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Readings from the Koran by
Prof. Farhana Siddiqui (10 minutes)
The Quran, the last revealed word of God, is the prime source of
every Muslim’s faith and practice. It deals with all the subjects,
which concern us as human beings; that is wisdom, doctrine, worship
and law, but its basic theme is the relationship between God and his
creatures. At the same time, it provides guidelines for a just
society, proper human conduct and an equitable economic system.
The Quran is a book of God revealed to the Prophet Muhammad (PBUH).
It did not come to him in the form of a complete book, but in parts
over a period of 23 years. The first part was revealed in 610 A.D,
when Prophet Muhammad (PBUH) was in Makkah. Subsequently, different
parts continued to be revealed regularly, the final part being
revealed in 632 A.D, when the Prophet was in Medinah.
The aim of the Quran is to initiate and bring to realization and
intellectual revolution within man. The Quran stresses the
importance of man’s discovery of truth at the level of realization.
True faith in God is what one achieves at such a level. Where there
is no realization, there is no faith.
The main themes of the Quran are enlightenment, closeness to God,
peace and spirituality. The Quran uses several terms, “Tawassum”,
“Tadabbur” and “Tafakkkur” , which indicate the learning of lesson
through reflection, thinking and contemplation on the signs of God
scattered across the world. Quran is definitely not a weapon, but a
book, which gives us an introduction to the divine ideology of
peaceful struggle. The method of such a struggle, according to the
Quran is to speak to them a word to reach their very soul. Peace is
one of the pre requisites of Islam. Similarly, a Hadith states, “A
Muslim is one from whose tongue and hands people are safe.” One of
the attributes of God described in the Quran is ‘As-salam’ which
means peace and security. That is to say that God’s Being itself is
a manifestation of peace. Indeed God is peace. In the Quran, divine
guidance is linked to the path of peace.
The Quran avers that, “reconciliation is best” and judging by the
consequences the way of peace is far better than that of
confrontation. By the law of nature, God has decreed that success
will be met with only on a reconciliatory path and not on a
confrontational or a violent course of action.
The Quran offers a very sophisticated view of peace in many verses
it promises the believer peace as a final reward for a righteous
life. It also describes the house of Islam as the abode of peace. At
the behest of the Quran, Muslims greet each other every time they
meet, by wishing peace for each other.
Doctor Farhana Siddiqui is Head of Department Arabic, Jamia Millia
Islamia, New Delhi. She has been teaching Arabic for almost three
decades.
Professor Siddiqui
obtained her Ph. D in Modern Arabic literature from Jamia Millia
Islamia and has written many books and articles on Arab women. She
delivered lectures in and outside India and highlighted the women’s
contribution to the most important areas of Arabic language and
literature and their activities in the literary field.
Dancing to the Gods
Sankirtan & Raaslila by artistes of
Jawaharlal Nehru Manipur Dance Academy
The
Meitei culture of Manipur is an unusually rich microcosm of
art forms found in larger cultures. Meiteis have their own language
and cosmology and produce a range of artistic expressions in dance,
music, theater, literature, film, video and television, little known
even in India. It exhibits the strong tribal roots of the
surrounding Naga and Mizo tribes, as well as the blend of Indian and
Southeast Asian cultural influences.
When the Meiteis
converted to the bhakti sect of Vaishnavite Hinduism in the
18th century, it did not replace but began to co-exist with the
animist, ancestor-worshipping religion of the Meities.
Manipuri Dance, though
Manipuri Dances would be more accurate, is the best-known art form
of the Meiteis in Manipur. Recognized as one of the four classical
dances of India, it is derived from four major sources: Jagoi,
Thang-ta, Lai Haraoba and Sankirtan. Jagoi is folk
community dance, whether celebrating the harvest or spring.
Thang-ta, literally sword and spear, is one of five Meitei
martial art forms. The Lai Haraoba, when women shamans
dance the universe into being, is the most important and defining
performance rituals of the Meiteis. It celebrates the cosmology,
creation and history of the shamanistic, ancestor-worshipping
animism of pre-Hindu Manipur. Sankirtan, the flower of
Manipuri Dance, with its most celebrated form, the Ras Lila,
is the music and dance of that emerged after the arrival of
Vaishnavism. ( from L.Somi Roy).
The Sankirtan
tradition rests thematically upon the Krishna legend. Its
performance is considered the highest form of worship and is even
performed at weddings where its sanctity makes it a substitute for
the sacrificial fire. There is a Sankirtan before every Raas Lila
After the customary opening rituals, the drummers begin a
performance by elaborating a Raga, followed by the singers and the
conch player. The familiar stories of Krishna are retold followed by
the divine dance with Radha and the Gopis.
With its elaborate
costumes and haunting music this enactment is a feast for eyes and
ears. The true sentiment of the Raas can only be experienced by
performers and audience with an active participation and
understanding of this form. A sense of timelessness is created with
the smooth flow of movements, resulting in the fluidity and
continuity of body line The style is tender, restrained and all
movements are circular and flow from one rounded movement to
another forming spiral combinations.( from Leela Samson)
Nata Sankirtana
L. Lakpati Singh
M. Rajmohan Singh
T. Bedajit Singh
L. Somorendro Singh
L. Sobha Singh
Y.Sanathoi Singh
Bubhaneshwar Singh
Manao Singh
Costumes :
Smt H. Sharmila Devi
Choreography: Guru P. Dhanajit Singh
Office in Charge : Shri L Upendro Sharma
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Vasant Raas
Krishna
Saina
Devi
Radha Romila Devi
Gopis
Ranjita Devi
Geetanjali Devi
Rojita Devi
Bidyalakshmi Devi
Piyini Devi
Pinkee Devi
Rasdhar
Shri Ng. Ranjit Singh Guru
Sutradhari Smt A. Apabi Devi
Violin
Shri Kh. Rameshkumar Singh
Flute Shri P. Meghachandra Singh
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For more
information on the event read
Places of Worship (tuesday 17th february 6.30 pm
• Sankirtan & Raaslila at the Birla Mandir
)
monday 23rd february at 8:00 pm
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Djandjoba – The Big Gathering
the Dafra Drum a
West African Drum & Dance Ensemble
Olivier Tarpaga - Composer & Choreographer, DjembÈ, Tama,
Calabash
Wilfried Souly - Lead Dundun, Dundun (Kenkeni, Sangban,
Dundumba), Calabash, Tama
Dramane KonÈ – Balafon, DjembÈ, Ngoni, Tama
Aboubacar KouyatÈ - Griot DjembÈ, Tama, Calabash
Esther Baker-Tarpaga , Dancer, DjitafiÈ, Maracas
Magatte Sow- Griot, DjembÈ, Tama, Sabar
This evenings performance is a
Djandjoba, The Big Gathering, a 10th century
tradition from the Manding Empire of Mali in which a Griot leads
traditional ceremonies such as coronations, coming of age,
weddings and baptisms. Dafra Drum brings this high energy Griot
tradition to the Sacred Arts Festival in Delhi. The Djandjoba
takes us on a tour of the Manding Empire starting in Senegal
with an introduction of 5 Tama/Talking Drummers and a Sabar
dance demonstration. The Ensemble then moves on to Mali for an
introduction to the Djelidon (rhythm and dance of the Griot/Jeli)
and the Wassolon Don. The tour is completed with the master
drummers demonstrating the tradition of the Sorsorne, the Diansa,
the rhythm of the Fula people from the Sahel desert and the
dundun Ba.
The
group consists of 3 master drummers from Burkina Faso, one
master drummer from Senegal, one master drummer from Guinea and
a traditional dancer from the US-Burkina Faso.
A
Djembe ( Jembay) is a skin covered, goblet shaped, hand drum
traditionally carved in one single piece from hollowed out
hardwood trees. The tradition of Djembe sacred drumming is
common to many West African countries including Guinea, Senegal,
Mali, Ivory Coast and Burkina Faso. Historically, drumming has
accompanied various modes of communication, including singing,
dancing, story telling and also to send and receive spiritual
messages, in healing ceremonies, rites of passage, ancestral
worship, warrior rituals, as well as social dances.
A wide
range of tones can be produced by the djembe as a result of the
goblet shape, the density of the wood, the internal carvings,
the metal rings and ropes and the rawhide skin. .The base notes
are normally played on another drum the ‘dun dun’.
The
djembe is said to contain three spirits: the spirit of the tree,
the spirit of the animal of which the drum head is made, and the
spirit of the instrument maker. It is legend that the djembe
and/or the tree from which it is created was a gift from a Djinn
or malevolent demigod. It is central to the musical heritage of
the Malinke and Sousou tribes of Guinea in West Africa. Its
legacy has been preserved throughout the centuries in the
praises, lamentations and narrations of a special breed of
musicians called "Griot." Travelling the countryside
accompanying themselves on the sacred "cora," a harp like
stringed instrument, they give voice to the cultural wisdoms and
historical truths of the descendants of Sundiata, the great
warrior of the Mali Empire.
A
Griot ( Jeli in Many African languages) is a West African
poet, praise singer and wandering musician considered a
repository of oral tradition. Each family of griots accompanied
a family of warrior-kings (jatigi).Most villages also had their
own griot, who told tales of births, deaths, marriages, battles,
hunts, affairs, and hundreds of other folktales. In Mande
society the ‘Jeli’ was a historian, advisor, arbitrator, praise
singer and storyteller. Essentially, these musicians were
walking history books, preserving their ancient stories and
traditions through song. Their inherited spiritual, social,
political and musical traditions were passed down through
generations.
Welcome to this feast of percussion.
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