印度热门音乐联盟

预告 | 萨特赫-萨特赫:印度斯坦音乐演出与交流(香港)

西天中土 2019-06-29 23:33:46


SAATH-SAATH: MUSIC ACROSS THE WATERS (Hong Kong)

薩特赫-薩特赫:

印度斯坦音樂演出與交流(香港)

An evening of Hindustani classical music with 3 singers from India, includingcollaborative musical experiments with Cantopop.

三位來自印度的歌手演出印度斯坦古典音樂,並同粵語流行曲互動。

Saath-Saath (Hong Kong)

Curated by 策劃:Tejaswini Niranjana 特賈斯維莉·尼南賈納

Singers 演唱: Rutuja Lad, Bindhumalini Narayanswamy, Omkarnath Havaldar

Lyricist 作詞: Chow Yiu-Fai 周耀輝

Cantonese Vocal Coach / Performer 粵語指導/演出:Natalie Yuen 袁梓烈

Fri Dec 1, 2017  7:00 - 8:30pm

Hanart TZ Gallery, 401 Pedder Building, 12 Pedder Street, Central

2017年12月1日週五晚7點 - 8點半

漢雅軒 香港中環畢打街12號畢打行401室

 

Enquiry咨詢: 2616-7436;email: muspa@ln.edu.hk

Presented by: Kwan Fong Cultural Research & Development Programme, Lingnan University, West Heavens
Sponsored by Moonchu Foundation

主辦:嶺南大學群芳文化研究及發展部,西天中土

贊助:夢周文教基金會会



西天中土 WEST HEAVENS

SAATH-SAATH:MUSIC ACROSS THE WATERS

薩特赫-薩特赫:印度斯坦音樂演出與交流


2016年11月,由印度導演Surabhi Sharma和文化理論學者Tejaswini Niranjana創作的錄像裝置《利亞茲》參展第十一屆上海雙年展。作為雙年展的合作活動,西天中土舉辦了包括中印音樂在內的名為“利亞茲空間”的系列工作坊和演出。

在這次合作能量基礎之上,名為“薩特赫-薩特赫”(Saath-Saath)的三年計劃將旨在達成中印音樂家間新的合作成果。Saath一詞的印地語含義為“壹起”。

這壹計劃的整體目標是激發出藉由印度學者和音樂家的投入來思考中國大陸和香港文化實踐問題的強烈興趣。長期目標是擴大批判社會科學-人文學術領域,通過銜接諸如音樂創造這樣的文化實踐來幫助我們扣問當代時刻。在亞洲,當我們面對過去時,我們同過去的關系如何?今天習得印度古典音樂表演的技術,或彈奏琵琶,或表演昆曲意味著什麽?印度和中國的表演形式和音樂教學風格告訴我們自身同日常世界的怎樣聯系?探索這些問題的第壹步是發展音樂家之間的合作性對話。“薩特赫-薩特赫”項目令印度和中國的表演者得以打開音樂對話的方法。

In November 2016, a video installation, authored by film-maker Surabhi Sharma and cultural theorist Tejaswini Niranjana, and titled "Riyaaz' (practice), was exhibited at the 11th Shanghai Biennale. As a collateral event of the Biennale, a series of workshops and performances called 'The Space of Riyaaz' took place, involving Indian and Chinese music.

Building on the collaborative energies of the November 2016 project, the Saath-Saath Project, extending over three years, will aim to achieve new collaborative outcomes with the participation of Indian and Chinese musicians. The Hindi word Saath means ‘together’.

The overall objective is to generate a strong interest in thinking through questions of cultural practice in Mainland China and Hong Kong with the inputs of scholars and musicians from India. A long-term goal would be to enlarge the scope of critical social science-humanities scholarship through connecting to the ways in which cultural practices like music-making help us interrogate the contemporary moment. What is our relationship to the past as we envisage it in Asia? What does it mean to acquire the skills to perform Indian classical music or play the pipa or act in Kunqu opera today? What do modes of performance and musical teaching styles in India and China tell us about how we relate to our everyday worlds? The first step in exploring some of these questions would be to develop collaborative conversations between musicians. The Saath-Saath Project enlists Indian and Chinese performers to open up avenues of musical conversation.  

2016利亞茲空間系列視頻回顧

利亞茲空間:印度古典聲樂表演與交流工作坊

2016年11月20日,上海當代藝術博物館

印度古典聲樂教學工作坊

2016年11月21日,上海音樂學院學術廳

絲路之樂:雅集園林中的印度聲音藝術

2016年11月22日,蘇州嘉元堂



策劃與演奏者

Curator and Players

特賈斯維莉·尼南賈納

特賈斯維莉·尼南賈納生於1958年,現任香港嶺南大學文化研究系教授與系主任。她於1981年在孟買大學獲英語與美學碩士學位,1982年於普內大學獲語言學研究型碩士學位,1988年於加州大學洛杉磯分校獲博士學位。1998年,她來到班加羅爾幫助成立了文化與社會研究中心(CSCS)。在此之前,她曾在海德拉巴大學英語系任教達十年。她幫助班加羅爾文化與社會研究中心創造性地開設了文化研究博士學位,壹直任教直到2014年。她的研究工作使她獲得了霍米巴巴研究經費,荷蘭南南合作基金會研究經費,荷蘭克勞斯親王基金獎(兩度榮獲),洛克菲勒研究經費,以及索耶研究經費。她也曾是柏林高等研究院(2007年)、法國南特高等研究院(2011年)和新加坡亞洲研究院(2016年)的客座教授。她發表的作品包括:最新的《流動印度:女性,音樂與移民在印度與特立尼達》(達勒姆,2006年)和《為翻譯定位:歷史,後結構主義與殖民語境》(伯克利,1992年)。她與人合編了《質問現代性:印度的文化與殖民主義》(加爾各答,1993年)以及《亞洲當代譜系:定位亞際文化研究》(德裏,2015年)。她與蘇拉比·夏爾馬聯合制作了電影《加哈吉音樂:加勒比的印度文化》以及壹部關於印度斯坦音樂在孟買狀況的紀錄片。2015年,她在孟買策劃了展覽“制造音樂-制造空間“的展覽。她與蘇拉比·夏爾馬也參與了第11屆上海雙年展,展出錄像裝置作品“利亞茲”。

TEJASWINI NIRANJANA is Professor and Headof the Department of Cultural Studies at Lingnan University, Hong Kong. She hasan MA in English and Aesthetics (1981) from the University of Bombay, an MPhilin Linguistics (1982) from the University of Pune, and a PhD (1988) from theUniversity of California at Los Angeles. She taught for ten years in theEnglish Department of the University of Hyderabad before moving to Bangalore tohelp set up the Centre for the Study of Culture and Society (CSCS) in 1998which until 2014 offered an innovative PhD in Cultural Studies, the first ofits kind in India. For her research work, Tejaswini has been awarded the HomiBhabha Fellowship, the Sephis Fellowship, the Prince Claus Fund award (twice),the Rockefeller Fellowship, and the Sawyer Fellowship. Her publications includeMobilizing India: Women, Music andMigration between India and Trinidad (Durham, 2006) and Siting Translation: History,Post-structuralism and the Colonial Context (Berkeley, 1992). She hasco-edited Interrogating Modernity:Culture and Colonialism in India (Kolkata, 1993) and Genealogies of the Asian Present: Situating Inter-Asia Cultural Studies(Delhi, 2015). She has co-produced, with Surabhi Sharma, the films Jahaji Music: India in the Caribbean,and Phir se Samm pe Aana (Returningto the first beat), a new documentary on Hindustani music in Mumbai. In 2015,she curated an exhibition in Mumbai titled Making Music-Making Space. At the11th Shanghai Biennale, she and Surabhi Sharma showed a video installationtitled Riyaaz (Practice).

OMKARNATH HAVALDAR

出生於音樂世家,啟蒙於作為北印度古典音樂界著名聲樂歌手的父親Nagaraj RaoHavaldar博士,後師從Kiran流派元老級人物Pt.Madhava Gudi以及Atrauli Jaipur流派的Pt.Panchakshari Swami Mattigatti,並集兩者之大成。目前,他正師從Pt.Indudhar Nirody學習Dhrupad及Khayal聲樂流派。他於Jayanagar國立學院獲得心理學學士學位,後於邁索爾的KSGH音樂與藝術大學獲得音樂碩士學位。他曾獲得卡納達地方與卡納塔克邦文化部共同設立的Kishora Pratibha Puraskar獎(2000年),也在許多國內外享有聲譽的舞臺上一展歌喉,如耶魯大學、芝加哥音樂中心等。他曾於2009年在阿富汗國立音樂學院教授音樂。他自2000年起成為卡納達和卡納塔卡邦文化部認定的精英藝術家,參與全印廣播電臺和印度國家電視頻道的演出,QPTV紐約臺也曾錄制過他的音樂。

Omkarnath Havaldar was born into a familyof musicians, and was initiated into Hindustani classical music by his fatherDr. Nagarajrao Havaldar, a well-known Hindustani classical vocalist. He wastrained under masters like Pandit Madhava Gudi of Kirana Gharana and PanditPanchakshari Swami Mattigatti of Jaipur-Atrauli Gharana, and is fortunate toinherit the finest nuances of both the Gharanas. He is now pursuing histraining in Dhrupad and Khayal from Pandit Indudhar Nirody. He is a graduate inPsychology from Bangalore University and completed his master’s degree in musicfrom KSGH University of Music and Performing Arts, Mysore. He is a recipient ofthe Kishora Pratibha Puraskar instituted by the Kannada & Culturedepartment, Government of Karnataka (2000), and has performed at YaleUniversity and the Chicago Center of Music. He also taught underprivilegedchildren at the Afghanistan National Institute of Music in 2009. He is also onthe elite panel of Artists at the Department of Kannada & Culture Govt. ofKarnataka since 2000 and an approved graded artist for All India Radio andnational television. QPTV New York has recorded his music and he does regulartelecasts in the US.

RUTUJA LAD

五歲起接受其父母的音樂啟蒙教育。後來她一直師從北印度Jaipur-Atrauli流派的重要傳承者Gaanyogini Dhondutai Kulkarni直至其於2014年過世。她也在Shri Sudhir Nayak門下學習過印度手風琴,目前在Ashwini bhideDeshpande博士門下接受指導。她在孟買大學DMCC和SNDT女子大學青年音樂節等古典與半古典音樂競賽中獲得諸多獎項,參與了馬拉地地區的選秀節目Sa Re Ga Ma Pa第七季並獲得前六名。她在SNDT女子大學獲得音樂碩士學位,並在一些享有聲望的音樂機構中進行過演出,DMCC、Bhavans文化中心、Hridayesh藝術中心、INT Aditya Birla演藝中心等等。目前以訪學身份在SNDT大學音樂系研究生部工作。

Rutuja Lad was initiated into music by herparents Tanuja Lad and Umesh Lad right from the age of 5 years. Later Shestarted learning from Gaanyogini Dhondutai Kulkarni, a torch bearer of JaipurAtrauli Gharana and was under her tutelage until she passed away in 2014. Shealso learns harmonium from Shri Sudhir Nayak, and is now studying under theable guidance of Dr. Ashwini Bhide Deshpande. She has won several prizes in theintercollegiate state level classical and semi classical music competitions,and has also participated in the music reality show Marathi Idea SRGMP (Season7) and reached till the top 6 level. She has performed at prestigious eventsorganized by the Dadar Matunga Cultural Centre, Bhavans Cultural Centre,Hridayesh Arts, INT Aditya Birla Centre of Performing Arts, Suburban MusicCircle, Gaanyogini Mahotsav, etc. She has completed her M.A in music and stoodfirst in S.N.D.T University music department. She is presently a visitingfaculty member of the Post- Graduate Music department of S.N.D.T University.

BINDHU MALINI NARAYANASWAMY

生於音樂世家的Bindhu同時受到卡納提克和印度斯坦音樂的訓練。她師從居住在加爾各答的吉瓦利亞樂派(Gwalior Gharana)最年長的代表人物、蓮花裝勛章獲得者Ustad AbdulRashid Khan(1908-2016)。她曾為印地語、卡納達語和泰米爾語的歌謠和電影作曲與演唱。2014年以來,她參與一部對於蘇菲派音樂家和詩人阿米爾·庫斯魯(Amir Khusru,1253 – 1325)的音樂敘述作品。她和她的姐妹Jaya與Archana表演了《一個無法講述的故事》(Akatha Kahani),這部創造性的作品整合了歌唱、舞蹈和故事講述,來分享她們發現15世紀印度神秘派詩人迦比爾(Kabir)的旅程。2011年,Bindhu領導了壹個英國文化處支持的“聯動課堂”項目,名為“國際之聲”,並趕在2012年倫敦奧運會期間,由60名兒童(包括13名盲童)舉辦了一次盛大的音樂演出。Bindhu也作為演員和音樂總監在劇場工作。

她目前和丈夫Vasu Dixit(民謠搖滾融合樂隊Swarathma的主唱和作曲)一同居住在班加羅爾。

Bindhu Malini Narayanaswamy is a singer trained inboth Carnatic and Hindustani music, and hails from a family of musicians. Shewas a disciple of Padma Bhushan Ustad Abdul Rashid Khan, who lived in Kolkataand was the oldest exponent of the Gwalior Gharana. She has composed and sungfor jingles and films in Hindi, Kannada, and Tamil. Since 2014, Bindhu has alsobeen part of a musical narrative on Hazrat Amir Khusrau. She and her sistersJaya and Archana perform 'Akatha Kahani' a creative work that integrates song,dance, and storytelling to share their journeys in discovering Kabir. In 2011,Bindhu headed a British Council-supported Connecting Classrooms project. CalledInternational Voices, this project was a run up to the 2012 London Olympics andfeatured 60 children, including 13 from the School of Blind, in a grand musicalshow. Bindhu has also been involved in theatre, as an actor and also as a musicdirector. She currently lives in Bengaluru with her husband Vasu Dixit, leadsinger and songwriter of the folk rock fusion band Swarathma.

周耀輝 CHOW YIU FAI

畢業於香港大學英國語文及比較文學系,其後參與多種媒體工作。1989年發表第一首詞作,書寫歌詞及其他文字創作至今,出版約一千首詞作,以及文集《突然十年便過去》丶《7749》丶《假如我們甚麼都不怕》丶《紙上染了藍》丶《一個身體,兩個人》,曾獲多個詞作及其他文學獎項。 1992年移居荷蘭。2011年獲阿姆斯特丹大學傳媒學院博士學位,回港加入浸會大學,現職人文及創作系副教授。近年亦參與舞台及視覺藝術創作。

Born in Hong Kong, Chow Yiu Fai received his PhD degree at the Amsterdam School of Communication Research, University of Amsterdam. Currently an Associate Professor at the Department of Humanities and Creative Writing of Hong Kong Baptist University, Chow is also an award-winning writer. He released his first lyrics in 1989. Since then he has penned some 1,000 lyrical works for a diversity of pop artists in Hong Kong, Taiwan and mainland China. Lately, Chow has been increasingly involved in prose writing, multi-media and visual art projects.

袁梓烈 Natalie Yuen

畢業於浸會大學宗教及哲學系,主修哲學研究,副修人文學。曾於她說創作單位《懸浮432Hz》及一條褲創作《Gweilo》擔任音樂創作及現場演奏;並為文浩賢《借純真博物館》及藝君子劇團《鳥瞰人類.性.愛勿語》擔任音樂創作。現為和音及廣告歌手、作曲人、藝術行政人員。

Singer / Backing vocalist / Voice Talent / Composer / Art Administrator. Recently participated in Herstory Polygon’s “Floating 432Hz”, Pants Theatre Production’s “Gweilo”, Hofi Man’s “Re: Museum of Innocence” and The Artocrite’s “The Venerable Bird’s Eye View” as composer and/or live musician.

http://www.westheavens.net


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