the ultimate reception of the religious
dedicated to Allah. This is usually
message. Often, soloists break out into
followed by a naat, praising the Prophet
syllabic scat singing known as sargam.
Muhammad. Several manqabat, or songs
They work out improvisatory passages
made in the name of Sufi saints, are then
using the sa re ga ma positions of Indian
heard, intermixed with ghazal, or Arabic
raga (parallel to the do re mi of Western
love songs featuring lyrics that mix the
scales).
raunchy with the spiritual. On special occasions, such as a commemoration of a
Hand gestures and clapping
specific religious chief, or of the dead, or
Both the singers on stage, as well as
of an important feast, special praise songs
members of the audience, partake of their
are presented.
musical communion through moving their hands and bodies in rhythm and response.
Music structure of each song While Islamic Sufi poetry makes up the
bravura solo, or towards a climax—is par
backbone of text structure in a qawwali
for the course.
performance, most singers use by default the devices of Hindustani North Indian traditions to create musical structure and mark time in performance. As such, expect to hear first a short, slow instrumental prelude during which the raga for the song is presented. A formal alap is then delivered, where the main notes of the raga are re-introduced on the voice and given improvisational treatment, without a steady beat. Once the general atmosphere is set, the qawwali singer launches into the third and main section of the piece, denoted by the entry of the percussion 8
Clapping—in and out of rhythm, to a
About Fareed Ayaz and Abu Muhammad Qawwal Fareed Ayaz & Abu Muhammad ensemble’s
Both Fareed and Abu go out of their way to
Qawwali music has its roots in one of
explain the layered nuances of the ancient
qawwali’s oldest schools, the Qawwal-
Sufi poetry as well as explaining the
Bachcha gharana, set up by the legendary
traditions of qawwali, a quintessentially
musician and poet, Hazrat Amir Khusrau,
spiritual form of music. Audiences are an
in 12th century Delhi. Fareed Ayaz and Abu
essential part of performances as they
Muhammad learned the art of Qawwali
engage in a dialog with the musicians
from their father, the late Ustad Raziuddin
to shape and uplift the performance –
Ahmed of the Delhi Gharana. Their music
sometimes repeating the couplets and
sits between the sub-continent’s classical
at other times taking the performance in
(Khyal, Dhrupad and Thumri) and rich folk
unexpected directions.
traditions. The group sings in multiple l a n g u a g e s i n c l u d i n g U r d u , Pu n j a b i , Sindhi, Hindi, Farsi, Arabic, Bengali, and Purbi - a unique tradition of Qawwali can be directly traced back over 700 years to Hazrat Nizamuddin Aulia and Hazrat Amir Khusrau of the Indian Sub-continent. Special thanks to
The government of Pakistan recognized the group with the “Pride of Performance” Award. The group continues their family t r a d i t i o n o f p e r f o r m i n g Q a w wa l i b y consistently touring across the globe. (2 hrs, no intermission)
$30^
Concessions for students, NSFs and senior citizens: $15
LOTTO
CARPETS
^
Esplanade&Me specials available. Sign up now at www.esplanade.com to enjoy savings. 9
Buddhist Music Ensemble of Zhihua Temple (China)
16 Apr, Sat, 3pm, Esplanade Recital Studio
T
Four times a day, in a modest-looking
In the ninth year of the Zhengtong period
Buddhist temple situated at the end of
of the Ming Dynasty (1444 AD), Wang
Beijing’s Lumicang Hutong alleyway, a
Zhen, a powerful eunuch of Emperor
handful of musicians dressed in yellow
Yingzong, commissioned the construction
monastic robes perform 15-minute concerts
of the Buddhist Zhihua Temple. Apart from
on age-old string, wind, and percussion
fitting it with a one-of-a-kind, finely-carved
instruments. Ethereal sounds fill the oasis
revolving sutra cabinet and decorating
of the temple’s quiet courtyards with a
its Tathagata Hall with 10,0 0 0 Buddha
touch of the otherworldly, reverberating
statuettes, the eunuch also formed an
from the corners of the compound as they
orchestra for its rituals and folk activities,
hark back to the time of the Ming Dynasty
and introduced parts of court music into
imperial courts. This is the ancient music
its repertoire.
of the Zhihua Temple, an oral tradition that has been passed down 27 generations, f i r s t c o n c e i v e d a s a n a m a l ga m a t i o n of gongting yinyue (court music) and zongjiao yinyue (religious music). 10
Ticketed Programmes
As the Wang clan declined in number, funding for the temple greatly diminished, forcing the musicians to stage commercial performances. Over time, their music took on elements of folk music and evolved
into a style of its own. For the next half a millennium or so, the music of the temple gradually spread
in the book, it was discovered that they were exactly the same as the music he had been performing.
to areas around Beijing where it gained
With over 300 known pieces, less than 50
recognition as a popular form of Buddhist
are transcribed in hand-copied notation
music in the north. The monks of the
books. Composed in the gongche notation
temple also became the most revered
style (in pentatonic scale), each piece is
transmitters of shengguan (mouth-organ
passed down orally through performance.
and reed pipe) music. Today, not much of
As traditional notation only sets down the
it has changed; it is lauded as a “living
“frame” notes, much of the more nuanced
fossil” of ancient Chinese music, one
supplementary notes called kou, meaning
of the oldest genres that still exists in
“mouth”, are required and are filled in by
China. Often referred to as jing yinyue (or
trained musicians.
Beijing music, a Buddhist genre), it was also among the first few forms to be put on China’s National Intangible Cultural Heritage list.
It therefore tak es year s of strict and tedious practice and memorisation before a student can perform independently. It is for this reason that the temple in the
The music of Zhihua temple has distinctive
past used to recruit children below the
artistic features that include an often
age of seven. Training typically took seven
solemn, elegant and grand tonal system,
to eight years, part of which included
and a rich performance style. During the
the learning of the particular etiquette
Ming Dynasty, it provided exquisite and
of walking, standing, and sitting. Of the
plaintive instrumental accompaniment in
scores that have survived, some include
funerals and rituals conducted to bring
vocal sections that nobody knows how to
good harvest and drive off evil spirits.
sing. Today, only 39 pieces are complete
Featuring a slow and steady rhythm, it
enough to be performed.
builds up a tranquil ambience meant to ease one’s emotional state and help in
A disappearing tradition
meditation. While the pieces can be played
Appreciation for this form of Beijing
independently, they are usually grouped
music is waning, just as there are fewer
into suites of four parts. A suite would fit
religious rites conducted today. The daily
the length of the intended ritual.
performances at the temple’s premises
The orchestra typically consists of nine
are watched by a few people each time.
musicians performing on a range of
Apart from the challenges in preserving its
percussion instruments including the taigu
existing repertoire, the lack of successors
drums and yunluo (a collection of 10 mini
has also cast a grey cloud over its future.
gongs), and wind instruments such as the
Owing to the Cultural Revolution in the
guanzi (an ancient chinese oboe with nine
late ’60s and ’70s, the temple met with
holes, popular during the Ming Dynasty),
its first challenge during that period. Like
sheng (mouth-blown reed flute) and dizi
most other traditional arts at that time,
(transverse flute). Ensemble harmony is
the music went on the verge of extinction.
emphasised over individual achievement.
M a ny Z h i h u a m o n k s l e ft t o r e s u m e
In one account, a Zhihua monk in the 19 5 0 s d i s c o v e r e d a n a n c i e n t m u s i c book at the bottom of a chest, which he sent to a musician to be studied. It was established that the book he found was a 1694 transcript by a musician-monk, Yang Yongqian. Comparing the scores that were
secular lives following the founding of the People’s Republic. It also led to a restructuring of policies at the temple to meet with this shortage of musicians: students no longer needed to be monks to learn the art. However, that wasn’ t enough as the rigorous training and low 11
stipend were some of the deterrents.
Did you know?
In the winter of 2013, the Zhihua Temple
When Wang Zhen introduced the
released a recording as a way of preserving
music of the imperial courts—which
their musical heritage. The ensemble had
was exclusi vely played within the
downsized from nine to six.
palace walls then—into the temple’s
The current generation of musicians, who were disciples of the revered Zhang Benxing, might not be monks but they are
own, it was done so without sanction from the emperor. This was how influential and powerful he was.
passionate about the art form. Outside the temple, they take part in activities based around folk music and culture, hoping to promote this disappearing tradition and revive this “living fossil”.
About Zhihua Temple The Zhihua Temple was built during the
wood blocks that were used to print the
Ming Dynasty (1444 AD) as an ancestral
famous edition of Buddhist scriptures by
temple for Wang Zhen, who was Ming
the emperor Qianlong in the 1730s. The
Emperor Yingzong’s favourite eunuch and
temple was listed under the National Key
a supervisor of the Office of Rites. This
Cultural Relics Protection Unit by the State
celebrated temple is not only the largest
Council in 1961.
Ming-style wooden building complex that still exists today, but also houses a large collection of statues of Buddha, scriptures, murals, and music, as well as
^
12
(1 hr, no intermission)
$25 ^
Esplanade&Me specials available. Sign up now at www.esplanade.com to enjoy savings.
Concessions for students, NSFs and senior citizens: $15
Glory Gospel Singers (USA)
16 Apr, Sat, 8pm, Esplanade Concert Hall
Gospel
getting “responses” from them. This was
Gospel music has a 150-year history that
carried to the United States by the forced
rose from Sunday school choirs to televised
migration of African slaves from the 1600s.
evangelist movements, and extravaganza concert showcases of Christian worship. The genre means different things to different people, but for the most part refers to African-American Christian choirs whose lead singers engage in dazzling displays of semi-improvised singing. Today, there are at least five different branches of gospel music, of which black gospel is the best known and active scene.
Deeply influenced by traditional African song, gospel’s predecessor of the negro spiritual evolved from the profoundly o p p r e s s i v e c i r c u m s t a n c e o f s l a v e r y, where instruments in plantations across the United States were banned. As a result, singers were forced to hone their voices as the ultimate expression of their pain, hopes and fears, alongside their religious devotion.
A history of slavery
The lyrics of early gospel music were
Gospel draws its distinctive traits from the
double-edged. They provided comfort
slave world of spirituals, minstrelsy, and
to oppressed communities but also
the blues. However, its roots can be found
f r e q u e n t l y i nvo k e d d o u b l e e n t e n d r e
even further outside of the United States, in
m e a n i n g s . T h e s o n g s c a rr i e d h i d d e n
the West African tradition of griot singing. In
information on the “Underground
this praise song form, a singing storyteller
Railroad”, or a secret network of escape
delivers long and virtuosic improvisatory
routes used by slaves in the 19th century
passages, often “calling” his audiences and 13
to escape to the free states and Canada.
broadcasting further developed audiences
Gospel lyrics hid in plain sight words
for gospel music. Christian radio stations
referring to locations of safe-houses run
began programming the emerging form,
by abolitionists and sympathisers. These
while early record companies started to
were buried in a code of language used
groom young improvisers of the genre.
for worship.
Following in the footsteps of the Fisk
With the end of the American Civil War (1861–1865) and with the abolishment of slavery, thousands of newly freed men and women surged North in search for new beginnings, bringing this music with them. A new life The musical term “gospel” itself fir st appeared in print in 1874, in the context of P. P. Bliss’ published book of Gospel Songs, and expanded with the rise of the sheet music industry. There was growing interest to notate and record the songs of the former slaves. As publishers began to collate and distribute new tunes in hymnals and a wide range of songbooks,
an a cappella, barbershop quartet style with tight harmonies. The father of black gospel music It was at the same time that one highly successful blues pianist made the next big shift in the evolution of black gospel music. Thomas A. Dorsey, also known as “Georgia Tom”, began a prolific musical career writing raunchy and witty blues songs. A turn of circumstances made him transition to writing gospel music, r e nouncing se cula r composit i o n an d devoting himself to the service of worship through music.
the genre spread not only within the
Fr u s t r a t e d b y t h e t r e a t m e n t t h a t h e
church but also to domestic audiences
received from existing music publishers,
with the rise of middle-class families
Dorsey founded the first publishing
gathering to sing wholesome songs at
company to focus on black gospel music,
home by the piano.
Dorsey House of Music. His music and the
The earliest public performances of these spirituals were performed under the guise of minstrel shows in the late 19th century, both by black-faced white performers as well as African-American singers. They were then popularly performed by the Fisk Jubilee Singers—a group of African-American students from Fisk University in Nashville, who toured America and Europe to raise funds to help save the school from closure. Marrying E u r o p e a n f o u r- p a rt ch o r a l t r a d i t i o n s with the melodies and vocal stylings of the African-Americans, they brought the music to the mainstream. Their version of Swing Low, Sweet Chariot, recorded in 1909, is often deemed one of the first examples of recorded black gospel as the genre is understood today. By the 1920s, the beginning of radio
14
Jubilee Singers, gospel groups developed
style it was written in grew in popularity, drawing influences from his previous musical life—blues and jazz. In 1932, Dorsey organised the first gospel choir at Chicago’s Pilgrim Baptist Church, creating a whole new format by which gospel music would be performed. The Civil Rights Movement During the 1950s and 1960s, the cultural and political landscape of the United States began to change seismically with the rise of the civil rights movement. This saw various marginalised groups across the country seek equality under the eyes of the law via non-violent resistance. Particularly, black communities sought to end racial segregation and discrimination through fighting for the passing of legislative acts.
Jackson (1911–1972). She became one of the first gospel artists to be signed onto Columbia Records, and openly supported ci vil rights acti vist Rev. Martin Luther King in song and spirit. Jackson’s Take My Hand was one of King’s favourite tunes, and she sang it in support of him at the rally held at the Imani Temple in Washington D.C. the night before his a ssa ssina tion. A t his r e que st , i t was also the send off melody at his funeral, Gospel came into public and political
performed again by Jackson.
prominence here as an obvious conduit
In 1964, the Civil Rights Act was passed,
for peaceful protest via music. Closely
banning discrimination on the basis of
i n t e g r a t e d i n t o b l a ck c o m m u n i t i e s
race, colour, religion or national origin
through the church, and also through
i n t h e w o r k p l a c e , s ch o o l s a n d o t h e r
a r i s i n g e n t e rt a i n m e n t m u s i c s c e n e ,
public places. This was closely followed
gospel promoted black pride and was a
by the Voting Rights Act of 1965, which
vehicle of expression for the black grass
restored and enforced the full right of all roots. It organised people into a mass – including ethnic minorities across the demonstration of soul, angst, solidarity United States—to vote. and a campaign for equality and justice. In the form of sheet music and, often,
Gospel today
as hand-copied as well as printed
Today, gospel has evolved into an entire
lyrics, gospel songs were strategically
field that arcs across its sacred Christian
disseminated by ethnomusicologists, folk
beginnings, through its identification with
singers and political activists.
progressive politics, to a firm entrenchment
The
songs
acted
as
a
form
of
encouragement and internal propaganda for groups that were planning boycotts, sit-in protests and pickets. I’m On My Way, for example, was a popular tune chanted by the masses during important occupations, including the Greensboro sit-in of 1960 at the “whites only” lunch counter of the Woolworths store in North Carolina. The protest led to the abolishment of racial segregation at Woolworths departmental stores across the country. C r i t i c a l l y,
both
communities
as
b l a ck
i n t h e e n t e rt a i n m e n t , m e d i a a n d T V evangelist industry. No longer simply a cappella in form, many contemporary gospel performances feature a full backup band of drum kit, electric guitars and k eyboards. Additionally, a number of new gospel singers have blended into their expressions elements of African American street music such as rap, hip hop and R&B, as well as mainstream rock and roll, funk, jazz and disco genres. Pop cultural artists from Wyclef Jean to MC Hammer have also covered gospel songs,
grassroots
well
as
or introduced gospel-inspired elements
white
into their commercial albums. Indeed,
sympathisers, including prominent folk
the potential for crossover marketing has
singers Guy Carawan and Pete Seeger,
expanded such that Christian references
signed up to this musical campaign.
in gospel lyrics—such as God the Father’s
Beyond its protest value, gospel provided
love for his son and children—have been
a bridge between what was assumed to
ambiguously rephrased into secular
be two very different cultures.
contexts with references to generic or
In the mid-1960s, gospel’s political edge was even more strategically honed, with the rise of New Orleans-born Mahalia
r o m a n t i c l ov e , b r i n g i n g t h e d o u b l e entendre play of early Gospel songs full circle in history. 15
Where did you hear it? Gospel music in pop culture Marion William’s appearance as a gospel
American classical/avant-garde composer
singer in the movie Fried Green Tomatoes
Charles Ives frequently quoted gospel
may be one of the earliest entrances of
tunes in his works.
gospel in Hollywood. But it was Whoopi Goldberg’s rendition of Oh Happy Day and I Will Follow Him in the 1992 film about a lounge singer hiding from the mafia in a nunnery that captured imaginations. The song form itself has been around to influence pop and mainstream culture for even longer. Thomas A Dorsey’s (1899– 1993) early hymn We Shall Overcome was covered by no less than legendary folk singer Pete Seeger and, later, Joan Baez.
Less obvious than direct reference to specific tunes is the borrowing of gospel solo singing and improvisatory techniques in the vocal styles of major pop artists today, including Aretha Franklin, the late Whitney Houston, Mariah Carey, Alicia Keys and Beyoncé. Their characteristically grooving, belting solos remain etched in the consciousness of many contemporary pop fans.
Eventually, it became an anthem of the Civil Rights Movement. Even earlier, the
About Glory Gospel Singers The award-winning Glory Gospel Singers
A premiere collective of vocalists and
(GGS) was founded in 1995 by Visionary,
singers; GGS is a passionate ensemble of
P hy l i s s M c Ko y Jo u b e rt , C E O o f D & P
some of the world’s most talented gospel
Joubert LLC, a worldwide booking agency.
and classical artists. From soul-stirring
Joubert’s innovative leadership birthed
arrangements of Amazing Grace, Joshua,
vision to an exclusive talent roster that
a n d Ku m b a y a t o c l a s s i c a l s t a n d a r d
serviced both faith-based and mainstream
William Tell Overture and Japanese anime
initiatives around the globe. This vision
Mononoke Heme; their repertoire is as
came to life through GGS as the nation’s
diverse as their polished voices. Their
most proficient artists auditioned for what
performances have been heard at Carnegie
was soon to be a global manifestation.
Hall, The Dom of Frankfurt, Theater Der
Following an inaugural tour to Germany in 1996; audiences demanded that GGS return for a year-round schedule. This monumental year catapulted them into what is now a historic benchmark of 192 tours in 188 countries with a roster of over 400 singers.
^
16
Stadt of Heidelberg Berlin Philharmonic, St. Patrick’s Cathedral, Erfurt Cathedral of Deutschland, St. Mariendom of Bremen, Lincoln Center and more. (1hr 30mins, no intermission)
$30^
Esplanade&Me specials available. Sign up now at www.esplanade.com to enjoy savings.
Concessions for students, NSFs and senior citizens: $15
Ticketed Programmes Voices from the Land of Fire: Mughams and Ashiqs from Azerbaijan
T
Alim & Fargana Qasimov (Azerbaijan)
Due to unforeseen health issues, Fargana Qasimov will not be performing in this concert.
17 Apr, Sun, 5pm, Esplanade Recital Studio
Perched on the meeting point of Europe and
t o a n c i e n t Pe r s i a , w h e r e t h e g e n r e
Asia with the Caspian Sea licking its entire
originated in the folk world of travelling
Eastern aspect, the oil-rich Azerbaijan is
bards and storytellers. Peddling courting
a land that has produced carpets and
songs, raunchy tales, moral fables, bridal
crotcheting competitions. Boasting one
laments and lullabies, these early singers
of the first documented fireplaces and fire
were the highlights of weddings, funerals
temples in the world, Azerbaijan bears
and birth celebrations. In its heyday from
a rich history that includes Zoroastrian,
the 15th to 17th centuries, mugham were
Islamic and Russian Orthodox influences.
sung and heard all over Central Asia,
It has seen the rise of Persian, and later,
and not only indigenous to Azerbaijan.
Soviet governors through its land over
Indeed, the still-evolving Arabic maqam,
many centuries. However, far from only
the Persian radif and the Uyghur muqam
boasting endless steppes and gorgeous
of Xinjiang can be thought of as cousins
Islamic turrets, Azerbaijan is also—thanks
of the Azeri mugham. Apart from shared
to its oil reserves—a cosmopolitan country
melodic repertoire, these history-laden
with a capital city of Baku adorned with
forms were once particularly mysterious
gleaming new buildings designed by star
objects of attention of logicians and
architects from around the world.
scientists. The allure lay in the complex
Azerbaijan is also home to the mugham, which is both a musical form as well as a compositional and improvisation t e ch n i q u e . I t s r o o t s c a n b e t r a c e d
mathematics behind the calculation of pitch frequencies and relationships between individual notes that formed the scales and modes—or musical building blocks—of the mugham. These numerical 17
relationships were in turn linked to divine During the 1950s, under Soviet rule, the orders of the universe. A rich and arcane mugham took an even more formalised system of rules and regulations evolved appearance, expanding sometimes to around the mugham, formulating how a become full-fledged symphonic-length performer could or could not improvise suites requiring delivery by teams of super with his or her melodic building blocks. The “mathematical-spiritual” turn in mugham interest eventually led to the form acquiring an orthodox sheen in 16th and 17th centuries, when it also took residence as a classical genre in the royal courts and palaces of Azerbaijan. Part of this was encouraged through its adoption by quasireligious singers, who performed the genre with great seriousness to elite audiences, honing their art in an emerging profession known as the ashiq, or professional mugham singer. Ashiqs were prized for their spiritual renditions of song that often climaxed in moments of great ecstasy, demonstrated by long, impassioned trills of repetitive “nonsense” syllables.
virtuoso vocalists and instrumentalists. Following the dissolution of the Soviet Union in 1991 and the gaining of Azeri i n d e p e n d e n c e i n 19 9 1 , t h e m u g h a m became instrumentalised as a national form, and was moulded and promoted as specifically distinct from its Arab, Persian, Uzbek, or Uyghur counterparts. Today, the mugham has become canonised as the official classical music of Azerbaijan, and in 2003 was recognised as a Masterpiece of Oral and Intangible Cultural Heritage by UNESCO. Where singers of the form were once exclusively male, newer generations have begun to include women, an example being the famous father-daughter duo of Alim and Fargana Qasimov.
5 things about the mugham 01— Mugham can be appreciated simply as 03 — the songs of courtly storytellers. However,
appreciated as lullabies, prayer s, folk
the science and mathematics behind their
tales, love confessions and worshipful
construction, as well as rules concerning
gifts of praise to god. One of the best-
how one should improvise upon them have
known tunes—almost anthemic to
become mysterious fascinations in their
Azerbaijan—is the folk song Sari Gelin,
own right. One approach is to understand
set in the bayati mode. To the untrained
mugham not only as a genre, but also
ear, the song features melodies that make
as an entire arsenal of tunes, as well as
use of microtones, or seemingly out-of-
a mathematically ingenious method for
tune notes falling in between the cracks
making music. Within the bank of melodies,
of piano keys making a standard do-re-mi
each of which in turn comprise even smaller
scale found in Western art music. Literally
building blocks known as scales or modes,
referring to a “tall blonde girl”, the sad and
individual modes have distinct ‘colours’
soulful song speaks of a mountain bride
and inspire particular emotions and vivid
who is sold off to a local lord.
atmospheres. Mugham can also be tied to specific occasions—sacred, profane, as well as the everyday.
02 —
18
Mugham performances can be
04 —
A typical mugham performance will
have the singer start slowly and quietly, working and improvising his or her way
Mugham lyrics have ostensibly
through the individual notes that comprise
referred to love—in its brotherly, charitable,
the given mode, emphasising important
carnal as well as spiritual incarnations.
intervals or relationships between
However, these ecstatic utterances are
particular notes. There is much emotion on
often also heard as metaphors for the
display, usually demonstrated in the shout-
divine. They hail at the dual influences of
style exhortations of sadness and beauty. A
Islam and, earlier, Zoroastrian histories in
mugham performance will climax in chains
Azerbaijan and wider central Asia.
of ululations – repeated and aspirated
vowels over long melodic phrases—making the genre’s distinctive style.
05 — Mugham singers, frequently referred to as ashiqs, or troubadours in Central Asia, usually accompany themselves on the Azeri tar, a lute shaped in a figure of eight. Alternatively, they could also be singing against their own rhythms provided by a hand-held daf, or a frame drum. Often, back-up ensembles are also present, and these include instrumentalists playing the reeded flute known as the balaban, or the spiked fiddle known as the khamanche.
About Alim Qasimov and Fargana Qasimov The elder Qasimov was born into the
been chiefly responsible for the genre’s
Soviet era in the late 1950s, living on
slow but sure rise around the world.
a farming commune. Growing up in poverty, he slowly made his name as a
Aga Khan Music Initiative
singer at religious events and festivals
T h e A ga K h a n M u s i c I n i t i a t i v e wa s
before eventually being pick ed up as
launched in 20 0 0 by His Highness the
a c o n c e rt a n d r e c o r d i n g s t a r. A l i m ’s
Aga Khan to respond to a critical social
daughter Ferghana began singing
need in post-Soviet Central Asia: the lack
professionally with her father at the age
of resources and knowledge to develop
of 16. Honing their combined chemistry
indigenous artistic traditions that validate
to emotionally explosi ve levels, both
local identities and cultural heritage
singers have also individually worked
while at the same time forging an
on re-invigorating the genre via fusion
internationally recognised Central Asian
projects with world music, pop and
artistic modernity. The Music Initiative
Western classical performers. Acts with
i d e n t i f i e s a n d s u p p o rt s o u t s t a n d i n g
which the Qasimovs have worked closely
musical talent, cultivates new approaches
include Yo-Yo Ma’s Silk Road Project,
to musical performance and pedagogy,
the Hilliard Ensemble and the Kronos
documents and disseminates the work
Quartet. Together, the duo have taken the
of leading musical tradition-bearers, and
mugham to new places, modernising it
nurtures collaborations among musicians
in fresh arrangements, adapted rhythms
from different parts of Central Eurasia
and presentational styles to reflect the
and beyond. In recent years, its mandate
contemporary and sophisticated image
has expanded to embrace South Asia, the
of modern Azerbaijan. Today, the father-
Middle East, and North Africa.
and-daughter team are known as the ambassador of the mugham, and have
(1hr 30mins, no intermission) This concert is presented in collaboration with Aga Khan Music Initiative, a programme of Aga Khan Trust for Culture
In Collaboration with
Special thanks to
LOTTO
CARPETS
^
$25 ^
Esplanade&Me specials available. Sign up now at www.esplanade.com to enjoy savings.
Concessions for students, NSFs and senior citizens: $15
19
Pipes in Harmony
Free Programmes
Michael Hey featuring Rebecca Li (Soprano) 17 Apr, Sun, 3pm, Esplanade Concert Hall
Programme Pierre Cochereau (1924-1984)
Scherzo Symphonique
Johann Sebastien Bach (1685-1750)
Wachet auf, ruft uns die Stimme, BWV 645
Transcribed by Jeremy Filsell
20
Fantasia and Fugue in G minor, BWV 542
Wolfgang Amadeus Mozart (1756-1791)
Laudate Dominum, from Vesperae solennes de confessore, K. 339
Franz Schubert (1797-1828)
Ellens Gesang III (Ave Maria), D. 839
Max Reger (1873-1916)
Choral-Fantasy on Hallelujah! Gott zu loben bleibe meine Seelenfreud from 3 Choral-Phantasien für Orgel, Op. 52
F
Photo credit: Alice Young
Though secular and sacred music in the
Johann Sebastian Bach’s Wachet auf, ruft
Western tradition have distinctly different
uns die Stimme is among the better known
lineages, they have influenced each other
organ works. It is a chorale prelude, a
profoundly over the eras. Popular music
piece of music that, during a service, is
of a particular period found its way into
played prior to a hymn to introduce it to
churches and cathedrals across Europe, as
the congregation. This particular chorale-
a way of engaging with the congregation,
prelude is associated with the season of
who would have been familiar with many
Advent, a season in the liturgical year that
of these tunes from their daily li ves.
lasts for a month leading up to Christmas.
Similarly, the more formalised musical structure of liturgical music would make its way back to the popular songs of the time. In this way, the ebb and flow of musical forms between the realm of the spiritual and the secular have formed an integral part of Western art music for nearly a millennium. To this day, there is a great overlap between these two spheres of music and it is not uncommon to hear organ and vial music in church that is not necessarily sacred in and of itself, but which can function as sacred music within the context of a religious service. 1
Though not necessarily a sacred work, t h e Fa n t a s i a a n d Fu g u e i n G m i n o r, BWV 542, also by Bach, can function as one in the context of a church service. Perhaps the Fantasia could be heard as a prelude before the service begins, and the fugue as a postlude, just after the service ends. The Fantasia alternates between aggressive, powerful cadenzalike sections and serene, mild-mannered sections. The subject, which encompasses the first three measures of the fugue, is what the rest of it is built upon. The subject can be heard time and time again
The Scherzo Symphonique was improvised
through the fugue, which culminates in a
on the organ at the Cathedral of Notre
grand climax.
Dame de Paris by Pierre Cochereau on February 10, 1974. It was recorded on an LP and later transcribed to sheet music by Jeremy Filsell. This work exemplifies the French school of organ improvisation. Most of the organ music heard during services at cathedrals and churches in France is improvised on the spot by the organist.
Wolfgang Amadeus Mozart’s Laudate Dominum is one of the most sublime, enchanting vocal solos that he wrote. It comes from the Vesperae solennes de confessore, or Solemn Vespers in honor of a Saint, which is based on the text of Vespers, a religious service that takes place in the late afternoon or early evening.
The converse is also true with famous mass settings by composers such as Beethoven, Schubert and Rossini performed as concert works and not as part of the liturgical service.
1
21
Ave Maria, or Hail Mary, has also become
About Michael Hey
a staple song among Catholics and is
Described as "flashy" and "exciting" (The
often requested to be performed during
A m e r i c a n O r ga n i s t ) , M i ch a e l T h o m a s
wedding ceremonies. In its original form,
Crisostomo Hey has been capti vating
the song bore the title Ellens dritter
audiences across the United States.
Gesang or Ellen’s Third Song, with secular
Despite being in his early ’20s, Michael
text from Walter Scott’s epic poem The
is the Assistant Director of Music and
Lady of the Lake. The opening words of
Organist of Saint Patrick's Cathedral in
the poem are literally Ave Maria, which in
New York. In September 2015, when Pope
Latin also appear in the beginning of the
Francis visited the United States, Michael
Catholic prayer Hail Mary. Thus, the song
performed for a papal Vespers service at
has become better known in Latin than in
Saint Patrick's Cathedral and a papal Mass
its original form.
at the Madison Square Garden.
The choral-fantasy on Hallelujah! Gott
M i ch a e l
zu loben, bleibe meine Seelenfreud is
r e n o w n e d c o n c e r t v e n u e s s u ch a s
based on the Lutheran chorale of the
Lincoln Center's Alice Tully Hall—where
same name. The work is baroque in
he made his debut in 2010 performing
structure, but with romantic harmonies,
a Handel organ concerto with the
gestures, and gravitas. The mammoth
J u i l l i a r d O r ch e s t r a — a s w e l l a s i t s
introduction is followed by the chorale
David H. Koch Theater, Philadelphia's
melody, heard bombastically in the bass
Verizon Hall at the Kimmel Center, and
of the pedals. Each verse of the chorale
Washington D.C.'s Millennium Stage at
is performed to a different musical style
the Kennedy Center. In 2014, he was the
(hence a “theme and variations”). In
featured organ soloist in the New York
high romantic style, each variation is a
City Ballet’s newly commissioned work
jarring juxtaposition with the next. The
Acheron, for which his performance of
work concludes with a monstrous fugue
Francis Poulenc’s Organ Concerto was
t h a t B a ch c o u l d o n l y h a v e d r e a m e d
described as “vividly played” (The
o f, f i n i s h i n g w i t h a n 11- n o t e ch o r d ,
N e w Yo r k T i m e s ) . N o t e x c l u s i v e l y a
including three notes in the pedal.
solo organist, Michael enjoys a varied
has
performed
solo
at
career that includes collaborating with other musicians, playing solo p i a n o , i m p r ov i s i n g , a n d t r a n s c r i b i n g . A nati ve of Milwauk ee, Wisconsin, M i ch a e l g r a d u a t e d i n 2 014 f r o m a n accelerated five-year degree program at The Juilliard School, where he received both his Bachelor of Music and Master of Music degrees in Organ Performance under the mentorship of Grammy-award winning organist Paul Jacobs. (1hr, no intermission)
22
Sacred Rhythms Seasons, heartbeats. Lunar cycles, tides. Virtually everything natural on earth happens in cycles, flows in rhythm. So does Man. Give us the sensual throb of a beat, a hard driving rhythm or a rich pulsing drone; and we’ll feel it in our bones. Something tingling in us, natural, spontaneous… an innate urge, for some, buried beneath layers; for others, fresh and alive as with young children… it’s an awakening to the pulse of life. Sacred Rhythms present visually stunning performances highlighting the multifaceted world of rhythm in sacred music, from the acrobatic traditional Korean lion dance to the music of Taoist Rituals and the ceremonial drumming and traditional dances of Sri Lanka and more.
Rural Celebrations of Korea
Free Programmes
F
The Gwangdae 15 – 17 Apr, Fri – Sun, Esplanade Outdoor Theatre Fri: 7.15 – 8pm (FESTIVAL OPENING)
Sat: 10 – 10.45pm Sun: 7.30 – 8.15pm
23
A lion sent by Buddha descends from heaven to punish those who are evil. As it dances to a gutgeori (traditional shamanistic ritual) rhythm, it prances around and performs tricks on stage while approaching the audience in an intimidating manner. Dancing beside it is an apostate monk in repentance of his sins.
Villages such as Pilbong still believe in
— A scene from bongsan talchum
person dons a mask, he or she spiritually
the communal philosophy of “becoming one”, which is preserved and transmitted through festivities that allow for villagers to partake in such revelry together. Nongak is typically accompanied by other dance and drama performances such as the bongsan talchum. Bongsan Talchum According to Korean shamanism, when a transforms into the very thing the mask
With a history that dates back 5,000 years,
d e p i c t s . W h e t h e r a d e i t y, a s p i r i t , a
shamanism is the oldest indigenous
member of the opposite sex, or an animal,
religion in Korea. Fundamentally, it is
the physical contradictions at odds are
the belief that humans are at one with
removed by the magical art embodied
nature and that every object in the
b y t h e m a s k — w h i ch i s o ft e n ov e r l y
world possesses a soul. In the spirit
exaggerated and dramatic in appearance.
world, all kinds of supernatural beings,
This is also why masks and dances in
celestial bodies, and gods help guide
early Korean traditions were considered
the living, even cure afflictions. For this
sacred and used in exorcisms, rituals and
reason, shamans, referred to as mudang,
religious incantations.
are revered since they are the only intermediaries between both worlds.
as
one
of
the
most
representati ve mask dance dramas of
With the introduction of Buddhism,
Korea, the bongsan talchum is an outdoor
Taoism, Confucianism, and Christianity
play (or madanggeuk in Korean) that is
f r o m a s e a r l y a s t h e 5 t h c e n t u r y,
composed of seven acts. Featuring dance,
shamanism gradually lost its appeal but
music and dramatic dialogue, audience
its influence lingered on. Today, much of
members are able to interact freely in the
its beliefs and superstitions still operate
play. Some of the main characters are
in the Korean subconscious. Many of the
renegade monks and tyrannical man of
cultural performing art forms that one
the yangban (upper) class.
can experience in the country also have shamanistic roots and were once part of ancient rituals and ceremonies.
Developed in the Haeseo province of the Hwangdae region (in North Korea) in the 18th century, the bongsan talchum was
In the rural village of Pilbong, for
at its peak in the 20th century. Masks are
example, the folk music tradition of
painted in vivid colours, each shade a
nongak(sometimes referred to as
marker for personality, social class, gender
pungmul or “farmer s music”), which
and age. Most of its dance dramas include
originated in harvest rituals steeped in
ritualistic elements for warding off evil
shamanism and pageantry, is very much
or purification. The presence of fearsome
alive. Every Lunar New Year celebration
creatures, such as the lion, is thought to be
or end of the agricultural season, its quiet
effective in scaring off evil spirits.
village courtyard is transformed into a sea of bodies, moving, swaying, and dancing in perfect unison and in sync to the music. The sight is something to behold; it is no doubt that once the rhythms start filling the air, a sort of power takes over. 24
Regarded
Samul Nori
About The Gwangdae
Derived from nongak, samul nori comprises
The Gwangdae is comprised of yeonhui
elements of music, acrobatics, folk
( t r a d i t i o n a l Ko r e a n p e r f o r m i n g a rt s )
dance, and rituals that are traditionally
professionals and apprentices of the
performed in agricultural villages in order
Goseong ogwandae (the mask play of
to ensure and celebrate good bounty.
five clowns). Traditional elements such
T h e t e r m , w h i ch l i t e r a l l y m e a n s “playing of four things”, refer s to the percussion instruments that are used in the performances. When played, they summon the elements of the natural
a s t a l ch u m ( m a s k e d d a n c e d r a m a ) , pungmul (folk pe r cussion e ns em b l e) and namsadang nori (all-male vagabond clown theatre) are incorporated into their performances.
world: the jing, a large gong, represents wind; the kkeaenggwari, a small gong,
Did you know?
represents lightning; the buk, a barrel-
There are several terms in the Korean
shaped drum, represents thunder; and the janngu, an hourglass high-pitched drum, represents rain. T h e b a s i c r hy t h m s o f t h e m u s i c a r e derived from the ancient traditions of pungmul (also known as nong-ak, or “farmers’ music”) and musok (shamanic ritual music indigenous to Korea). Exuberant and expressi ve, the music is characterised by its strong, accented
language for the word “mask”, one of which is gwangdae, which also means cheek bone, face, acrobat, singer, dancer, puppeteer and actor. Another widely used term is tal (as in talchum), which denotes disaster, disease and trouble; this also suggests that the masks were traditionally used as a way of counteracting such misfortunes.
rhythms. The elements of yin and yang are also reflected, represented by the jing and kkeaenggwari, described as the sounds of heaven, and the janngu and the buk, the sounds of the earth. Performers typically don ribbon hats that seem to take a life of their own through the vibrant movements of their wearers.
25
Candomblé – The Dance of the Orixás
Free Programmes
F
Dudu Tucci, Krista Zerissig and Bloco Singapura
15 Apr, Fri, 8 – 8.30pm & 9.15 – 9.45pm, Esplanade Courtyard
Against the sounds of chanting and drumming, a group of men and women dressed in white sing and dance for hours as they await the arrival of their deities from the spirit world. The chanting intensifies and the heat rises.
Angola, Mozambique and the Congo
In the city of Salvador of the Bahia state
Devotees believe in Oludumare, an all
of Brazil, such a sight is common. It is
powerful god served by a pantheon of
after all the birthplace of Candomblé
deities who visit earth and communicate
(meaning “dance in honour of the
through the messenger deity, Exu.
gods”), a once clandestine Afro-Brazilian syncretic religion rooted in centuries of slave history that has only in the recent decades stepped out of the shadows. The hidden history of Candomblé Brazil was the last country in the world to abolish slavery. The first ships arrived a r o u n d 15 3 2 c a rr y i n g A f r i c a n s f r o m 26
to support the country’s bustling sugar trade. These slaves brought with them a plethora of cultures and spiritual beliefs that were soon eradicated as they were forced upon by their masters to follow the Catholic faith. Many, however, resisted, fusing their religious beliefs with that of their masters and practicing in secrecy to avoid persecution. Candomblé is the creolization of three African religions, Yoruba, Fon, and Bantu.
These deities, referred to as orixas, have similar attributes with Catholic saints. It is the belief that every person has his or her own orixa who protects each of them and controls their destinies. In Candomblé worship, women often hold the highest positions such as head priest and are known as “mother of saint” when they lead ceremonies.
The call of the Orixás
As
the
ceremony
commences,
a
Candomblé cultivates a notion of time s e q u e n c e o f r hy t h m s i s p l a y e d , w i t h that is very different from other cultures. each corresponding to the orixa that is Everything has its own time and each
summoned. They hypnotise and entrance
activity lasts for as long as necessary the devotees, who start their chanting because the orixas can manifest without and singing while executing dance steps warning, even alter the ritual. Before associated with their deity. The drummers e v e r y f e s t i v a l , p r o p i t i a t o r y r i t u a l s themselves are never possessed, but they involving animal sacrifice, preparation of watch on and respond appropriately with food for the community banquet, as well their music. as offerings to the orixas, are carried out.
The Candomblé repertoire of drum
Music, particularly percussion, is a crucial patterns is vast and includes music for element in these ceremonies and rituals.
various ceremonial functions such as the
Devotees regard it as the embodiment summoning or sending away of orixás. of the sacred life force known as axé,
It typically starts off with a repeated
and believe that the rhythms are a way s y n c o p a t e d p a t t e r n e s t a b l i s h e d b y of communicating with the orixas. There
the xequerê, a medium-sized gourd covered
are three different types of drums called
with strung beads, and agogô bells.
the atabaque that are frequently used in
The rum then leads the arrangement,
ceremonies: the lê, the smallest drum, commanding the lê and the rumpi. As belongs to the orixa Oxum (protector
each individual part is added, a complex
of spiritual intuition and destiny); the
matrix of sound is produced. Sensitive to
rumpi belongs to Oxóssi (associated with each ceremony are the pitch, tone, timbre bounty); and the rum, the biggest drum, and dynamics of the rhythm, which are is tied to Ogúm (spirit of metal work).
important in guiding the movements of
Visually similar to congas, they are played devotees mimicking the orixás. with thin sticks and the hand. A feeding ritual is performed before the instruments are played.
Alafia (Peace)
Dudu Tucci, Mariana Viana, Krista Zeissig and Bloco Singapura 17 Apr, Sun, 8.45 – 9.45pm, Esplanade Outdoor Theatre
The ritualistic ceremonies of the Afro-
Berlin) and Bloco Singapura, featuring
Brazilian candomblé religion have distinctly
the enchanting voice of Mariana Viana
shaped the musical soundscape of Brazil,
(Salvador, Bahia).
influencing many contemporary styles. Not only can it be heard in the temples but
Did you know?
also in the vibrant and colourful carnival
01 — Candomblé was banned up until 1970. It is said that while Salvador
settings and stages across Brazil. Journey into a world of Brazilian music and the vi vacious Brazilian life spirit through
has as many Catholic churches as
traditions of Candomblé.
there are days in a year, this number pales in comparison to the number of Candomblé terreiros (temples).
About Alafia
0 2 — It is from these rituals that samba was born.
songs and grooves derived from the sacred
Alafia is an intercultural project between master drummer Dudu Tucci (Sao Paulo/ 27
TICKETED FREE PROGRAMMES
28
PROGRAMMES
*Priority will be given to pre-registered participants on a first come, first served basis. Register at www.esplanade.com/tapestry
29
Buddhist Ceremonial Drumming and Dances of Sri Lanka
Free Programmes
F
State Dance Ensemble of Sri Lanka
15 & 16 Apr, Fri & Sat, Esplanade Outdoor Theatre Fri: 8.30 – 9.15pm Sat: 8.45 – 9.30pm
the teardrop-shaped island of Sri Lanka
From sacred space to cultural mainstream
has kept travellers in awe for centuries. The
Fo l l o w i n g t h e i n s t i t u t i o n a l i s a t i o n o f
country has over two millennia of recorded
Buddhism, temples great and small were
history and is the largest stronghold of
erected all over the island. The most
Theravada Buddhism, a religion that lends
famous of all is the Temple of the Sacred
its culture a unique identity. Constituting
Tooth Relic in Kandy, which houses a tooth
nearly 75% of its population is its oldest
of the Buddha, Sri Lanka’s most important
ethnic group, the Sinhalese, who have over
relic. Larger temples like this played host
2,600 years of heritage. The achievements
to important festi vals and occasions,
of the early Sinhalese civilisation can still
which included vibrant dances and music
be experienced today, in the form of ruined
enacted in honour of the gods—according
cities and religious monuments scattered
to sources, some of these dances were
across the north.
first performed for the deity Kohomba.
Known for its captivating natural beauty,
It was from these temple festivities and Theravada, or the Doctrine of the Elders,
Kandy’s distinctive style of drumming and
is the oldest branch of Buddhism drawn
dancing that sprang forth much of the
from the teachings of the Pali canon. It
performing art forms you can experience
was introduced to Sri Lanka in 250 BC by
at Sri Lanka today.
Mahinda Bhikkhu, the arhat son of the
30
Indian emperor Ashoka. The conversion
The famous Kandyan dance, for example,
of the Lankan king and his people to the
was, according to legend, adapted from
new faith can be regarded as the most
an exorcism ritual known as the Kohomba
important event in the socio-religious
Kankariya. It was originally performed
history of the island. The establishment
by Indian shamans who settled on the
of Buddhism as the main religion, with a
island at the request of a king said to be
civilisation attached to it, brought about
plagued by a recurring dream in which
a distinctive cultural pattern in the social
he was visited by a leopard. The dance is
and religious life of the community.
traditionally set to percussion.
Rhythm nation
The daule, a shorter but larger double-
While Sri Lank a is not known for its
h e a d e d d r u m , a n d t h e t a m m e tt a n a
traditional vocal and instrumental music,
bera, a pair of tiny kettledrums, are also
it more than makes up for with its rich
commonly used.
dance traditions and extraordinary style of drumming, which is also one of the loudest and most exuberant in the world. At the core of the island’s rhythmic and lilting music forms are special drums that cannot be found anywhere else in the world. The gata bera (also known as the wedding or boss drum; called the yak bera in the low country) is the most important percussion instrument. Measuring 67cm in height, the trunk of this double-
Ty p i c a l l y d e p l o y e d i n e n s e m b l e s ( o r hewisi) of three and 50, Sri Lankan drummers display extremely high levels of virtuosity, combining tightly choreographed movements with frenetic beats and complex rhythms. Distinguished by its sudden changes in tempo and uneven rhythmic patterns which ebb and flow with precise execution, Kandyan drumming is exhilarating to watch.
headed drum is made from kos timber or Asala, while different animal skins are used for the two drum heads to produce contrasting tones. Small as they are, the thalampata are small cymbals that play a crucial role in Sri Lankan dance. They produce two sounds – the thith and thei, which help dancers maintain rhythm.
31
Sri Lankan dance and music forms Buddhist temple drum orchestra
Ves dance
The Sinhalese drum tradition goes as far
Also known as the “devil dance”, performers
back as 2,500 years ago. Various drums
don spiritual masks and elaborate
perform different functions and were
costumes, and are accompanied by
originally used for entertainment, and
drumming and a chanting. Traditionally
later for rituals and ceremonies. Drum
a purification ritual known as kohomba
performances in Sri Lank an temples
yakuma to treat the mentally disturbed, it
during ceremonial occasions are typically
was performed only within the premises
followed by Kandyan dance.
o f c e rt a i n t e m p l e s u p u n t i l t h e 19 t h century before it became a cultural dance.
Puja natum This traditional Kandyan hill country dance features elements of Hindu culture.
Uddekki dance A very prestigious dance which takes its name from a small lacquered hand drum
Bhakti gee*:
in the shape of an hourglass, believed to
A Buddhist devotional song sung by a
be bestowed unto the people by the gods
chorus of 10–15 singers usually dressed
Iswara, Visnu, and Sakra. It is a very difficult
in traditional white costumes. It is very
instrument to play. The dancer sings as he
popular during Vesak festival in May and
plays, tightening the strings throughout
is sometimes sung in temples and at
his performance to obtain variations in
other ceremonial occasions, at times in
pitch.
mobile platforms such as in floats. *Performed by Sri Lankaramaya Youth Choir, Singapore
Viridhu Viridhu is a traditional singing style that is performed with the accompaniment of a hand-held drum, the rebana. It is popularly used to convey Buddhist ideas and teachings in an entertaining style.
About State Dance Ensemble of Sri Lanka Featuring the finest exponents of traditional Sinhalese drumming and dancing, the State Dance Ensemble often adapts its classical dance vocabulary to suit the modern stage while retaining traditional motifs.
32
Dances of Thanksgiving
Free Programmes
F
Mah Meri
16 & 17 Apr, Sat & Sun, Esplanade Courtyard Sat: 8.15 – 8.45pm, 9.30 – 10pm Sun: 7 – 7.30pm, 8.15 – 8.45pm
The Sea Gypsies of West Malaysia Seventy kilometres away from Kuala Lumpur is the island Pulau Carey, where at least four generations of the Mah Meri (meaning “people of the forest”) have called home and where small groups of tourists visit under strict guidelines to see how they live, sometimes taking part in their ceremonies. One of the 18 remaining orang asli (native) groups in Malaysia, the Mah Meri were once a nomadic indigenous tribe who now live in settlements in the coastal areas of Selangor, Putrajaya and Negeri Sembilan. Little is known about their origin although they claim to have walked the earth for as long as they can remember. According to them, they fled inland from the southern coast of Malaysia decades ago to escape pirate attacks, and were protected by the moyangs (ancestral spirits), which covered their trail with spider webs and led them to the site where the spirits
live. If you visit Pulau Carey, you will see their ancestral hall, the House of Moyang, and get to admire the view o f So k G r e , t h e i r t o w e r i n g s a c r e d mountain, reaching up into the clouds. The Mah Meri live in a closed community and rarely interact with the outside world. They rely mainly on subsistence fishing, seaweed, shellfish and edible plants. So m e o f t h e t h i n g s t h e y a r e b e s t known for are their weaving skills a n d w o o d c r a ft s m a n s h i p . T h e M a h Meri have preserved a tradition of spiritual carving, of animals, which are sometimes used for spiritual healing, a n d e x p r e s s i v e m a s k s , w h i ch t h e y wear for rituals. Resembling animals, humans and spirits, each decorative mask has its own story associated with it. They also have their own special use in traditional healing (sakat buang) and ceremonial dances (joh and tengkeng). The art, which carries rich mythological 33
meanings, is deeply rooted in their animistic beliefs and is handed down from father to son. The ritual of thanksgiving The Mah Meri believe that all li ving and inanimate objects in the world are possessed by spirits, which interact with them on a daily basis. They also believe that plants and animals were cursed by their ancestral spirits to become food. On the day of hari moyang (ancestors day), which usually falls in the first quarter of each year, the Mah Meri celebrate their ancestors, especially their female guardian spirit Moyang Gedang, with a huge ceremony to give thanks for bounty and good luck. The exact date is chosen by a council of elders, who are said to be visited in dreams by the spirits of their ancestors. On this day, villagers gather around their ancestral hall, which is filled with flowers, incense and food, to pay tribute to their forefathers. The offerings are burnt and the dancing commences. The Mah Meri mask dance, called main jo-oh, invites the spirits to join in the festivities. Highly elaborate and expressi ve, the performance also showcases their weaving skills and craftsmanship. The women weave their own skirts, sashes and tiaras out of pandan leaves, while the men don fearsome masks intricately carved out of nyireh batu, a reddish hard wood. They perform to music played on the rebana (tambourine), gong and centong buluh, a bamboo stamping tube.
34
Did you know? The word moyang refer s to the ancestors who are believed to be the guardians of their peaceful existence and who mete out punishments for transgressions. Punishments are handed out in the forms of natural disasters, sickness, and bad crops.
Music of Taoist Rituals
Free Programmes
F
Taoist Orchestra
17 Apr, Sun, 5.30 – 6pm & 6.30 – 7pm, Esplanade Outdoor Theatre
“Without leaving my house, I know the whole universe.” — Lao Tzu The Tao life Taoism is an indigenous Chinese folk religion based on the teachings of scriptures such as the Dao De Jing by Lao Tzu and Zhuang Zi by Zhuang Zhou, as well as the I-Ching. At its core, it expresses the view that one must live in harmony with the tao (meaning “the way”), by following the creative path of nature rather than resist it. For over two millennia, Taoism has co-existed with Confucianism (which was established around the same time), offering a range of alternatives to the Confucian way of life. The Dao De Jing was a reinterpretation of a much more ancient folk tradition of divination and nature worship. Unlike other cultures where light is always at war with darkness, good with evil, life
with death, polarities in the Taoist belief system serve to keep the balance in order. The iconic yin and yang symbol is used to illustrate the natural harmony of opposing forces that exist in the world. The pantheon of deities that the Taoists worship is therefore considered part of the Tao, manifestations of one Tao in fact, which cannot be represented singularly. And just like yin and yang, it is the belief that there is heaven just as there is hell, gods just as there are demons, spirits just as there are ghosts. Rituals in this spiritual aspect are an i n t e g r a l p a rt o f t h e Ta o i s t i d e n t i t y as they are processes in which the s p i r i t s a r e i nvo k e d , w h o h a v e t h e power to bring harmony where there is imbalance. Dramatic, elaborate and highly complex, a Taoist ritual consists of music, the chanting and recitation of sacred texts, and specific choreography that oftentimes can only be conducted by a highly trained priest. 35
“Humans model themselves on earth, Earth on heaven, Heaven on the Way, And the way on that which is naturally so.” — Dao De Jing Music in the spiritual realm of Tao Developed from ancient folk traditions of summoning spirits through song and dance, ritual music functions to guide the priests through the different stages of a ceremony. It is believed that musical melodies are imbued with mystical power that has an effect on one’s spirituality. Classified into instrumental and vocal, the two are differentiated by context, and are performed in different configurations ranging from solo to group. Instrumentally, the music is subdivided into zheng qu (orthodox tunes that are solemn) and shua qu (unorthodox tunes that are light-hearted and playful). Instruments vary according to the ritual or sect, and
36
(chants), and is similarly subdivided into yin diao (yin tones), lively melodic chants in praise of the virtues and powers of the gods, which are performed outdoors to an audience; and yang diao (yang tones), chants that are performed in sacrificial rituals at the inner altar. Through intonation, melodic deviation, rhythm and form, the core concept of yin and yang is reiterated during ceremonies. Zheng qu and yang diao are performed in rituals that are celebratory or for the purpose of self-cultivation, while shua qu and yin diao are for the benefit of gods, spirits and priests, and in entertaining the populace. About Taoist Orchestra (Singapore) Taoist Orchestra (Singapore) comprises of members from the Scripture-Chanting Group and Chinese Orchestra Group of Lorong Koo Chye Sheng Hong Temple. The Scripture-Chanting Group was established in 1996 while the Chinese Orchestra Group was formed in August 2000. The ensemble chiefly serves the Lorong Koo Chye Sheng Hong Temple and other Taoist temples, during religious services and rituals.”
might include a range of wind, string and percussion instruments such as the dizi (transverse flute), guzheng (zither) and xiao (end-blown flute).
Did you know? Taoism was developed during the Z h o u D y n a s t y ( 10 4 6 – 2 5 6 B C E )
The vocal form, which takes a more dominant role, is known as yunqiang
civilization would survive.
during a time of turmoil when it was unclear whether or not the Chinese
Stirrings Sacred music has the ability to awaken in us thoughts and emotions at once intuitive and obscure, transcendental yet remarkably, deeply comforting. Come experience the different expressions of faith as we bring you songs of Medieval European pilgrimage, Islamic poetry, ceremonial gamelan, Sikh chants and Sufi music of Turkish brotherhoods – sounds to stir the depths of your soul. Special thanks to
LOTTO
CARPETS
Stella Splendens – Medieval Iberian Songs of Devotion & Pilgrimage
Free Programmes
F
Cappella Martialis
15 & 16 Apr, Fri & Sat, Esplanade Concourse Fri: 7.30 – 8pm, 8.30 – 9pm Sat: 3.45 – 4.15pm, 4.30 - 5pm
“Because the pilgrims wish to sing and dance while they keep their watch at night in the church of the Blessed Mary of Montserrat, and also in the light of day; and in the church no songs should be sung unless they are chaste and pious, for that reason these songs that appear here have been written. And these should be used modestly, and take care that no one who keeps watch in prayer and contemplation is disturbed.”
Medieval Europe was a place of devotion
— Llibre Vermell de Montserrat
came in a great many forms: as devotional
and pilgrimage. Region vied with region, monarch with monarch, to show their piety. Architecture, music, poetry, literature, and all the arts were employed in this endeavour, which served not only to glorify God, but the earthly rulers whose courts were to reflect the splendour of the heavenly realm, just as the moon reflects the brightness of the sun. Christian religious music came in two varieties: the liturgical and the extraliturgical. Liturgical song—the chants composed for the Mass and Divine Office— was always in Latin; its texts were strictly regulated, and it was the servant of the liturgical services. Extra-liturgical music
37
songs to be sung in church after services;
no definite answer, but it is possible that
as catchy songs for pilgrims to sing as
they were sung as courtly entertainment.
they walked long distances; and as songs for post-dinner entertainment in the court or noble homes.
The second source of music for our recital is another manuscript, the 14th century Llibre Vermell de Montserrat, a collection of
The earliest manuscripts of extra-liturgical
anonymous late medieval songs compiled
religious songs were all without notation,
in and located at the Abbey of Santa Maria
written only in text as they were merely
de Montserrat, outside Barcelona. The
given as an aid to singers who memorised
abbey houses the shrine of the Virgin of
the music; they were not intended to be a
Montserrat, a major site of pilgrimage.
permanent record for transmission to other places or to successive generations. The Iberian Peninsula, which had been deeply Christian from an early date, provides us with two of the most important collections of notated extra-liturgical religious songs.
The
10
surviving
songs
are
all
anonymous—variously in Latin, Catalan, a nd Occita n—a nd we r e comp i l ed f o r pilgrims to sing and dance as they kept night vigils before the miracle-working statue of the Black Virgin. Their simplicity,
The first is the Cantigas de Santa Maria, a
catchy melodies, and dance rhythms have
collection of 420 songs to the Virgin Mary,
ensured their popularity in performance
in the Medieval Galician language, written
and frequent recordings.
in the reign of King Alfonso X “the Wise” (1221–1284) of Galician, Castile, and León,
Cappella Martialis
and often attributed to him. The Cantigas
Cappella Martialis (Latin for “The Tuesday
are perhaps the largest collection of
Singing Group”) was established in 2009
monophonic (solo) songs from the Middle
when founding members Victor Gan (tenor)
Ages. Their poetic forms are varied,
and Edward Yong (bass and lute) gathered
covering some 280 forms within the 420
a collective of singers enthusiastic about
Cantigas. Some of the songs describe
the lesser-known gems of sacred music
miracles involving the intercession of the
from the Middle Ages, Renaissance, and
Virgin Mary; others are songs of praise.
Baroque periods. Their aim is to sing sacred
The manuscripts are important as they
and secular music in historically-informed
were among the first examples of musical
performance, adding instruments where
notation that indicate note values as well
appropriate. The wide repertoire they
as pitch—notation before this only noted
perform includes 6th century Byzantine
pitch, not length. The texts were written in
chants, 12th century Aquitanian polyphony,
Medieval Galician-Portuguese, a language
the usual Renaissance polyphonic
that was later to become Portuguese.
repertoire by Josquin and Morales, the
King Alfonso’s court was liberal and cosmopolitan, employing Christians, Jews, and Muslims, in various capacities as poets, musicians, astronomers, translators, scientists, and philosophers. The illustrated manuscripts of the Cantigas show both Muslim (Arab) and Christian (European) musicians playing together, and as such, we have decided to feature instrumentation that includes some instruments normally thought of as Arab or Middle Eastern. When and where were these Cantigas sung? Academia gives us
38
cantatas of Buxtehude and Bach, Ukranian Baroque motets, Brahms’ Requiem, and even the occasional premiere of a work by a living composer.
Qasidah: Islamic Devotional Poetry
Free Programmes
F
Madeehul Mustafa
15 – 17 Apr, Fri – Sun, Esplanade Outdoor Theatre & Concourse Fri: 9.45 – 10.30pm (Esplanade Outdoor Theatre) Sat: 9.15 – 10pm (Esplanade Concourse) Sun: 8.15 – 9pm (Esplanade Concourse)
That shoreless ocean which holds a whole world in its embrace— The pearl-diver of the Universal intellect cannot reach its pearl. The moon is a reflection of the sparks from its gilded tablet
Poems of contemplation and praise Not much is known about the origin of the qasidah (derived from the verb, qasada, meaning “to aim at, to intend”). With roots in pre-Islamic Arabia, it is one of the oldest and most revered forms of poetry in the Islamic world. Maintained by a single elaborate metre throughout, which follows the same rhyming system of the ghazal (Arabic love poem), it typically runs from 50 to over 100 verses, written as an account of the poet’s journey or as a ode in praise of someone influential. Each couplet expresses a complete thought.
The sun is a reflection of its pages decorated with pictures.
The classical form of qasidah has a fixed
— Qasida 17 by ‘Ismat-i Bukhari (d. 1426/36)
poet reflects on the past; the raḥīl, the
sequence, and is composed in three parts: the nasīb, a nostalgic introduction often relating to love or desire in which the middle section where the poet describes his journey and contemplates his present environment with scenes from the desert, 39
What has happened to your eyes,
buildings and mosques. Some believe that
(the more) you tell them to stop, the more they continue flowing.
well as removes difficulties and illnesses.
What is the matter with your heart,
of Arab traders. The poems were sung
(the more) you tell it to come to its senses, (the more it is distracted). — Qasida Al-Burdah (Qasidah of the Mantle) by Imam Al-Busiri (d.1217)
reciting the poem confers blessings in life and success in different endeavours, as
From Arabia to Southeast Asia In 1200CE, Islam and qasidah poetry spread across Southeast Asia with the immigration in Arabic, with some more popular ones such as the Al-Burdah translated into the Malay language before the 160 0s. The text was sung in village communities in commemoration of Prophet Muhammad’s birthday, in rites of passage as well as weekly religious congregations. Shorter songs with verses taken from the original long-form qasidahs were also popularised in performance. The sung poetry is usually
warfare or life away from the tribe; and the madīḥ, the concluding section which contains praise of the poet’s tribe, patron
accompanied with frame drums such as the Malay rebana (equivalent of the Arabic daff), and the pear-shape lute, gambus.
and the main moral message of the poem. About Madeehul Mustafa From pre-Islam to the present Over the centuries, the qasidah evolved to express social ideals, political commentary and sometimes satire. Historical images would mingle with religious and political ones in the framework. Poems of religious praise also took prominence, with the most well known of them being Qasidah Al-Burdah (Qasidah of the Mantle), written in the 11th century by Egyptian poet Imam Al-Busiri. As the story goes, Imam Al-Busiri was stricken by semi-paralysis after a stroke. In his despair, he composed the Al-Burdah in honour of the Prophet Muhammad. It was said that while reciting the poem in sincerity and concentration, a sleep came over him during which he dreamt of the Prophet, who covered the poet with his mantle. Imam Al-Busri woke up from the dream, completely cured of his affliction. Ever since, the poem has been venerated by many Sunni Muslims, recited as well as used to decorate the walls of public
40
The members of Madeehul Mustafa, a 9-piece group based in Singapore, share a passion for qasidah which took root when they met in 20 05 as students in Damascus in Syria. Originally known as Firaw Assinghafuriy (Singaporean Group), the group returned to Singapore and have become a popular feature of Malay and Arab occasions, with their timeless renditions of qasidah.
Sacred Music of Solo
Free Programmes
F
Soerya Soemirat Mangkunegaran
16 & 17 Apr, Sat & Sun, Esplanade Concourse Sat: 5.45 – 6.15pm, 6.30 – 7pm Sun: 3.15 – 3.45pm, 4pm – 4.30pm
The fifth largest island in Indonesia, Java also there where the performing arts were is characterised not only by its great given their most refined expressions. natural beauty but by the many ancient wonders scattered throughout its fertile lands. At the centre of it, lying just 60 kilometres east of Yogyakarta, is the city of Solo (formerly known as Surakarta), a lush mountainous region that is arguably the cultural hub and epicentre of Javanese identity and its traditions.
During the 150-year-long Dutch colonisation of Java in the early 19th century, the native aristocrats were stripped of all political power. Lacking outlets for their immense wealth, they surrounded themselves with entertainment via the arts. Deep-seated rivalry between the different courts in Solo and Yogyakarta were played out on stage as
Historically, Solo was once the royal the ruling families fought for stature by way capital of the great Mataram empire in of recruiting the most talented performers t h e 18 0 0 s . I t i s a l s o w h e r e t h e Pu r a from the region and producing grand Mangkunegaran Palace still stands. Built productions. Styles were refined under the in 1757 by a dissident prince Raden Mas guidance of palace instructors to conform Said, the palace remains a bastion of the to royal tastes, which soon developed Javanese traditional arts.
differently across the various courts.
The birth of aristocratic elegance
The royal courts and the art of music
It
was
in
royal
palaces
s u ch
a s While entertainment seemed to take up a
Mangkunegaran where the Javanese kings portion of their time, ceremonies were a created many traditional dances—among daily occurrence for the aristocrats. Music th em , th e b eau ti fu l l y me dita ti v e a nd was an integral part of rituals which, sacred Gending Anglir Mendhung. It was 41
according to Javanese tradition, appeased the spirit known as danyang who inhabited the palaces. Gamelan concerts could easily run from dawn to night, and were said to have a positive effect on one’s spiritual and physical being. Sacred dance forms and the Gending Anglir Mendhung Some of these ceremonies were staged in the form of dance performances and were restricted within the palace walls. One of which was the bedoyo ketawang, performed to reaffirm the alliance of the ruling house with Kanjeng Ratu Kidul, the powerful goddess of the south sea. The Gending Anglir Mendhung was created by Kanjeng Gusti Pangeran Adipati Arya Mangkunagara I, also known as Raden Mas Said, in 1790. It depicts his struggle against the Dutch soldiers in 1752. The original performance comprises three parts: Pathetan (Pathet Barang Jangkêp), Gendhing Kêmanak, and Gendhing Kêtawang Mijil. It was developed into a dance that was to be performed during the crowning ceremonies of Mangkunegaran kings. It is believed that the dance and music bring prosperity to the people, and is usually performed during the rainy season. Like many of the courtly art forms that were developed in the palace, the Gending Anglir Mendhung could not be performed anywhere else. Since 1835, there has been one adaptation by Mangkunegaran III, who revised the movements and lyrics for his father-in-law, Paku Buwono V, the king of Kasunanan. Known as Srimpi Anglir Mendhung, this revision would become more popular in the years that followed. This evening’s performers from the Soerya Soemirat Mangkunegaran Royal Palace present this dance drama in its original form.
42
About Soerya Soemirat Mangkunegaran Soerya Soemirat is an arts centre that continues to uphold traditional Javanese courtly art forms, especially the dance and music of the Mangkunegaran Royal Palace. Based in the palace itself, the Soerya Soemirat dancing group was established in Oct 1982. Special thanks to the Department of Southeast Asian Studies, National University of Singapore for the loan of their gamelan set for these performances.
Sikh Kirtans: Singing to the Divine
Free Programmes
F
Gurmat Sangeet Academy, Sikh Centre
16 & 17 Apr, Sat & Sun, Esplanade Outdoor Theatre & Concourse Sat: 6.45 – 7.15pm, 7.45 – 8.15pm (Esplanade Outdoor Theatre) Sun: 6.45 – 7.30pm (Esplanade Concourse)
“Whosoever listens to kirtan or sings kirtan of Hari shall be free of all ills.” — Guru Granth Sahib In Sikh tradition, no ceremony, occasion or event is complete without the singing of kirtan, devotional hymns in praise of
Understanding the Sikh religion One of the youngest religions established just a little more than five centuries ago, Sikhism is the ninth largest in the world. Despite that, it is also one of the least understood. While some mistake it as an offshoot of Hinduism or Islam, devotees regard it as an independent religion.
God. A recognised form of congregational
Sikhism is rooted in oneness and love,
prayer, it has, according to the scriptures,
and encourages a life of servitude and
the ability to cleanse the mind of all
spirituality. In Punjabi, the word “sikh”
impurities physical and sensual; liberate
means “disciple”, and central to the faith is
one from the yoke of time and death; cast
the relationship between the Sikh and his
away disease, sorrow and suffering; and
spiritual master, who guides him through
bring peace and bliss.
the teachings and writings of the 10 Gurus. The religion stresses on the importance of doing good over getting too absorbed in ceremonies and rituals. It is the belief 43
that in leading a good life, one must work
day and night at Harimandir Sahib, the
hard and live honestly, treat everyone
most sacred of Sikh shrines located
equally, serve others, be generous to the
in Amristar, India and every morning
less fortunate, and keep God close in the
and evening at every Sikh temple.
heart and mind at all times.
Every important occasion in the Sikh
Religious discipline operates at the core of every devotee, who is required to follow a strict daily routine that includes rising early in the morning, meditating on God, reciting various scriptures throughout the day, before ending the night with a recitation of the Kirtan Sohila. Sikhs carry around with them five articles of faith: the kesh, their long uncut hair; the kanga, a small comb; the kara, a band of steel; the kirpan, a small sword; and the kacha, a pair of shorts.
Hymns of praise Sikhism was founded by 16th century poet and composer Guru Nanak, who w r o t e m u ch o f h i s t e a ch i n g s a n d revelations in the form of poems, which he sang with his companion Bhai Mardana, a bard who played the rebab, a type of bowed string instument. His habit established the Sikh tradition of singing divine hymns to musical patterns k n o w n a s r a ga s . I n t h e h a n d s o f h i s spiritual successors and devout Sikhs, this musical tradition that he had begun flourished as a mean of spiritual elevation as they created and developed new ragas, styles and musical instruments. Over time, Guru Nanak’s hymns as well as those of his nine successor s were compiled into what became the Scripture of the Sikhs—a sacred text that was given the status of the Eternal Guru. In it, the hymns of the Gurus are grouped under 31 raags or ragas, modes characterised by a particular series of notes and the path melody follows. Each raga has a name, an associated time of day or year when it is best performed, and a particular emotion which it is to induce. Known as the kirtan, the Sikhs’ singing and contemplation of these raga-based hy m n s o f t h e Sc r i p t u r e i s p e r f o r m e d 44
h o u s e h o l d , i n c l u d i n g b i rt h , m a rr i a g e and death, is solemnised with the kirtan. Pairing call-and-response chanting with m u s i c a l a c c o m p a n i m e n t , k i rt a n h a s devotional lyrics and a gentle, rhythmic ebb and flow that help Sikhs center their thoughts to meditate with a clear mind and establish a connection with the Supreme Being.
About Gurmat Sangeet Academy The Gurmat Sangeet Academy is part of the Sikh Centre that offers courses on the gurmat sangeet, a unique musical tradition that spans five centuries, established by Guru Nanak Sahib, the founder of Sikhism. At the academy, students learn raag-based kirtan as well as stringed and percussion instruments.
Turkish Sufi Music
Free Programmes
F
Şimdi Ensemble
16 & 17 Apr, Sat & Sun, Esplanade Concourse Sat: 7.30 – 8.30pm Sun: 5.15 – 6.15pm
Journey of the soul
While their numbers are few, Sufis have
Known as tasawwuf in the Muslim world,
contributed to the shaping of Islamic
Sufism is the mystical way of approaching
thought and history through literature.
Islam. While commonly mistaken by non-
Poets such as Rumi, Omar Khayyám, and
Muslims as a sect, it is more accurately
Al-Ghazali have influenced even western
described as a dimension or aspect of the
philosophers, theologians, and writers
religion. The earliest form of Sufism can
with their profound words and nuances.
be dated back to the Umayyad Dynasty (661–749), less than a century after Islam
Sufism in Turkey
was founded.
The iconic whirling dervish—the Sufi
Followers believe that divine truth and love can be found through per sonal encounters with God, and traditionally take vows of poverty and celibacy to be of service to people and to God. Because Sufism emphasises the emotional, nonverbal, and “unspeakable” experience of God’s presence, many of its practices require spiritual self-discipline that enable mystical and psychological insights—by losing one’s sense of self and ego—with the ultimate goal of connecting with God. One such practice is dhikr, a form of meditation through the invocation of Allah’s names, verses from the Qu’ran, or exaltations.
acolyte dressed in a white flowing robe that fans out like a flower as he spins around meditatively—has become quite the national image of Turk ey. Despite its rich history of Sufism, traditional brotherhoods have been officially banned since 1925 because of its connections with the Ottoman court and perceived political power at that time. Today, apart from the dervish performances that are performed in public a few times a week, much of it remains underground and is practiced in secret, connected via deeprooted networks. And even though only a minority of Turks belongs to Sufi orders, Sufism nonetheless still has a deep 45
influence on the spirituality of the Islamic
It is one of the simplest of flutes that has
Turkish people.
a playing range of three octaves, and is
Today, there are five tariqahs (religious orders) that can be found in Turkey, of w h i ch t h e M e v l e v i O r d e r ( o t h e r w i s e known as the whirling dervishes) are the most famous. The Anatolian tradition In the sunbaked hills of Anatolia, Turkey, a mystical energy in the form of tasawwuf music draws on its Ottoman roots and the Mevlevi ayin (an organised ritual in which Mevlana poetry is set to ceremonial music in a cyclical suite).
able to produce the most sophisticated sounds in the right hands. About Şimdi Ensemble Co-founded by singer and composer Bora Uymaz and harpist Şirin Pancaroglu, the Turkey-based Şimdi Ensemble represents
the Sufi tradition of Anatolia. Şimdi means “now” in Turkish, and the group’s expression is based on seizing the day—of living in the present and making music of the present by harnessing its natural power while enjoying the moment. The ensemble varies between three to seven performers.
It was in Konya, central Anatolia, during the days of the Ottoman Empire, where t h e M e v l e v i O r d e r wa s e s t a b l i s h e d
Did you know?
following Rumi’s death. Founded by his
01 — The term Sufi is most
eldest son in 1275, the order set up its
commonly believed to be a
headquarters there and began developing
derivation of the Arabic word suf
its form of the ayin and sama (a ceremony
meaning “wool”, which refers to the
performed as a dhikr), adopting models
woollen garments worn by early
and intonational principles of Ottoman
Sufis as a mark of their rejection of
instrumentation as it went along.
worldly desires.
Instruments such as the Turkish ney (end-
02 — Sama is imbued with religious
blown reed flute), kudum (small double
m e a n i n g a n d s y m b o l i s m s . Fo r
drum), kemençe (bowed string fiddle),
instance, the dervish’s camel hair
and other percussions like the bendir,
hat represents the tombstone
daire, and halile are indispensable.
of the ego; the white gown
Western instruments such as the violin,
symbolises the ego’s shroud. When
viola, and the violoncello were also used
the dervish removes his cloak, it
at times because they were compatible
signifies his spiritual rebirth; when
with the music. It was said that the first
he crosses his arms over his chest,
piano brought to Istanbul was played at
he represents the number one and
the Galata Mevlevi Lodge, but was not
testifies to God’s unity.
used again since it did not match the
0 3 — In Sufi music, the ney
tones used in Turkish music.
symbolises the “perfect man” who
The ney, which has become synonymous with tasawwuf music, is integral to Sufi dance and music performances in Turkey. Supported by the Turkish Embassy in Singapore. Official Airline
46
has undergone several phases of purification.
Free Programmes
F
Call of the Dawn and Night Prayers Sunrise. Sunset. Day after day, the miracle of life takes place before our eyes, yet we
15 – 17 Apr, Fri – Sun, Esplanade Concourse
don’t often see it. Call of the Dawn and Night Prayers opens our eyes, minds and hearts to the pure, simple beauty of the day with music practised by the faithful. Night Prayers and Music 15 Apr, Fri, 9.45 – 10.15pm
Suprabhatam: Awakening the Gods 17 Apr, Sun, 7.30 – 8am
End your night with Hindu prayers, hymns and music associated with the closing of the day.
Awaken your soul to a refreshing start in this
Buddhist Chants 16 Apr, Sat, 7 – 7.45am
or verses recited in the early morning to
devotional music session. Be introduced to the suprabatham, a collection of hymns awaken the Hindu deities.
Awaken your soul to a refreshing start with morning Buddhist chanting that brings inner peace.
Meditation Sessions* 16 & 17 Apr, Sat & Sun, Esplanade Concourse Sat: 7.45 – 8.30am Sun: 8 – 8.30am
Cleanse your mind, body and spirit in these guided morning meditation sessions. A modest vegetarian breakfast will be provided for participants after the meditation session.
*Priority will be given to participants who have pre-registered via www.esplanade.com/tapestry.
47
Talks & Workshops
Free Programmes
F
WORKSHOP
Fareed Ayaz and Abu Muhammad Qawwal Masterclass* 14 Apr , Thu, 8 – 9.30pm, Esplanade Rehearsal Studio
Observe Fareed Ayaz and Abu Muhammad as they work with local qawwali practitioners to share their knowledge and experience of the art form. WORKSHOP
Dance, Songs and Rhythms of the Afro-Brazilian Orixás* 16 & 17 Apr, Sat & Sun, Esplanade Rehearsal Studio
Sat: 5.30 – 7pm (Dudu Tucci , Krista Zeissig and Bloco Singapura) Sun: 5 – 6.30pm (Syed Ahmad of Bloco Singapura) This workshop offers an introduction to the sacred dance of Candomblé, performed in honour of the deities with songs and drumming. Participants will learn the specific movements and rhythms for certain Orixas like Obaluayé, Oxossi or Yansa. Have a conversation with the artists in a short Q&A session, as they discuss the historical setting, the sacred stories and the cosmology of the Candomblé religion. Learn some of the traditional drumming techniques and music associated with the sacred culture as well as their influences on other AfroBrazilian art forms such as samba.
*Priority will be given to participants who have pre-registered via www.esplanade.com/tapestry. Talks / Workshops: Please be at the Esplanade Theatre Studio entrance (level four) 20mins before the workshop to confirm your attendance. In case of high demand, unconfirmed spots may be released to walk-in participants on a first-come first-served basis.
48
WORKSHOP
The Offering and Appreciation of Incense*
Incense Culture Association of Singapore 16 & 17 Apr, Sat & Sun, 10 – 11am, Esplanade Rehearsal Studio In cultures across the world, incense is used not only as an offering but also to invigorate one’s senses. Find out more about its usage and symbolism in religious practices and learn how to appreciate the different types and qualities of aromas.
TALK
Introduction to Azerbaijani Mugham and Ashiq*
Alim Qasimov
16 Apr, Sat, 1.30 – 3pm, Esplanade Rehearsal Studio Gain a deeper understanding of the different genres of mugham and love ballads of the Azeri troubadours, in this introductory workshop.
WORKSHOP
Gospel Music Workshop* Glory Gospel Singers
17 Apr, Sun, 1 – 2.30pm, Esplanade Rehearsal Studio Ever wondered how gospel choirs train to achieve their infectious synergy on stage? Now you can experience what it’s like to be in one. Be introduced to the singing styles and techniques that are used in gospel singing, and get a chance to be a part of a choir for one day.
*Priority will be given to participants who have pre-registered via www.esplanade.com/tapestry. Talks / Workshops: Please be at the Esplanade Theatre Studio entrance (level four) 20mins before the workshop to confirm your attendance. In case of high demand, unconfirmed spots may be released to walk-in participants on a first-come first-served basis.
49
TALK
An Introduction to Turkish Music Şirin Pancaroğlu and the Şimdi Ensemble 16 Apr, Sun, 3 – 4pm, Open stage, library@esplanade Learn about the various styles in Turkish music and listen to selections from the instrumental and vocal traditions of the country, such as taksim (melodic improvisation) and türkü (folk songs).
TALK
Weaving the Sacred: An Introduction to Islamic Prayer Rugs Imran Abid Mir
17 Apr, Sun, 4 – 5pm, Open stage, library@esplanade Used as a floor-covering by Muslims during prayers, the Islamic prayer rug carries both practical utility, as well as rich symbolic meaning and cultural significance. While certain design elements may be similar, the diverse range of patterns and decorations found on the rugs tell the stories of the different communities who make and use them. Join speaker Imran Abid Mir as he gives a glimpse into the mesmerising world of Islamic prayer rugs, and talks about the histories and artistry associated with them.
Programme notes by Tan Shzr Ee, Ethnomusicologist, Royal Holloway and Lim Li Ting, Editor, Esplanade – Theatres on the Bay
50
Visual Arts Listen, Listen
Listen, listen to the sound of the mind’s own utterance, within the womb of the beauty of Autumn, while the setting sun shows the red glory of her smile, hearing the bamboo flute which no one plays, listen to the reeds swaying in the breeze and the silent ripple’s song. – Chögyam Trungpa The sound of silence is pure and beautiful yet rarely heard these days. And when we do hear it, we fear it because we don’t recognise it anymore. Come appreciate life in its pared down beauty, as we listen to our hearts and minds in the beautiful quiet through the works presented in this quarter.
A Problem of How to Fly Att Poomtangon, Thailand
Dialog
Zul Mahmod, Singapore 9 Apr – 10 Jul, Esplanade Tunnel
15 Apr – 3 Jul, Esplanade Concourse
We experience spaces through sight and sound.
This installation speaks of the being of the here
Dialog is a sound installation that challenges the
and now. Our minds are flooded with information
ideas of territory, control, transmission and how we
from birth, and it comes with social stigmas and
listen to the world.
preconceptions of right and wrong. We are limited
This exhibition comprises two looped compositions
by our knowledge and confined by our cultures,
of interacti ve sounds triggered from solenoids
traditions, societies, laws and philosophies. If we
(electromagnets that generate a controlled magnetic
can just let them all go, believe in ourselves, spread
field) hitting on copper pipes of different lengths and
our wings and empower ourselves with confidence,
thicknesses.
we will be able to fly.
The second composition plays from 20 Jun till 10 Jul.
Poomtangon reimagines the atmosphere in a vast lotus pond, where the endless body of water, coloured by the lotus leaves and bright flowers, meets the blue skies of soaring birds, signifying freedom, strength and belief.
Garden City: 2011 – 2016 Deanna Ng, Singapore
6 Apr – 12 Jun, Esplanade Community Wall “The real voyage of discovery consists not in seeking new lands but seeing with new eyes.” – Marcel Proust Garden City: 2011-2016 is an ongoing series of photographic works. The journey to re-examine the meaning of a garden city began when Ng once imagined a local tree in her old neighbourhood as a Christmas tree. The resulting works are stirringly beautiful images of Singapore captured at moments that are rarely seen, framed by delicately composed angles that reflect how the artist perceives Singapore as an urban city within a garden. 51
Esplanade Presents
Raga
Melodies of Papanasam Sivan & Koteeswara Iyer by Srividya Sriram and Vaishnavi Anand (Singapore)
1 May 2016, Sun, 7.30pm | Esplanade Recital Studio
The melodies of Papanasam Sivan and Koteeswara Iyer were well known for their deep devotion to the deity Muruga. Join vocalists Srividya Sriram and Vaishnavi Anand as they celebrate the works of these composers such as Kaa Vaa Vaa and Mohanakara Muttukumara. (1hr 30mins, no intermission)
$25
*^ Concessions for students,
NSFs and seniors: $18*
^Esplanade&Me specials available.
da:ns series
Experience this dance production up-close with this rare opportunity to be seated on the stage of the Esplanade Theatre. Image by Nattapol Meechart
Esplanade Presents
Tickets from Esplanade Box Office and SISTIC authorised agents. SISTIC hotline: 63485555. Full ticketing details at www.sistic.com. Terms and conditions apply.
$40
*^ Concessions for students,
NSFs and seniors: $27
^Esplanade&Me specials available.
Tickets from Esplanade Box Office and SISTIC authorised agents. SISTIC hotline: 63485555. Full ticketing details at www.sistic.com. Terms and conditions apply.
“The beneficiaries discovered themselves better and found the session to be a therapeutic experience.” – A VWO facilitator on a creative workshop. “It was a new experience and wonderful evening that was simply perfect. We will remember this for a long time.” – On being hosted to a performance at Esplanade Concert Hall
You can help make a difference. Your generous donations will help in creating incredible arts experiences for more. For more information, please contact 6828 8321 or
[email protected] A Community Engagement Programme by Esplanade – Theatres on the Bay
www.esplanade.com
EsplanadeSG
EsplanadeSingapore #esplanade
UEN: 199205206G Information correct at time of print.
Your special pass to experience the arts. Be involved in the arts through special workshops and events. Be engaged with behind-the-scenes access and exclusive news about our programmes. Be entertained with savings of up to 15% on tickets to shows! Discover how you can be part of this special opportunity. www.esplanade.com/e-and-me
Sign up today!
Lotto Carpets is proud to provide fine hand-woven carpets for A Tapestry of Sacred Music 2016.
Book Now!
Tickets from Esplanade Box Office and SISTIC authorized agents. SISTIC Hotline: 6348 5555. Full ticketing details at www.sistic.com.
www.esplanade.com/tapestry
^Esplanade&Me specials available. Sign up now at www.esplanade.com to enjoy savings. Esplanade&Me Special White card: 10% savings Black card: 15% savings Terms and conditions apply. Esplanade&Me is more than a card for arts lovers; it’s your pass to experience the arts, go behind the scenes and a way to support the arts. Sign up now for your special arts pass! www.esplanade.com
Getting Around Esplanade R A F F L E S AV E N U E
Taxi Stand / Bus Stop
ESPLANADE DRIVE
library@esplanade (Level 3)
Rehearsal Studio (entrance at level 4)
Concourse
Courtyard
Concert Hall
www.esplanade.com UEN: 199205206G Information correct at time of print.
EsplanadeSG
Recital Studio Outdoor Theatre
EsplanadeSingapore #esplanade