Chhau is a dance-drama form prevalent in Eastern India. There are three major forms of Chhau, each known by its geographic location.
Some Chhau dances use large stylized masks. Although they are all known as Chhau, their styles differ considerably in terms of their cultural background and their dance characteristics.
Nitin Sawhney is an Indian-British musician, producer and composer. His critically-acclaimed work combines Asian and other worldwide influences with elements of jazz and electronica and often explores themes such as multiculturalism, politics and spirituality.
Inspired by his involvement in the Hare Krishna movement (ISKCON),Boy George had written the song during a trip to India in 1989.
From bombay to bangalore All the hindus know the score If you wanna live some more Hare, hare, hare
If you do not take the vow You can eat the sacred cow Youll get karma anyhow Hare, hare, hare
Bow down mister Hare rama, hare krishna Bow down mister We say radha syam
Do the right thing with your hands Lay down on the pleasing sands Whatever else your faith demands Hare, hare, hare
From bombay to rajastan Nitai guara, radha syam Hare krishna hare ram Hare, hare, hare
Bow down mister Hare rama, hare krishna Bow down mister We say radha syam
Bow down mister Hare rama, hare krishna Bow down mister We say radha syam
In the desert jahshamire They put kun in their hair At the westemers they stare Hare, hare, hare
Paint a tilak on your brow Open like a lotus flower Its time to check your karma now Hare, hare, hare
Bow down mister Hare rama, hare krishna Bow down mister We say radha syam
Bow down mister Hare rama, hare krishna Bow down mister We say radha syam
Bow down mister Hare rama, hare krishna Bow down mister We say radha syam
Bow down mister We say radha syam Bow down mister We say radha syam Bow down mister
Raise your head and lift your hands to the lord
Hare krishna hare krishna krishna krishna hare hare Hare ram hare ram rama rama hare hare Hare krishna hare krishna krishna krishna hare hare Hare ram hare ram rama rama hare hare...
Barong is probably the most well known balinese dance. Its is also another story telling dance, narrating the fight between good and evil. This dance is the classic example of Balinese way of acting out mythology, resulting in myth and history being blended into one reality.
"Classical Indian / Jazz Fusion is alive and well thanks to folks like Nadaka, who retain all the best elements of its 1970's roots while adding touches which keep a contemporary sound. These albums are among the gems of recent recordings in this genre". (The Internet Guide to Indian Classical /Jazz Fusion) Nadaka's Live show with the Basavaraj brothers is outstanding! Here we find different traditions, Hindustan, Carnatic, Jazz, meshing seamlessly without losing their distinctness. We¹re in a unique zone where Nadaka's Indianised guitar leads us from traditional modes to more jazzy rhythms, from breathtaking fast passages back to soft soothing chords, where the Flute can be quick Carnatic one moment and Sitar smooth Hindustani the next; where the Violin can be intensely percussive or achingly fragile, the Tabla & Mridangam weave subtle accompaniments or explode into a solid wall of sound. Nadaka - Guitar & Vocal Balasai - Flute Raghavendra - Violin Sivaramakrishna - Sitar Ganesh - Tabla & Ghatam Kesavan - Mridangam & Kanjira
The Sabri Brothers originally consisted of Ghulam Farid Sabri (1930 -1994; lead vocals, harmonium), Maqbool Ahmed Sabri (b.1941 ; lead vocals, harmonium), Kamal Sabri (d. 2001; vocals, swarmandal), Mehmood Ghaznavi Sabri (b. 1949; vocals, bongo drums, tambourine), Fazal Islam (chorus), Azmat Farid Sabri (chorus), Sarwat Farid Sabri (chorus), Javed Kamal Sabri (chorus), Umer Daraz (chorus), Abdul Aziz (chorus), Masihuddin (chorus, tanpura), Abdul Karim (dholak), and Mohammed Anwar (nal, tabla).
Karsh Kale's realize crew have created an important recording in the world of asian music. This might be the first real melding of classical traditional hindustani music and DnB--so much so that the combination aspect of it disssappears. There is a new synthesis brewing here, and it's an updated form of classical music. Kale weaves both traditional Indian instrumentations, indian vocals, and varying breakbeats.
Ustad Zia Mohiuddin Dagar (1929-1990), fondly known as Bade Ustad, was one of the stalwarts of the Dhrupad tradition in post-independence India. He was largely responsible for the revival of the rudra vina as a solo concert instrument. Raag: Yaman
Italian by birth, Ileana Citaristi holds a Doctorate in Philosophy with a thesis on “Psychoanalysis and Eastern mythology”. She has come to Indian dance after years of experience in the traditional as well as experimental theatre in Europe. lleana has been living in Orissa, India, since the year 1979 in close contact with the people, their language and culture. It's odissi dance performing near 64 yogini temple in western orissa (2006). The film has three sloka from the SAUNDARYALAHARI, the tantric text dedicated to the female energy. Choregraphy by Ileana Citaristi. Dancers: Ileana Citaristi, Saswat Joshi.
The percussionist, composer and instrument-maker Ganesh Anandan was born in the south of India in Bangladore, the centre of Hindu Karnatic music. Ganesh Anandan works at transferring the rhythmic notions and percussive techniques of the south of India onto the tambourine, drums and various resonance surfaces. His dynamic style of playing is a unique blend of the classical Karnatic style with the North African and Persian traditions enhanced by a set of hand- and finger-techniques which he has himself developed. Movietrailer of "VOM BLAUEN HIMMEL", a movie about mongolian shamanism.
Opera Imaginaire (1993) is an assembly of animated short films based on twelve of opera's most popular arias, including excerpts from "The Magic Flute," "Tosca," "Madame Butterfly," "Pagliacci" and more.
Flower duet, directed by Pascal Roulin, music from LAKME by Léo Delibes (1836-1891).
Under a dome of white jasmine With the roses entwined together On a river bank covered with flowers laughing in the morning
Gently floating on it's charming risings On the river's current On the shining waves One hand reaches Reaches for the bank Where the spring sleeps and The birds, the birds sing.
Under a dome of white jasmine Ah! calling us Together!
Under a dome of white jasmine With the roses entwined together On a river bank covered with flowers laughing in the morning Let us descend together Gently floating on it's charming risings, On the river's current On the shining waves, One hand reaches, Reaches for the bank, Where the spring sleeps, And the birds, the birds sing.
Under a dome of white jasmine Ah! calling us Together!
Butoh dance is a performing art that originated in Post World-War II Japan and was first performed in 1959. It is a contemporary form of dance that has little to due with either traditional Japanese dances or most western forms of dance, although it does borrow elements from some of each. People tend to think of Butoh in terms of aesthetic markers: white body paint, shaved heads, slow movement gained through intense muscular control, and a way of manipulating the body that is at once beautiful and grotesque, tragic and absurd. Go see that dance in person. Butoh Performance by Tadashi Endo (Dance) & Robin von Hoegen (Music).
That's pianist Bebo Valdes, one of Cuba's great jam session players of the 1950s (and still a potent force on the music scene) and flamenco vocalist Diego "El Cigala," whose half-croaked, Arabic-tinged inflections offer a fine counterpoint to Valdes's trademark sleek, supple piano runs.
