Saturday, July 25, 2015

Purabiyan Taan: An evening of Bhojpuri music | 26th July | Sunday | 530 pm | Samsa Auditorium


We are now in the age of cities: Fast cities. Smart cities. Model cities. They will be planned and will be built, even if the blue prints are undesirable. Workers who build cities experience the idea of a city very differently. 


In the backyard of the city, far from habitation, away from the din of urban life, workers occupy makeshift enclosures. Barely a home, they set off each day to build something concrete. Between, the labour colony and the construction site, workers get broken glimpses of a city. 

Songs and poems are born from this pain of separation, alive. He listens to music, to remember. His presence and absence are punctuated by these songs. 


We hope to create passages to meet workers in a third space, outside of surveilled spaces, to meet each other outside the context of work. A space where we can recollect, collectively. A space free of authority and suspicion: through music.

This monsoons, for the first time in Bangalore, we at maraa are proud to present Kalpana Patowary and her mandali for a performance of Bhojpuri songs and poems.


We specially invite you to be present for Purabiyan Taan (Songs from the East) and share this experience with us on 26th of July | Sunday |5:30-7:00 pm onwards | Samsa Auditorium, Ravindra Kalakshetra. Kalpana will also be launching an anthology of Birha songs here in Bangalore. 
   
Often hailed as the Bhojpuri queen, Kalpana Patowary’s body of work is vast, exploring the intersections between Bhojpuri music and other folk traditions, including blues and jazz. Kalpana’s music speaks to the separation, longing and anticipation that marks any experience of migration. 


We have made a special effort to invite workers building the metro and construction sites in the city. We hope that it will be a memorable experience for you.  

Windmills Craftworks Bangalore | Kalpana Patowary Live on 24th & 25th July 2015.

Bridging two diverse worlds.......


Windmills Craftworks | Kalpana Patowary live on 24th & 25th July 2015


Often hailed as the Bhojpuri queen, Kalpana Patowary’s body of work is vast, exploring the intersections between Bhojpuri music and other folk traditions including blues and jazz. Kalpana will be performing alongside her band on 24th and 25th July, 9:30 pm on-wards.
Call +91 8880233322 for more information & reservations or book your tickets at the link below.

Saturday, July 11, 2015

Maraa a media and arts collective Bangalore - Introducing Kalpana Patowary Songs of separation and longing.

“I want my folk music to travel outside our villages. Yes it’s safe there in its original form, but is of no use unless we make the world hear our very soulful and meditative music.”

As the city expands, the lines between outsider and local blur.  The city is comprised of innumerable migrant workers, who scattered across corporate offices and construction sites, engaged in a variety of activity that sustains the city. What is the experience of migration, how does it smell, taste and sound? Often, memories are kept alive through music, the longing for home, the distance from home, arrivals and departures are punctuated by the song.

Maraa, a media and arts collective based in Bangalore, has been triggering questions around migration and urbanization, by acknowledging the influx of workers from different parts of the country to Bangalore, since 2009. As the city consciously tries to invisibles workers, under the guise of speedy progress and rapid development, maraa’s work has created passages to meet the worker in his different states of mind through artistic interventions that coerce audiences to confront the presence of the worker. After all, Bangalore is evidently a migrant city, given its diversity and cosmopolitanism. The IT sector is largely migrant, and so are workers who build the metro. We intend to create a third space for conversation with the migrant, the outsider, the traveller through music.

In this context, we present a series of performances by Kalpana Patowary.  Often hailed as the Bhojpuri queen, Kalpana Patowary’s body of work is vast, exploring the intersections between Bhojpuri music and other folk traditions, including blues and jazz.




Despite mainstream success, within the Bollywood film industry, her interest is in studying various lesser-known folk forms. Her recent album, ‘The legacy of Bhikhari Thakur’ is the first recording of the work of Bhikhari Thakur. Bhikhari Thakur was an Indian playwright, folk singer and activist who developed the folk theatre form of ‘Bidesia’. Bidesia, refers to migration- in the context of Bhikhari Thakur’s work, this refers not only to the geographical dislocation, but also to a larger sense of cultural alienation, experienced by the migrant. The album comprising of nine songs, brings to life Bhikhari’s Thakur’s work, reiterating its relevance in a contemporary context that is marked by the flows of migration.

Other than Bidesia, Kalpana has also been studying other folk forms from Uttar Pradesh and Bihar, including Birha, Purvi, Pachra, Kajri, Sohar, Vivah-geet, Chaita and Nautanki. Her intent is to experiment with various styles, including jazz and blues, reinterpreting these forms musically, and taking them to diverse audiences.

As part of season 4 of MTV@coke studio she presented ‘Khadi Birha’ (folk songs sung by the Ahir’s in Bihar and Nepal) that narrate experiences of migration, during the colonial period, when a huge population of Bhojpuri people left Indian shores to work in sugarcane, cocoa, jute and other plantations in Caribbean countries. Through this body of songs, Kalpana explored the diasporic tradition that connects India to the Caribbean.

Her experimentation with various folk forms, led to the release of a world music album, titled “The Sacred Scriptures of Monikut” about the reformer, wandering philosopher, saint and poet, Mahapurush Srimanta Shankardeva and his disciple Mahapurush Srimanta Madhavdeva from Assam. The album featured collaborationswith Trilok Gurtu, an indian percussionist, Guru Rewben Mashangva – considered the father of Naga folk blues, PAPON Angarag Mahanta, a singer from assam and Zubeen Garg, a singer and producer from Assam.

Currently, she is in the process of putting together an anthology of Birha- tracing its development across UP and Bihar.

Kalpana’s songs have traveled vast distances, capturing new imaginations and interpretations of migration, through musical innovation and experimentation.

Performance Schedule:

Kalpana Patowary Live at Windmills Craftworks
Date: 24th and 25th July
Venue: Windmills Craftworks,
Time: No. 331, 5B Road, EPIP Zone, Next L&T Infotech, Whitefield, 
For details, contact: 9880159484 / 9880755875

Purabiyan Taan:
Public performance
Date: 26th July
Time: 5 pm- 7 pm
Venue: Ravindra Kalak Shetra, Behind Town Hall
For more details, contact: 9880159484/ 9880755875

In conversation: Kalpana Patowary at Aziz Premji University
Date: 27th July
Time: 5 pm
Venue: PES Institute of Technology Campus, Pixel Park, B Block, Electronics City,, Beside Nice Road, Hosur Road
For more details, contact: 9880159484/ 9880755875

**Performance for the 28th to be confirmed.


##http://maraa.in/


Monday, July 6, 2015

nh7dotin@ Kalpana Patowary

                          
                          
                          
         
                           
           
                           
                           
                           
                           
                           
                           

Monday, June 29, 2015

Mundeshwari Temple | Oldest'(1,652 years) surviving temple of Gupta Age | Kalpana Patowary

           

               
               
               
               

The Mundeshwari Devi Temple (also spelled as Mundesvari) is located at Kaura in Kaimur district in the state of Bihar, India on the Mundeshwari Hills. It is an ancient temple dedicated to the worship of Lord Shiva and Shakti and is considered one of the oldest Hindu temples in Bihar.It is also considered as the 'oldest functional' temple of world. One of the oldest living monuments in the country, the sanctum sanctorum of the octagonal stone Mundeshwari temple is still intact today. A huge heap of temple materials along with large number of idols lie scattered in the area. It is believed that rituals and worship have been perform adhere without a break; hence Mundeshwari is considered one of the most ancient functional Hindu temples in the world. The temple is visited by a large number of pilgrims each year, particularly during the Ramnavami, Shivratri festivals. A big annual fair (mela) is held nearby during the Navaratra visited by thousands.[13] The worship of shakti in the form of Devi Mundeshwari in the temple is also indicative of tantric cult of worship, which is practiced in Eastern India. Maharaja Dutthagamani (101-77 BC), a powerful independent king of Ceylon (Sri Lanka), had constructed a great stupa and a large assembly of priests attended its consecration ceremony in the Mundeshwari hills. According to experts, the seal acted as passport for Ceylonese pilgrims and ensured safe passage during their long journey through various kingdoms to Buddhist pilgrimage centres in India. Experts believe that earlier routes to Buddhist centres at Kushinagar in Uttar Pradesh and Kapilvastu in Nepal were via Mundeshwari temple in Bihar's Kaimur district. The inscription of an information plaque erected by the Archaeological Survey of India (ASI) at the site indicates the dating of the temple to 108 AD. However, there are other versions for the dating stating the Saka era, prior to Gupta dynasty rule (320 AD) in India, and specifically to 105 AD according to the Administrator of the Bihar Religious Trust Board. The temple, a protected monument under ASI since 1915, is substantially damaged and is under restoration.

Guyana's 48th Independence anniversary celebrations | Minister of Culture, Youth and Sport, Dr Frank Antony,Guyana

Invited by the Minister of Culture, Youth and Sport, Dr Frank Antony, Guyana Govt and the acting Indian High Commissioner to perform for Guyana's 48th Independence anniversary celebrations.
Its very emotional one for me as I think about how the Indians left behind, in India, their own land and family to come to Guyana.
Guyana observes a number of significant events including Arrival Day which signifies the coming of Guyanese ancestors from different parts of the world.
Yesterdays performance at the Indian Monument Gardens in Georgetown, which features a beautiful monument of a ship that signifies the first one that brought Indian indentured immigrants to Guyana. The sculpture was done in India.
We will also perform at State House in New Amsterdam, Berbice a location significant where not far from there, the original set of Indian indentured immigrants landed.

Monday, June 22, 2015

The Spirit of Ganga Putri.

              


Bistirno Parore(Ganga tum behti ho kyun) is one of the best Assamese rendition of Late Dr. Bhupen Hazarika.

The song is inspired by "Ol' Man River" and also has versions in the Indian languages Hindi and Bengali.

One song, and pain of humanity of India flows through this song. Who do we blame? Ganga, because she is mother of our civilization and culture.

Bistirna paarore 
Akhonkhya jonore 
Hahakar xuniu 
Nixobde nirobe 
Burha luit tumi 
Burha luit buwa kiyo? 

Noitikotar skhalan dekhiu 
Manabotar patan dekhiu 
Nirlajja alakh bhabe buwa kiyo? 

Gyanbiheen nirakgharor 
Khaadyabiheen nagorikor 
Netribiheenotat nimaat kiyo? 

Xohossro baarikhar unmaadonar 
Abhigyotare pongu manabok 
Xabal xongrami aaru agragami kori nutula kiyo? 

Byakti jodi byaktikendrit
Xamasti jodi byaktitwarohit 
Tene jithil xomaajok nabhanga kiyo? 

Tumiye jodi Brahmare putra 
Xei pitritwa tene naam matra 
Nohole prerona nidiya kiyo? 

Unmatta dhoraare 
Kurukhetrare xoroxajyaake 
Alingan kora 
Bhishmarupi ajashra beerok 
Jogai nutula kiyo? 


Lyrics of ' Ganga Behti ho kyun ' song are written by Pandit Narendra Sharma.

विस्तार है अपार प्रजा दोनों पार करे हाहाकार
निशब्द सदा .. गंगा तुम
गंगा बहती हो क्यूँ?....

तेजस्विनी .. क्यूँ रहीं
तुम निश्चय ही.. चिन्तनहीन
प्राणों मे प्रेरणा देती नहीं क्यूँ ?

O’ man river,
Dat ol’ man river,
He mus’know sumpin’
But don’t say nuthin’
He jes’ keeps rollin’
He keeps on rollin’ along.

Friday, June 19, 2015

KHADI BIRHA in Mtv@Coke Studio Season 4

It was a nifty Rajasthani folk fusion track that introduced us to a tall Assamese girl in a multi-coloured dress Kalpana Patowary, stood next to East India Company vocalist, Papon, and belted out Baisara Beera, a track with elements of Rajasthani maand with Assam’s Barpeta Holi that turned into a dance jam with its heady beats and harmonium interludes.

Unshackled by genres, Patowary’s high-pitched, raw and confident voice had the “urban” audiences swaying to the groovy hook and hit Coke Studio @ MTV’s YouTube video over a million times.

She is back, this time even BIGGER with for the first time in the history of music, she features Bhojpuri Khadi Birah, a folk for of the Ahirs, Uttar Pradesh in the much talked about Mtv@Coke Studio Season 4 with Dhruv Ghanekar as the Composer.

Dhruv is the co-founder of the path breaking Blue Frog - a State of the Art Live Performance Venue, Recording Studios, Label, Music Production, a Composer, Producer and highly respected Guitar player based in Mumbai, India.

Kalpana Patowary is currently the “reigning queen of the Bhojpuri music industry” and her decade-old body of work is marked with versatility. She is one of the few stalwarts who have popularized Bhojpuri folk music in a contemporary style that wows audiences everywhere. “Among Bhojpuri speakers, she is a rage. Her collaboration with Mika Singh on the chart-topper Gandi Baat from Prabhudheva’s otherwise dud R…Rajkumar (2013) has already put her on the music map in Bollywood.

She got International acclaim with the release of her Bhojpuri musical documentation on the Shakespeare of Bhojpuri Literature – The Legacy of Bhikhari Thakur from EMIVirgin Records and Massical from BIRDjam Label Germany with world class India’s virtuoso percussionist and bandleader  Trilok Gurtu, one of the most dynamic and prolific musicians and collaborated with international unique musicians like  Carlo Cantini, Jan Garbarek, Phil Drummy, Roland Cabezas, Stefano Dall’Ora.

           

She has performed and recorded with some of the biggest names in music in India and on the International arena with Trilok Gurtu, Guru Reben Masangva, Louis Banks, Ranjit Barot, Pritam to name a few...
    
Lately she was on a 15 days tour for concerts in four Latin American countries presented by The Ministry of Cultural Affairs on the auspicious occasion of Indian Arrival Day, commemorating the arrival of Girmitias from the Indian subcontinent to  Caribbean and the island nation of Mauritius presenting songs on migration.

Mtv@CokeStudio Season 4...it’s still on…the HANGOVER……ek MA apne bachhe ko, safalta ki bulandiyo ko chhuta hua dekh jaisa mahsus karti hai.....the emotions rolling deep inside me are the same....BHOJPURI hamari astitwa hai and in CokeStudi@Mtv Season 4, it was as if BHOJPURI was proud to announce its dignity….Says Kalpana.

Taking Bhojpuri music to the helm of one of the biggest music shows in the world for the first time in MTV comes with its share of responsibilities.

              

I met Dhruv Ghanekar in Blue Frog when I was performing with Trilok Gurtu. After then his solo album “Voyage” was happening and Dhruv asked me to write and sing something in African groove. I wrote for the first time. Baare Baare was the track weaving a rich tapestry of Assamese folk and traditional grooves from the Maghreb region of North Africa. The idea to fuse the two began as conversations in his head, he shares. “If I were to explain it to someone, they’d say, there’s no synergy between the two cultures. But when you hear it, it makes perfect sense,” says Kalpana.



After then, when Dhruv met up for Coke Studio, I was happy as I knew it’s time for some extinct folk to come up where it should come. There is an unseen gap between my own lands. – My people. The gap between India and Bharatvarsh.  In a way Mtv@Coke Studio musically tries to bridge that gap. This time I thought of giving Biraha a folk form of the Ahir clan. Its singing and saying – boli at the same time. Lyrically Khadi Birah also spoke about the expressions of our cultivations, our village folk.

Dhruv beautifully designed the rhythm which complimented the lyrics of Khadi Biraha. It became mere of global now as if Indian and African both speaking about the pain and pleasure of farming. Dhruv and I were thinking to put some African plantation folk music in the track. But as we were short of time we changed our idea and instead think of putting some English words in it.          

I shared my knowledge about the indenture laborers of plantation and the pain they went through when they migrated from Indian shores to the Carribeans.

So we decided to write some verses keeping in mind the indenture laborers point and what he’ll speak.

Dhruv wrote some beautiful lines and then Sonia Saigal came into the scene to give the English lyrics a bold vocal throw.

This track KHADI BIRHA is a folk for of the Ahirs fusing with African music. This folk tradition is a fun song, reflects the Migration content and evolved during the colonial period when a huge population of Bhojpuri people left Indian shores to work in sugarcane, cocoa, jute and other plantations in Caribbean countries, owned and run by Europeans.

Khadi Birha is actually a very positive song. It’s one of those great ironies of life because the people who actually worked the hardest are the most positive people…it’s a working man’s song.

Basically, this track would help understand how folk culture helps migrants to recover from the pain and loss on leaving their homelands,"

In Mtv@Coke Studio you can say transnational Biraha : Bhojpuri Folk from North India to the Caribbean, Fiji, and Beyond…

This track Khadi Birha forges the way forward for the culture from which the Caribbean countries diaspora traditions find their origin.

Says Kalpana GRATITUDE!!



'Birha' - traditional folk of Utter Pradesh.

                   


Utter Pradesh ke ek varg visesh dwara gaya jane vala lok sangeet Biraha hamesha se hi hindi patti samaj ke vibhinn vargo me lokpriya rha hai ..

Utter Pradesh me is vidha par abhi tak na keval Yadav samaj ka ekadhikar rha hai, balki is par hamesha se hi purush kanth ka adhipataya bhi rha hai..


kaha jata hai yadi deevare nahi girati to samya aur kal ki pragati ruk jati hai….kya ekadhikarvadi deevar ke beech jakda yeh mashoor lok gayan apni pragati ki sahi manjil tak abhi pahunch paya hai??

yeh ek saval hai jise hum un sabhi longon ko karna chahiye jo apni mati aur apne lok sangeet se pyar karte hain... Assam ki dharti se aakar hindi patti ke tamam dilo par raj karane vali mashoor singar Kalpana Patowary ka “Biraha” MTV@CokeStudio Season 4……pragati ke band pade rasto ke beech ek aisa hi krantikari kadam hai jo ekadhikarvadi deevaro ko dhahate hue behad sadhe hue nari swar ke sath biraha lok gayan ko ek nai unchai tak pahuchane ki ek safal koshish hai..

vartman yug me janha badalte vaqt ke sath birha lokgayan ke chand- anuprash itayadi lagatar gayab hote ja rahe hain vanha Kalpana Patowary dwara is mamle me puri mehnat v sodh ke sath khadi birha ko apne sadhe hue kanth se MTV@CokeStudio Season 4 ke madhayam se internatinol star tak pahuchane ki koshish karna khud me na kewal sarahneeya prayas hai balki is lokgayan ke liye meel ke patthar ke roop me sthapit hote hue bhavishya ke liye ek sukhad sanket de rha hai.....



@tradishivendra prakash dwivedi..

Thursday, May 28, 2015

'Birha' - Promo & Behind the Music - Coke Studio@MTV Season 4 Episode 3

                   
         

.....do you know just like Chhapraya Purvi folk form...Khadi Birha also never been sung by any female because to render it one need a five octave high pitch tone. Its again for the first time Kalpana breaks rule to set a new trend....