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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

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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

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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

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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

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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

^

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(1 hr, no intermission)

$25 ^

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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

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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

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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

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PROGRAMMES

*Priority will be given to pre-registered participants on a first come, first served basis. Register at www.esplanade.com/tapestry

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Buddhist Ceremonial Drumming and Dances of Sri Lanka

Free Programmes

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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

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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.

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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.

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Dances of Thanksgiving

Free Programmes

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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.

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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

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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

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(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

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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

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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

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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

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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

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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

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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.

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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

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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

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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

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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

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Recital Studio Outdoor Theatre

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