Pied Piper of the Purcell: Arun Ghosh

23 April 2011

The Adventures of Prince Achmed took me back to my first memories of fairytales … bedtime stories that coated morals like ‘all’s well that ends well’ in a gloss of bright lights and pretty colours. I was as easily seduced then as I am now … more than willing to buy into the magic … and rather reluctant to return home …

.

We cut.

Like shadow puppets

on a wall,
black on white.
Old dreams
take shape in dulcet tones,
honeycombs of light,
And once upon a time…

Outlines
of music-makers
play,
pull strings
like faceless pied-pipers,
draw us in
with patterns of promise.

A story lifts on spindle hands:
Long-beaked magic man
shows a king
a magic horse
with unseen wings
who steals a prince
somewhere far away,
where fantails
sweep moons
into lakes of blue
a whisper of names like Pari Banu.

Shapes shift to birdsong,
gestures
trill
cursives in subtle shades
of fanciful.
Desire
turns dark,
heart beats
fill
like footsteps
in worlds
where women
speak spells,
folding wishes
with careful fingers.

We search
until earth spits
flame and fire,
until secrets spill,
forms writhing
torn from mothers’ wombs.

We fall back
like frightened children,
hide our eyes,
from truths cast in myriad hues.

We drown
in the dive and swell,
in the telling of tales
that lower us
into dis-ease,
the frames
of our chairs, four walls and people who pretend
all is well,
shortcut
to a happy end.

Intro to … Susheela Raman

19 April 2011

No amount of YouTubing could’ve prepared me for the ultimate experience of Susheela Raman … raw, gutteral, earth mother, inferno … a night to remember at the QEH …

.

Open
wide,
split belly womb burst
room birth
frees
a gutful
echo,
round vowels
embody
woman
grieving,
heaving song
through landscapes
immersed
in cries divine,
gutteral valleys
cloaked
in arcs of wing
scarlett
beat of heart.
Vows
break over
mountain summits
like suns,
bodies of hope
surrendering sky
and she
all untamed beauty
spun
before me.

Susheela Raman

Susheela Raman

Susheela Raman has been brought up between two cultures which is reflected in her South Indian classical (Carnatic) music sensibility against the sounds of funk, jazz, soul and pop. She has been mysteriously quiet since her experimental versions of western rock songs four years ago, but she releases an album next month, and this live preview at The Alchemy Festival showed a welcome new focus.

As she walks on stage the crowd instantly roars. Raman, looking dramatic as ever, with her big signature afro-like hair and rock’n’roll attire, surprises us all when she opens her set with a soulful hymn in ode to the Indian God Ganesh. Alongside her on stage is her partner Sam Mills who accompanies Susheela through out with the sound of gentle wash and a flurry of tabla. Her seven-piece band featured master musicians from Rajasthan, with four percussionists – including Nathoo Lal Solanki, an exponent of the stirring nagara drum – and the singer Kutle Khan, who also contributed jew’s harp and castanets.

There is something personal about this performance as though Susheela is rediscovering for herself some of the South Indian songs that she had grown up with. Occasionally music that has travelled from India contains a spiritual and somewhat phoney ‘ethereal’ edge, but here we have a sound that brings out the earthy sensuality that more typifies Indian culture, and more specifically contemporary Indian Culture.

Raman’s sound is honest and gutsy and exciting. There is a raw quality to voice that complements the accompanied chords, riffs, and grooves that transport the music from its strictly classical setting into a whole new arena of possibilities.

For many musicians, attempting to approach the music of the Carnatic world with its technical and critical levels, would be a challenging and nerve-racking process. However with her mixed, second-generation migrant background, Susheela Raman sings like a natural and resonant in hers sound is the singer seeking confluence between the musical and cultural streams of her life.

Raman’s band reworked traditional and often religious Indian pieces. Paal started as a slow, thoughtful ballad backed by violin before building to a frantic climax, driven on by the drummers and Mills’s fusion of Indian styles and R&B. Highlights included ‘Raise Up’ and a wildly original take on Hendrix’s Voodoo Chile, dominated by the Indian drumming and a more conventional ballad in English, Magdalene.

This was a spectacular and artistically ambitious comeback performance by Susheela Raman. With the singer dancing around stage to the drive of the Indian drumming, there was a rewarding feeling amongst the audience that she thought so too!

By Sumitra Upham

The Arun Ghosh Adventures

Copyright 2011 © Yemisi Blake

Last night Alchemy Artist in Residence Arun Ghosh presented a cine-concert. It was original contemporary soundtrack to The Adventures of Prince Achmed (1926), the oldest surviving feature length animation in cinema’s history. Arun is well known for his band, in which his clarinet leads a precession of drums, saxophone, percussion and voice. The score for the Adventures of Prince Achmed showcased his musical ability to really drive emotion. Creating sound for such an iconic film must be a difficult job, especially not to overpower the shadow-puppetry, which is so graceful. But last night’s event pulled together jazz, funk, soul, indian classical and hip-hop to enhance the a narrative that passes through love, loss, tragedy, comedy and myth.

Here is a 90 second interview with Arun. He was interviewed a couple of hours before the show by the festival Alchemists, a group of young volunteers blogging about and assisting on the festival.

Mumbai Jazz – Pre-show Interviews

This is a video of the interview and tech run of Mumbai Jazz a couple hours before the performance on 18^th April as part of the Alchemy Festival. Charlotte and I interviewed two of the musicians Larry Coryell and Rajesh Rajbhatt.

Puja Mistry, Alchemist

Circle of Sound – A conversation with Soumik Datta

Copyright 2011 © Yemisi Blake

Could you please introduce yourself for the readers of the blog.

Hi, my name is Soumik Datta and I am an artist in residence here for Alchemy Festival 2011. I’m having a great time and I’ve been here all week. I’ve done my show and now I’m working with Gauriji on her show.

We’ve heard that you are the first person to play the sarod like a guitar, could you please tell us how that came about?

I guess living in this country; you get to see lots of different kinds of music, you get exposed to different influences. But being a product of Britain and an Asian in Britain I felt that standing up having played chordal material on the sarod wasn’t impossible it just hasn’t been done before because people haven’t felt it to be appropriate. I feel that is very appropriate to the music that I want to present and so it just came about really.

What is that kind of music you want to present to everyone?

Well, I think the thing is with the classical world is that everything is really set and I think that people have pre-conceptions of music, dance and the arts generally. My aim is to present something that is true to life. We’re British Asian, you’re British Asian and so am I and playing pure classical Indian music seems somehow incongruous to the life we lead. If this is my profession and if this is my art it has to be inline with my life, I mean why should it be miles apart? I think that my music should say something about my life and I think that the music I present should be truthful to the lives we lead, which is a combination of Indian elements and Western elements. My show had a lot of AV and audio-visual stuff, pre-recorded text and theatre elements which is something that I’ve picked working with Akram Khan and Nitin Sawhney who are obvious pioneers in this field. I have an idea on what the next step might be and I’d like to try it out.

How do you think your show went generally?

I think it was received really well. I got a standing ovation so generally it went well and it got some great reviews. But for me I still have a while to go before I achieve what I had in mind, the concept of the concert. Basically what I had in mind was that it wasn’t just a music concert, where people play a couple of pieces. What I wanted was a combined, integrated experience where people come in and they watch these videos, and hear this music, the watch the spacing and there is a choreography to it and they come away with a more holistic experience. Full with everything combined rather than a concert experience. I think that is the way forward because otherwise people don’t come to shows really, they would rather stay at home. I mean no one wants to pay £12.00, £13.50 to see a show of an emerging artist unless you give them something new.

The last question, you mentioned earlier that you had a vision of a holistic experience in concerts. Do you have any ideas on how to develop it further?

In the future yeah, I would love to collaborate with Nitin Sawhney on the next project, which would be something like this. He came and introduced the show, which was really sweet of him, he’s a good friend and I’d love to work with someone who is on that level who has been around for a while. He has a voice and a stamp in the industry, a trademark sound and I’d love to bring my ideas and my sound and bring it to him to see if we can collaborate and take it to the next level. There are a couple of shows that I have in mind for the future, Circle of Sound is now developing as we have another show of the 24th of June in the Songlines Encounters Festival.. It’s going to be a bit different to this show but it is still Circle of Sound, it’s an ongoing development project. After this we will be working on something called Footprints, which I won’t say so much about now but it’s the next step.

Interview by Anjali Banerjee, Alchemist.

Calligraphy in Motion – Fashion Show

Caligraphy in Motion was Alchemy Festival’s first fashion event. Kinetic Calligraphy, conceived by Meera and Muzaffar Ali, is an innovative way of wearing Sufi script. Over the last 21 years, they have revived the traditional craft of the Kotwara region in North India, the historical and cultural centre which inspired the location for Muzaffar Ali’s film Umrao Jaan and Meera Ali’s contemporary design and craft collaborations.

The event began dramatically with the sound of vibrant drumming echoing from the back of the runway. The models then began to emerge one by in beautiful garments whose flowing fabrics and textures filled the hall with a sense of tranquillity. From the traditional Lehnga the garments had a wide range of western forms from long coats to shorter jackets, dresses, skirts and trousers. The garments were gently quilted, subtly embroidered and delicately hand finished, giving each one a universal appeal and relevance to an international contemporary audience.

By using the sense of fine detailing, which has evolved in India over the centuries, the range extends from innovations in Indian and western forms using simple craft techniques of chikan, zardozi, tukdi and appliqué with hand detailing to create dramatic effects. The collection has thus acquired a style of its own which is both avant-garde and traditional and evokes an image which incorporates the detailing and innovation of modernity mixed with timeless and customary classical forms.

The models, a combination of Asian and British decent, created an interesting juxtaposition in the way in their approach to dominating the catwalk. The Indian models mimicked the choreography of a traditional dance, bringing a worldly performative element to the show, whilst the British girls, with their western editorial demeanour reminded the audience that these were high-end garments with a universal appeal and ones that can be worn and consumed by an international market.

Live music accompanied the show, with a group of native musicians sat cross-legged at the top of the runway. The space was transformed into a spiritual setting as the models succinctly twirled their flowing dresses down the catwalk to the sound of drumming and chanting and lit candles at the end of the run way. The drumming created a vivacious atmosphere and complemented the exciting garments inspired by the nature and music of Northern India. This combined with the repetitious and hypnotic choreography performed by the models enticed the audience into a ritualistic celebration of contemporary Indian fashion.

Clothes for Meera and Muzaffar Ali are graceful and eloquent. They carry an essence of nostalgia that is reminiscent of the present and of hopes for the future. Because of this their garments evoke value and are items of clothing that people cherish. For the designers, they see their work as sacred clothes that enclose the temple of the human form.

With the integration of fashion, music and dance this was no ordinary catwalk show and instead became more like a platform for a celebration of culture and diversity in the UK and India – a brilliant introduction to The Southbank Centre’s The Alchemy Festival 2011.

Alchemy Bloggers – Go Go Go!!!

The Alchemy Festival began on Friday, with some fantastic music, dance, debate and fashion. Over the 11 days of the festival there’ll be a brilliant group of Alchemists seeing and blogging about Alchemy. They are writers, dancers, photographers and artists from around the UK, India & South Asia. So here they are!

Charlotte Emily is an artist and explorer who dabbles in performance, photography, writing and child-like doodles. She is particularly inspired by storytelling and moments in everyday life. iamcharlotteemily.tumblr.com 

Nathalia Mello is a Brazilian performance practitioner, living and working in the UK, London. She artist graduated in Theatre Direction by the Rio De Janeiro Federal University (2007) and master of Dance Theatre: The Body in Performance, graduated at Trinity Laban. Her current research explores territories marked by water and soil. ‘Abscene: A young female from the Tupinimos tribe from Water Which Hides Itself, says I do today’ is the performance of theatricality and politics of self-representing, being currently developed since May 2010. 

Krupa Vekaria is a 2^nd year LLB Law and German student at the University of Warwick. In her spare time she enjoys dancing, reading and undoubtedly shopping! Her favourite cuisine besides Indian is Mexican and one item she needs with her all the time is my iPOD!

Hannah Anderson-Ricketts began training at Lewisham College she is now a student at London Contemporary Dance School. Hannah has worked with Katie Pearson, Sean Graham Dance Theatre, Vocab Dance Company, Uchenna Dance Company and Arthur Pita. She is currently a member of Just Us Dance Theatre.

Sumitra Upham is an aspiring curator and writer who seeks to commission, develop and manage creative projects with a focus on exploring new sites of practice for curating within new media and performance. In doing so, she seeks to use her curatorial practice as a tool of communication to provoke and encourage current debate and engaging with new audiences. At present, she is undertaking her masters in Curating Contemporary Design in partnership with Kingston University and The Design Museum London, whilst freelancing as project assistant for Art on The Underground.

Puja Mistry is 18 years old and currently on a gap year before studying medicine at university next year. This is her first time blogging, and she hopes to explore interests outside of her studies. Puja’s main intersts are dance, Taekwondo photography.

Myrto Williams is an Illustrator based in London. After graduating from Camberwell in the summer of 2010, she is now working on participation projects with the British Museum and The October Gallery. She is also collaborating with poets and musicians.

www.myrto-williams.com

Camelia Muldermans is a London-based writer and creative facilitator, with a particular interest in informal education, poetry and responsible journalism. She is intent on promoting a positive image of youth in the media, giving young people a voice and raising their aspirations. Published work includes: The Big Issue, The Independent, Positive News, and Cent Magazine.

Aminah B is a London based creative having graduated in Architecture from the Bartlett school of Architecture, University College London. Aminah’s passion is landscape oil paintings, etchings, rotring pens, moleskines, photography and travel. Also further exploring and focusing on contemporary and traditional Islamic Art and Architecture which she hopes to do her masters in. In her spare time she helps charities working in developing countries designing prefabricated structures and local community housing.

 

Raghu Dixit, Leaving a mark.

Copyright 2011 © Yemisi Blake

Raghu Dixit and his band have started Alchemy 2011 on a great start. Raghu collaborated with Bellowhead and Gauri Sharma Tripathi and they all came up with many amazing songs on 15^th April at the Queen Elizabeth Hall which usually is packed.

Behind every song of Raghu’s there is story which applies to all humans. He bases his songs on inspirational and cultural lyrics, poems and tales. He sings his songs in three different languages which are Hindi, English and Kannada. Through his music and lyrics he portrays rhythmic and melodical images in the listeners mind which come from his home town Mysore.

Raghu and his band have left a mark on everyone’s mind who went to that evening performance. The concert was mysterious, mesmerizing and mystic.

Many people liked the performance because Raghu is a very interactive and humorous person.

Tarini Tripathi, Alchemist

Catwalk with the Couturier

Photo: Copyright 2011 © Yemisi Blake

Meera Ali kicked off the inauguration of Alchemy with Calligraphy In Motion. Throughout the last 21 years Meera and Muzaffar Ali have immersed themselves with different aspects of Sufism and have found innovative ways of reviving the traditional craft of the Kotwara region in North India. This historical and cultural hub is what spurred Muzaffar Ali to make his film Umrao Jaan  and Meera Ali’s designs which were exhibited yesterday.

Being backstage at all the rehearsals and fittings I got the inside scoop on what really makes those pretty faces look glam on the real day. On the contrary the models actually came for their first rehearsal on the day of the show but grasped the concept of what Meera was trying to portray through her designs really quickly.

The models were showcasing Meera’s collection next to very graceful and hardworking Kathak dancers. These dancers the students of the world-renowned Kathak dancer Gauri Sharma Tripathi who also happens to be my Kathak teacher. The dancers diligently showed up to rehearsal and worked with Meera to choreograph the background dance.

The dance consisted of twirls and salami (Mughal form of salutation,) this gave an eerie feel in to the show but in the real show proved effective. We were a bit confused tin the beginning why the dancers were such a vital part. We then discovered, as the show was Calligraphy In Motion the dancers sustained the movement and emphasized the flow of the Sufi script.

The collection that was being modelled ranged from vibrant blues and greens with the Sufi script intermixed showing in only a couple of places to long black coats embroidered with flowers lining the coats at the bottom. The dancers were wearing black and white angarkhas, which flowed freely to the ankles, which was collected at the back and clipped up with a button.

The fashion show was amazing because its inspiring to see how you can take any culture’s written word and use that to influence any aspect of your life, in this case fashion.

by Anjali Banerjee, Alchemist