前日も早朝のフライトに乗るべく５時起きだったが、この日もまた５時起床。というのも、最初のプログラムが朝７時に開始なのだ。音楽祭のチケットは、ネットで予約をしていたが、当日、バウチャーと正規のチケットを窓口で交換することになっていた。
ホテルから会場のあるフォート界隈までは車で20分ほど。ホテルにお願いして早めの朝食をすませ、６時半には現地に到着したのだった。が、蓋を開けてみれば、チケットの交換は、次のプログラムの開始時でよいとのこと。案の定であるが、夜明け前の光景を眺められたのはよかった。
リハーサルを終えたミュージシャンと語り合う夫。
白々と、夜が明けていく。彼方に、ロイヤルファミリー、即ちマハラジャ一家が暮らし、またタージ系列のホテルでもあるウメイド・バワン・パレスの威容が望める。
Dream after awake. 目覚めたあとの夢。
カンクレスという名の、リトアニアの伝統的な弦楽器。
深い森の中の水辺に響き渡るような、清澄な音色と歌声。
カンクレスは、死者の魂が宿る木で作られている。
リトアニアでは、自然を敬い、自然の中での暮らしを大切にしている。
春の訪れは殊更に祝福され、人々たくさんのパンケーキを焼いて食べる。
そんな話を聞いた後に聞く音色は、より一層の、魂の旅へと誘う。
朝のチャイはひときわおいしい。
聴いているのか、眠っているのか。至福のひととき。
（以下、斜体の英文は公式サイトからの転載）
Indrė Jurgelevičiūtė
kanklès harp
Lithuania
Indrė Jurgelevičiūtė, Lithuanian singer and kanklės player, harmoniously combines her native music roots with improvisations in other music styles. She is taking part in international music projects and collaborates with musicians from the different traditional music cultures.
The Baltic zither, the kanklès one of most characteristic feature of Lithuanian folk art and ethnic music
and the evidence of old ethnocultural relations among the Balts, the Baltic Finns and Eastern Slavs.
Indrė is maintaining and exploring traditional kanklės sound in various music styles around the world with a real magic harmony.
夢見心地の夜明けを迎えたあとは、メイン会場となるフォートを目指す。
馬に乗ってフォートを指差す彼は、ジョードプルの街を作ったRao Jodhajiその人だ。
これが２日間有効のチケット。
フォート内は坂道多く、結構歩く。眺めのよいポイントも少なくないので、ついつい写真撮影などして、なかなか会場にたどりつけない。
ラジャスタンの伝統音楽を奏でる楽団。わたしもターバンを被ったら、紛れこめそうだ。
Langa tradition
A tribute to the village of Barnawa
Rajasthan
The Langas, among others, still have the Sindhi Sipahi for Jajmans. They are a modest caste of Muslim farmers. Their stringed instrument, the sindhi sarangi (in reference to the Pakistani Sind Valley which prolongs this cultural air) and the gujrati sarangi (which refers to a region in the southern part of Rajasthan, the Gujarat) are the domain of Saran giya Langa (the players of sarangi and satara, the double flute of pastoral origin) while the Suraniya Langa reserve for themselves wind instruments such as the
shahnai (oboe) and the murli (clarinet). In the past, the tradition linked to certain religious orders of Islam prevented the Langa from using percussion. Those times seem faraway, for today almost all of the Langa play the dholak in accompaniment in the same way that the Man ghaniyar do. Even the karthal of the Manghaniyar can be found pounding in the Langa hands today. The fraying of tradition and modification of social structures has a tendency to create a phenomena of uniformity.
Today Langas are stuggling for artistic survival facing a new industrial world.
アンダルシアのスフィー・ミュージック（イスラム教の音楽）を歌う、モロッコのシンガー。
Zainab Afilal
Andalusian Sufi Songs
Morroco
The sacred poetry from Andalusia
From Ibn Arabi to Abu Madyan sufi poets
Now I am called the Shepherd of the desert gazelles
Now I am a Christian monk
Now a Zoroastrian
The beloved is three, yet one.
Just as the three are in reality one.
- Ibn AL Arabi
Zainab Afilal is today the new voice of Andalusian music from the city of Tetouan,one of the centres of historical andalusian music in Maghreb.
She will come with AYHAM AYESH, Qanoun, (Palestine) and Rajasthani musicians will be joining her during her performance.
From the eighth to the fifteenth century, Arabs occupied and controlled much of southern Spain, establishing the Muslim-ruled empire known as al-Andalus, or Andalusia. Regarded by many as a golden age of tolerance and cultural exchange, these eight centuries were a time when Christians, Jews and Muslims lived together in an atmosphere of intellectual and cultural symbiosis despite the existence of political tensions and religious differences. Complex social and class structures allowed religions and races to coexist peaceably on social, professional, and political levels, even to intermarry with relative ease. In Andalusia, the Arab East met the European West and each contributed to the other in culture, science, mathematics, philosophy, and the arts.
The music of al-Andalus has a rich and colorful history, and many traces of this music are still present in modern Arabic musical forms. Most of the musical traditions from Andalusia were brought to the Maghreb, or North Africa, when the Arabs were forced out of Spain with the fall of Granada in 1492. Today, vestiges of Andalusian musical developments can be found across much of the Arab world as a result of musical schools settling in different isolated environments subject to local influences. The musical history of Andalusia begins in Cordoba in 822, when a young Persian freedman from Baghdad named Abu al-Hasan ‘Ali ibn Nafi’ (789-857), popularly known as Ziryab (“blackbird”) arrived from Baghdad. Ziryab was first known for his musical endeavors in the Abbasid court as a student and faithful disciple of the famed ūd player, Ishaq al-Mawsili. All accounts state that his musical excellence was equal to and may have even surpassed that of his teacher, and that he left Baghdad to fulfill his own ambitions.
「４人の友達」という名のバンド。イスラム教徒、ヒンドゥ教徒、スィク教徒の４人が集まって、互いを敬い合う調和の音楽を奏でる。語りも歌も味わい深く、最高。本当に、すばらしかった。
Madan Gopal Singh - Chaaryaar
Spirit Songs and Tales
India
The group Chaar Yaar came into existence about twelve years ago. As the name suggests, it comprises four musicians – namely, the elderly composer, vocalist and poet Madan Gopal Singh; the ace guitarist and banjo player Deepak Castelino; the young and soulful sarod player Pritam Ghosal and an equally young and energetic multiple persussionist Amjad Khan.
Initially, the group traversed the path of Sufi texts dating back to the 12-13th century beginning with Baba
Farid and Rumi and ending with Khwaja GhulamFarid of the late 19th c. Very soon, however, the group started looking at the cultural bridges across continents. This involved experimenting with songs and poetry spread across various cultures globally and across different timelines. It led to the incorporation of music and poetry as diverse as that of Brecht, Lorca, Tagore, Puran Singh, Hikmet, Hamzatov, Faiz, Nagarjun on the one hand and the making of musical bridges, to give but one example, between Rumi, John Lennon, Kabir and Bulle Shah in the same song. This also saw the group musically following original translations by MadanGopal Singh. An indigenous Baramaah in Punjabi, for example, could now be sung with Simon and Garfunkel’s canticle “Scarborough Fair’ or John Lennon’s ‘Imagine’ as ‘Socho Zara’ or Beatles ‘Because’ with Iqbal’s ‘Ye Gumbad-e-Minai’. The project has since continued to grow and the group has travelled all over the world several times over performing with many internationally celebrated groups such as All Star Bang on a Can of New York; the neo-Jazz vocalist Theo Bleckmann; David Hykes’ Harmonic Choir and many more.
In 2016, Chaar Yaar was invited to perform for former President of India Honorable Dr. Pranab Mukherjee at the impressive Rashtrapati Bhawan in New Delhi. In 2017. Chaar Yaar completed their second tour of select American, Canadian and British Universities in a series of concerts on love, separation and peace. In addition, Chaar Yaar also performed at the “Transform” World Music Festival held in Trondheim, Norway.
ラジャスタンの伝統音楽。
モロッコから届くアンダルシアの響き。
スィクとムスリムとヒンドゥの弦楽器打楽器それらを貫く人間の声。
国境を越え、宗教を超え、地球を包む音楽。
日本人の妻にとっては、遠くから迫り来る異郷の旋律。
パンジャブ人の夫にとっては、血潮かきたてる根源の旋律。
のびのびと楽しげに歌う子ら。温かい眼差しで率いる師匠の確かな歌声。どこまでも続く音楽。
この子供らの、歌う様子を見ながら、目頭が熱くなった。
もちろん、一生懸命練習しただろう。でも、間違ってしまう子がいる。照れ笑いをする子がいる。それを師匠は、にこにこと笑顔で、うなづきながら見守りながら、軸を奏で続けている。
カスタネットをふりかざし叩く子供は、教室にいたら「落ち着きがない子」と言われるに違いない、見るからに落ち着きがない子。踊り方も、挙動も、すべてがエネルギー過剰だ。そんな子供が、本当にうれしそうに、のびのびと、ステージの華になっている。
年長のお兄さんは、確実なリズムで太鼓を叩き、やはり別の年長のお兄さんは、安定した歌声で、散らばった音をきれいにまとめる。
彼らがあまりにも、うれしそうに歌ったり、そして踊ったりしている様子が、とにかく、本当に、よかった。
Langas and Manganiyar Children with Nawab Khan
Learning Music
Rajasthan
An ever numerous constellation of castes (jati) such as the Manganiyar and the Langa, the Dholi (musicians who play a large double-headed drum called a dhol), the Charan (genealogical poets), the Jogi (singers of bhajans - devotional songs, and serpent charmers), the Bhat (historians and puppeteers), the Kamad, the Kamjar, and the Bhopa (shamans and diviners) etc. all carry with them a memory of a past when the art of music, dance, and poetry evolved around the hierarchical structure of the Rajput.
In Jodhpur area, the Langa poets and musicians still have the Sindhi Sipahi for Jajmans. They are a modest caste of Muslim farmers.
Their stringed instrument, the Sindhi sarangi (in reference to the Pakistani Sind Valley which perpetuates this cultural air) and the Gujrati sarangi (which refers to a region in the southern part of Rajasthan, the Gujarat) are the domain of Sarangiya Langa (the players of sarangi and satara, the double flute of pastoral origin) while the Suraniya Langa reserve for themselves wind instruments such as the shahnai (oboe) and the murli (clarinet).
夕方のプログラムまで２時間ほどの空き時間。フォートの中を歩く。このフォートについては、２カ月前の旅記録にあれこれと記したので、今回は割愛。なにもかもが石で造られた、繊細な彫刻を織り交ぜつつの堅牢な様子には、本当に圧倒される。
夕方のプログラムは、湖畔にて。
パルシー即ちペルシャの旋律が、日暮れのあたり一面に響き渡る。
日没の情景と、音楽との調和がすばらしい。
横たわり見上げれば、鳥の群れ。
鳥のさえずりと歌声とが、共鳴する。
岩山に、ブルーブル、と呼ばれる不思議な体型の牛が歩いている。
夢うつつのひととき。
Ariana Vafadari with Haroun Teboul on the ney
Songs and Poetry from Zarathoustra
Gathas
Raga on the Lake
Iran
Ariana Vafadari, Vocals
Haroun Teboul, Oud, Ney, Tanbur with bow, vocals
Leïla Soldevila, Bass
Ariana’s beautiful voice, between classical and traditional Persian music, majestically interprets, a unique poetic and mystical repertory of the historical prophet, Zarathustra.
The Gathas are the prayers of Zoroastrianism, the monotheistic religion of Ancient Persia. These poems from philosopher and prophet Zarathustra date from about 3700 years. They are surprisingly modern, expressing the life, doubts and choices of a man. As there are no records of the way they were sung originnally, Franco-Iranian Ariana Vafadari composed every song according to radifs or oriental scales. It results in music that constantly vibrates between its Oriental mystic foundations and their matching Western opera. Ariana Vafadari and her musicians have a common trait, they unremittingly stretch musical boundaries. In perfect continuity with their cultural and musical backgrounds, they were trained by traditional Iranian, Ottoman and Moroccan music, jazz, Western classical music or opera, in their improvisations and the practice of their instruments, they travel freely from one world to the next.
It's really long day, but we can't miss any moment.
朝５時起床で７時からのプログラム。かなり疲労困憊なのだが、夜は長い。ビールで喉を潤して、星空を仰ぎながら。
そして遂には宵闇のなかで。オリオン座を仰ぎ見ながらエチオピアのアズマリの歌、そして奇妙に激しいダンス。
Zewditou Yohannes
The Art of Azmari poetry and dance
Ethiopia
An azmari is a singer, poet, bard, and dancer, all at once, comparable to the African griot or the Bhat people. An azmari may be male or female and is skilled at singing extemporised verses while playing either a masenqo (single-stringed fiddle) or krar (lyre).
Azmaris are little minstrels in the real sense. From a young adolescent age, they stride across the cities
and narrate the life of yesterday and today. Essentially natives of the city of Gondar in Ethiopia, in today’s date they also live in the capital city of Addis-Ababa and roam the Christian lands of Begemdir, Wello, Gojam, Shewa or Shoa.
Intelligent as well as sarcastic, they are poets of a tradition that is as historical as it is contemporary. As poets of the past, they masterfully narrate the great biblical epics and the legendary souvenirs of the Queen of Sheba and King Solomon. As poets of the present day, they distil their oft-sarcastic lyrics with double-meaning language (sem-enna-werk, “wax-and-gold”) in the famous “tejbeits”, a kind of bistrots where the local mead is overindulged in.
Truly a caste apart in the Ethiopian society, as the African griots might be or the Gypsy musicians of East Europe might be, the Azmaris often initially form a duo: the voice is accompanied by masenqo (single-stringed viol) or krar (lyre with 6 strings). The young women sing and dance with an extraordinary jerking movement of the shoulders and neck.
締めくくりはムスリムのスフィー音楽。最早、子守唄のごとく。ステージが大きく、遠いこともあり、もはや音楽も遠い。眠気が襲われて、最後は朦朧としていた。
なんという、濃密な１日だっただろう。心身が、音の渦に巻き込まれたまま、夜風に吹かれて帰路に就く。
Tajallī
(Chiragh-e-Chisht : A Journey into Light)
(live audio visual performance)
France - Rajasthan
A Unique Sufi Experimental and immersive audiovisual experience with a Chishty Mehfil-e Samāʿ with The Shahi Qawwals from Ajmer Sharif & The Manganiyars.
Directed by French filmmakers Priscilla Telmon & Vincent Moon with the collaboration of CHISHTY FOUNDATION (AJMER) & Priyanka Singh.
A unique filming trance experience with Qawwali and Sufi Manganiyar live music feeling of ectasy
Priscilla Telmon and Vincent Moon like to explore the boundaries between cinema, music, and expanded forms of modern rituals. Their vision moves between the realms of documentary creation, ethnographic research, and filmic experimentation. In exploring the poetry at the heart of personal and collective rituals, they have undertaken filming expeditions to every continent to collaborate with hundreds of communities around the world.
Priscilla Telmon and Vincent Moon believe in a society where local practices are preserved and celebrated, while global identities are merging towards a higher level of consciousness.
They are working towards such an evolution by bringing people into new forms of relationships with art forms and the sacred and by diving into as many trance states as possible.
Their work is shared under a Creative Commons licence, making it available to everybody, acknowledging the fact that we are only bridges between spiritual and material realities and that we are in no way creating from scratch.
