Bengali Ballads

1926 ◽  
Vol 4 (1) ◽  
pp. 89-96
Author(s):  
W. Sutton Page

On the occasion of a wedding, a pūjā, or any other festival, it is quite a customary thing for a well-to-do man in Bengal to engage a kaihak or a pañchāli or yātrā party to give a performance or a series of performances in the courtyard of his house, where a considerable portion of the population of the village assembles as an audience, and sits, often right through the night, listening to song and speech, dialogue and story. It is for the most part by means of such performances that a knowledge of the myths and traditions of Hinduism is preserved in the minds of the illiterate mass of the population of Bengal.

1986 ◽  
Vol 11 (1) ◽  
pp. 48-60
Author(s):  
Katharine B. Free

I wrapped myself in a woollen cloak against the chill of an October Indian night in 1980. Camera in hand and squatting in the dirt, I was surrounded by villagers and their laughing children. We all were waiting for a performance to begin. The occasion was a Bhavāī Mela at the village of Sola near Gujarat's largest city, Ahmedabad. The Mela was sponsored by the National School of Drama (New Delhi) and the Gujarat State Sangeet Nritya Natya Akademi. The privileged, urban students of the NSD were conspicuous in their reserved seating area, disdainfully rejecting the attempts of the villagers to join them. Far in the back of the crowd I glimpsed the still-beautiful Mrinalini Sarabhai, one of India's most famous dancers, swathed in silk and carrying a large palm-frond fan. Next to her was the white-haired Kailish Pandya, director of Drama at Miss Sarabhai's Darpana Academy of performing arts at Ahmedabad. With the first eerie, insistent blast of the Bhavāī trumpets (bhūṇgaḷs), an excitement swept the crowd extinguishing physical discomforts and personal slights. The fact that I would spend the next seven days sleeping on bare, stone floors to see this Mela, became unimportant as the actors began their intricate dances and spirited singing. From my first exposure to the Bhavāī in 1976, I had awaited this moment, a performance not in a university playhouse, but in a village.


WIDYANATYA ◽  
2019 ◽  
Vol 1 (1) ◽  
pp. 60-68
Author(s):  
I Nyoman Winyana ◽  
I Made Sugiarta ◽  
I Putu Gede Padma Sumardiana

ABSTRAK             Salah satu penyebab keberadaan kesenian Genggong menjadi tidak populer dalam kehidupan masyarakat masa Global adalah peran pendidikan yang diduga tidak berpihak pada seni Genggong seperti di Desa Batuan. Seni pertunjukan Genggong Batuan di era tahun 1973 sempat menjadi karya seni pertunjukan yang mengundang perhatian khususnya pada pertunjukan seni hiburan. Kekhasan dan keunikan bentuk karya ternyata tidak cukup mampu mempertahankan populeritasnya di panggung hiburan.             Kajian tulisan ini berangkat dari metode kualitatif yang dirancang guna memperoleh jawaban secara lebih mendalam. Analisis data dilakukan dengan memperhatikan keabsahan data langsung di lapangan selain dokumentasi tersimpan. Teori yang dipakai membedah persoalan kuasa adalah diambil dari teori kuasa yang menekankan pada ranah kuasa dan juga habitus yang terjadi di masyarakat.             Hasil akhir kajian ini adalah temuan yang berhubungan dengan proses pendidikan seni tradisional Genggong nyatanya tidak terkait dengan aktivitas kegiatan yang hiburan. Keterlantaran yang diakibatnya oleh perubahan gaya hidup dan struktur yang kurang berpihak pada seni Genggong Desa Batuan. ABSTRACT One of the causes of the existence of Genggong art became unpopular in the lives of the people of the Global period was the role of education which was allegedly not in favor of Genggong art such as in the Village of Batuan. The performance of Genggong Batuan in the 1973 era had become a performance art work that drew attention especially to entertainment art performances. The peculiarity and uniqueness of the form of work turned out to be not enough to maintain its popularity on the entertainment stage. The study of this paper departs from qualitative methods designed to obtain answers in more depth. Data analysis is done by paying attention to the validity of direct data in the field besides the stored documentation. The theory used to dissect the issue of power is taken from the theory of power which emphasizes the realm of power and also habitus that occurs in society. The final result of this study is that findings related to the process of traditional Genggong art education are in fact not related to entertainment activities. The negligence that was caused by changes in lifestyle and structure was not in favor of Genggong Desa Batuan art.


ILUMINURAS ◽  
2016 ◽  
Vol 17 (41) ◽  
Author(s):  
Jerônimo Da Silva e Silva ◽  
Hiran De Moura Possas

Localizada no sul e sudeste do Pará, a Terra Indígena “Mãe Maria” foi palco, na primeira quinzena do mês de Setembro em 2015, de uma reunião de povos indígenas denominada de “1º Encontro Hàk e Pán (Arara e Gavião) da Terra Indígena Mãe Maria”. O encontro, dentre outros aspectos, teve como objetivo aproximar as aldeias, dirimir conflitos passados e manter as “tradições” indígenas. Neste ensaio, buscamos valorizar cenas do mundo cultural desses povos, em tela, por meio de fotografias relativas ao ponto culminante do evento, a Corrida de Tora: a performance dos corredores e das corredoras; as estratégias de condução da tora, no percurso da aldeia, e o ensinamento do ritual para as crianças através da lente. Almeja-se apreender, nas estéticas do correr, todo um universo de ensino e recriação da cultura imanente à vida dessas populações amazônicas.Palavras-Chave: Corrida de Tora. Gavião. Performance. Amazônia.     Race in forest landscapes arts: the running log of the indigenous peoples of “Indigenous land Mãe Maria, Pará”AbstractLocated in the south and southeast of Pará, the Indigenous Land "Mãe Maria" was the scene in the first half of September 2015, a meeting of indigenous peoples called "1º Meeting Hàk and Pán (Arara and Gavião) of Indigenous Land Mãe Maria”. The meeting, among other things, aimed to approach the villages, resolve past conflicts and maintain the "traditions" indigenous. In this essay, we seek to enhance scenes of the cultural world of these people, on screen, through photographs for the culmination of the event, the Log Racing: the performance of runners; driving strategies of the log, in the village path, and the ritual of teaching to children through the lens. Aims to apprehend, the aesthetics of the run, a whole universe education and recreation of immanent culture to life these Amazonian populations.Keywords: Log Racing. Hawk. Performance. Amazon. 


Tempo ◽  
2013 ◽  
Vol 67 (263) ◽  
pp. 89-89
Author(s):  
Jill Barlow

Samuel Beckett, famed for his strikingly negative approach in his stage play Waiting for Godot (1953), also has a string of prose and poetry in similar vein to his credit over the years. So it was that Spitalfields Festival came to commission Alec Roth to write music to accompany a performance of Beckett's ‘Old Earth’ from his prose work Fizzles written 1972–75. This received its world première at Spitalfields Summer Festival 2012, suitably housed in the stark dark space of The Village Underground, a disused warehouse resembling an abandoned railway tunnel in London's East End. Trying to find my seat in the dark, when I attended the first night, 15 June 2012, shadowy figures were already chanting what turned out to be verses from James Joyce's Ulysses as a fittingly mysterious, if unheralded, informal prologue. This was followed by drama directed by Jonathan Holmes, founder of Jericho House, with music by The Sixteen under their founder-conductor Harry Christophers.


1962 ◽  
Author(s):  
F. H. Rholes ◽  
H. H. Reynolds ◽  
M. E. Grunzke ◽  
D. N. Farrer

2014 ◽  
Author(s):  
Justina F. Avila ◽  
Amina Flowers ◽  
Jill Razani ◽  
Ellen Woo ◽  
John Ringman ◽  
...  
Keyword(s):  

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