JVF Riff Booklet

8/4/2019 JVF Riff Booklet

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Jodhpur RIFF is a partnership between the Jaipur

Virasat Foundation (JVF) and Mehrangharh Museum

Trust. Their shared mission is to fostersocial cohesion

and an inclusive, sustainable economy in Rajasthan.

Through village festivals, urban performances and creative workshops,

JVF is a catalyst for new livelihood opportunities for traditional artists of

Rajasthan. With the support of local communities, donors, government

agencies, NGOs, and others, JVF and MMT seek to protect and promote

Rajasthans indigenous cultural heritage. JVF was recently accredited

as an advisor member of UNESCOs Intangible Cultural Heritage

Committee.

Living Legends is a short book which highlights some of the performers

and collaborations at this years Jodhpur RIFF. This booklet includes:- A glossary of Rajasthani instruments

- Interviews and stories about the Living Legends performers

- Histories of the collaborations showcased on RIFF 2010s main stage

- Colour photographs of performers and instruments

introducingRIFF

Living Legends was made possible by months of hard work from JVF staff andimmense cooperation by artists. The interviews, photographs and research intoart forms that made this book are a product of JVFs devotion to Rajasthani folkheritage.

INTRODUCTION & CONTENTS


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GLOSSARY pg.4folk terminology oninstruments, music & communities

LIVING LEGENDSpg.6Rukla, Akla &Darya Manganiyar; Pempe Khan; PatashiDevi Bhopi; Chanan Khan Manganiyar

RIFF COLLABORATIONS pg.9PeteLockett; Susheela Raman & Sam Mills;

Sona Mohapatra

whatsINSIDE

Photo

byVivekBhatia

Photo by James Boyd


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GLOSSARY

1chang2derun 3kamaycha 4sarangi

inPHOTOS


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ALGOZA:Two utes, played simultaneously, givethe Algoza its distinctive and mesmerizing buzz.The player uses circular breathing to play.

BHAPANG: The ululating sound of the Bhapangcomes from a small string fashioned from animalintestine, attached to the underside of the drum.

BHOPA: Members of the Thori community, Bhopaare either itinerant or attached to specic temples.Bhopa recite phud, epic poems (often the story ofPabuji, a local saint) which can last days at a timeaccompanied by emotive notes from the ektaara.

CHANG: Usually seen around Holi in Shekhawati,the chang is played by hand or with a small stickattached to the nger.

DERUN:The hourglass-shaped Derun has stringstied between either face. A loop around the ringsallows the drummer to change the Deruns pitch.

EKTAARA:The Ektaara is a simple one-stringedinstrument plucked by minstrels, mendicants andwidows across Rajasthan. It is fashioned from asingle strip of bamboo attached to a large gourd.

KAMAYACHA: Like the Saarangi, the Kamayacha

is a four-stringed wooden instrument with nineJhara which allow the deep, throaty sound to becontrolled by the player.

KHARTAL: Four thin, oblong pieces of wood areheld between the thumb and palm of each hand toproduce intricate rhythms or taal.

LANGA:Like the Manganiyars, the Langas are a

professional, hereditary singing community fromJaisalmer and Barmer. Langa music is typicallyaccompanied by the Sarangi. The Surnaiya Langasub-caste only performs instrumental raga.

MANGANIYAR: The word Manganiyar refersto several communities clustered in Barmer and

Jaisalmer near the border with Pakistan. TheManganiyars, like the Langas, make music withclassical and folk elements. Manganiyar singersplay an important role in their communitiessinging devotional, ceremonial, and epic ragaUnlike the Langas, the Manganiyars use theKamayacha for musical accompaniment.

MORCHANG: Those familiar with the JewishHarp will recognize the Morchang as its wrought-iron cousin. It can only produce one note, butdifferent tones are produced by changing the sizeof the mouth.

MURLA: The Murla consists of two tubesattached to a gourd. The player uses a techniqueof continuous blowing (nakasaansi) to create thedistinctive hum.

NAGARA: This instrument actually consists oftwo conical drums, the smaller emitting the maad

or female voice, and the larger a deep tone. Buffalohide is used to cover the larger drum, and camehide the smaller.

SARANGI:Derived from the Hindi words sau andrang, meaning hundred and colour, respectivelythe Sarangi has a comprehensive sound. Signicanin Indias folk and classical traditions, the Sarangis the most difcult instrument to master.

wordsDEFINED


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FOLK ARTISTS

livingLEGENDSCHANAN KHAN MANGANIYAR

During the oods last year, the rstthing Chanan Khan saved from his

house was his kamayacha. For Chanan,music is the most important thing in hislife. Hailing from Barma, he has beenplaying since he was 12. His repertoireof instruments include the kamayacha,dholak and harmonium.

People are proud of theiroverowing dinner table, bank accountsand knowledge, he says. Just like thesea is proud of its vastness. But all prideis lost when they listen to raga.

He hopes to pass on his proudappreciation of traditional music to thenext generation.

Music hasnt given me much, hesays, alluding to the simple life he leads.But people who learn from me havemuch to gain.

all pride is lost whenthey listen to raga.


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Pempe Khan Manganiyar is 60 years old. Pempe initially chose tplay his grandfathers instrument, theShahanayi, rather than his fathersKamayacha.

He is an accomplished player of theMurli, a ute made from wood of theBas tree. The Murli is related to the

Basuri, the ute commonly associated with Krishna, who played it for hifemale followers (gopi). Although theMurli is traditionally associated withLanga musicians, Pempe comes to RIFFrecommended by the Langas as one ofthe best Murli players alive.

My favorite memory was performingin front of Krishna Byas, the famousBhawai dancer, Pempe says.

Traditionally, Manganiyar women do notsing in front of men or in public. When RukmaManganiyar began to sing for an audience, shewas expelled from her community and abandoned by her husband. However, as she began winningprizes and certicates of merit throughoutRajasthan, Rukma inspired her sister Akla andchildhood friend Dariya to perform alongside her

Patashi Bhopis late husband, Mohan Bhopawas a great artist and friend of JVF. The two formedan astonishing partnership, reciting the legend ofRajasthani folk deity Pabuji with song and storysessions that lasted all night. Sadly, Mohan passedaway a few years ago, and life has become moredifcult for the family. At RIFF 2010, Patashi Devperformed with her son Bhanwa!a Bhopa on thetraditional Bhopa instrument Rawanhatha.

PATASHI BHOPI

RUKMA, AKLA & DARIYA MANGANIYAR

PEMPE KHAN MANGANIYAR

JVF Riff Booklet

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