17/01/2015

MUSIC MUSEUM OF NEPAL Tripureswor, Mahavev Temple Kathmandu

ETHNOFLORENCE

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MUSIC MUSEUM OF NEPAL

http://ethnoflorence.skynetblogs.be/collection-music-muse...

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Building of Music Museum Of Nepal,
Tripureswor, Mahavev Temple
Kathmandu

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Collection Music Museum of Nepal

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on Ethnoflorence

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LUTES OF THE HIMALAYAS

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10/01/2015

Santal Art Other Master of India 2010 Musee du Quai Branly

ETHNOFLORENCE

EXHIBITION OF THE PAST

Paris 2010

Other Master of India

Musee du Quai Branly

http://www.quaibranly.fr/en/programmation/exhibitions/las...

SANTAL TRIBAL ARTS

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01/09/2014

Sculpted Sound – Stringed Instruments from India 5 September 2014 – 9 August 2015

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

2008 - 2016

no. 805

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RIETBERG MUSEUM

Sculpted Sound – Stringed Instruments from India
5 September 2014 – 9 August 2015

http://www.rietberg.ch/en-gb/exhibitions/sculpted-sound.a...

 

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In November 2013, the Museum Rietberg acquired a large collection of Indian stringed instruments from a private collector in Germany.

 

 

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This exhibition will feature approximately eighty of the most beautiful instruments from this collection. Intricately made, they are all roughly one hundred years old, while some are even slightly older.


In an article titled “The Musical Migrant” of 10 November 2013, the Frankfurter Allgemeine Zeitung reported the transfer of one of the most important collections of Indian instruments from Rüsselsheim in Germany to the Museum Rietberg.

 

The museum was able to purchase part of the collection using funds from the Rietberg Circle, while the rest was a gift from the German owner and collector, Bengt Fosshag, a successful illustrator and graphic designer who had amassed this extraordinary collection in the course of decades and was seeking a permanent home for it.


Asked about his history as a collector, Fosshag says that it was a sarinda, a lute from Lahore, that prompted him to begin accumulating literature about these exotic stringed instruments in the 1960s.

 

An exhibition of non-European musical instruments at the Münchner Stadtmuseum acquired from a private collection subsequently inspired him to begin collecting similar instruments himself.

 

He purchased stringed instruments in Turkey and Morocco, while a friend brought him a tar (long-necked lute) and a dulcimer from Iran.


Over the course of many years, he accumulated one of the most important collections of lutes in Europe.

 

Bengt Fosshag gradually shifted his focus from pieces that were purely musical instruments to “lute sculptures” from India, Nepal, and Afghanistan. For the 1996 exhibition “Mit Haut und Haar”, he donated the majority of his collection to the Linden-Museum and subsequently concentrated on the dhodro banam lutes of the East Indian Santal people and on the Nepalese damyen, amassing a fabulous collection that now not only enlarges the department of Indian art at the Museum Rietberg, but also adds an entirely new theme to it.

 

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The Bengt Fosshag Collection
The collection consists of ninety-two instruments, all but nine of which come from India and Nepal. Most of them were built at the beginning or during the first half of the twentieth century. However, precise information about their manufacture, origin, and use is lacking.

 

The most striking instruments in the collection originate from the Santal culture, a tribal community in India.


Among the instrumental sculptures, the dhodro banam (“hollow instrument”) and huka banam (“coconut instrument”) are the most spectacular items. Both types have almost vanished today and are inexorably supplanted by more modern instruments – a development related to the integration of the Santal into Indian society.

 

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The dhodro banam is made of a single piece of wood, which is divided into four equal pieces. The craftsman begins by hollowing out the belly in an oval shape, followed by the chest. The neck is straight and ends in a head, the lower part of which has a hole to receive the string. The dhodro banam player holds the instrument vertically with its neck pointing upwards and the playing hand above the bow hand.


Präsidialdepartement
The huka banam looks similar, but is held the other way around: its neck points downwards while resting against the player’s chest and the bow hand above the playing hand. Additionally, the huka banam has no tuning peg; the string is knotted to the instrument’s neck.


The Santal People
India is home to an estimated six to ten million Santal (also known as Santhal, Sontal or Sonthal) who represent the largest indigenous population group recognised as a “tribe” in India.

 

Most Santal live in rural areas in the states of Jharkhand, West Bengal, Bihar, Odisha, and Assam, with additional small groups in neighbouring Bangladesh and Nepal.


They speak their own language, Santali, a member of the Munda subfamily of Austroasiatic languages, which is more closely related to the languages of Southeast Asia than to the major Indian languages.

 

Santali uses both the Latin alphabet and various Indian scripts. The majority of the Santal in West Bengal and adjacent territories make their living in agriculture, although some work in the mines or as day labourers.


Despite the increasing Hinduisation and Christianisation of India, the Santal have their own highest deity (Thakur or Chando) as well as other deities (Bonga), but these have neither holy places nor images.

 

Their myths of origin and their social structure too are unique, differing from those of the Indian caste society. Additionally, the self-assured demeanour of Santal women defies the social conventions of rural India, since they not only take part in cultural life, but also choose their own life partners.


Music is an important part of Santal culture and can be heard everywhere both in everyday life and on festive occasions.

 

The Santal are gifted and passionate dancers and musicians and most of their songs and dances are related to various seasons and phases of life. During the Baha blossom festival in spring, it is the custom to invite everyone present to join in the singing and dancing. Transverse flutes made of bamboo are ubiquitous, and at large festivals, iron kettle drums beat to invite neighbouring communities to join in.


Myths of Origin
The following legend describes the birth of the dhodro banam: Once upon a time there were seven brothers who lived with their sister. One day the sister cut her finger, and the blood ran down onto the vegetables she was preparing. The brothers found the meal to be tasty and thought that if her blood alone was so delicious, her flesh would be even more so. So they decided to kill their sister and eat her.

 

Only the youngest brother did not want to eat of her flesh and hid his portion in an anthill.

After some time, a large tree grew on the spot with blossoms that gave off a wondrous sound.


One day, a wandering yogi came by and heard this beautiful sound.

 

He marvelled at it and decided to cut a branch from the tree. From the wood he carved the instrument that is called dhodro banam today.


A similar legend tells of the origins of the huka banam.


Once there were seven brothers who killed and ate their sister. The youngest brother would not touch his portion, but buried it in a spot from which, later, a melodiously sounding tree began to grow. A wandering yogi made a musical instrument from one branch of the melodious tree.


One day, without knowing it, the yogi arrived in the village where the seven brothers lived. He went begging from door to door and asked for rice. When he came to the house where the brothers lived, his instrument began to sing: “... this one belongs to sinners ...” When the brothers heard the song of the instrument they were greatly afraid, for its sound was like their sister’s voice.


So they invited the yogi into their house.

In secret they made a copy of the instrument and exchanged the two instruments without the yogi’s knowledge. Then they threw the yogi out of their home on the pretext that he had made their house dirty.


Exhibition


The title “Sculpted Sound” expresses the important relationship between the body, the music, and the musical instrument.

The instruments are presented in settings that enhance their aura as resonant sculptures. The exhibition designers were concerned less with creating a conspectus of the instruments in the collection than with staging a presentation that frees them from the rigid confines of
Präsidialdepartement
the display case, preferring to suspend them from strings that allow them to float in space like musical notes or weightless sounds.

In this way, the visitor’s eye is directed towards the imaginative carvings and unusual shapes of the instruments and towards the innovative interplay of their parts, all of which reflect the creativity of their builders.


“Sculpted Sound” is the first special exhibition at Museum Rietberg that will run for almost a year. This will allow enough time for such activities as a collaboration with the National Handicrafts and Handlooms Museum in New Delhi, India, which will involve several working visits by Indian researchers to Zurich as well as the publication of an expanded English version of the catalogue.

The purpose of this collaboration is to acquire more information about the cultural, historical, and art history background of the instruments on display here.

Without the help and close cooperation of Indian museum staff as well as field research in India, it would be impossible to locate individual instrument builders and their workshops or to interpret the iconographic details.

Thus a scientific study of the Fosshag Collection has yet to be carried out and the present publication and the exhibition represent important preliminary steps on the road to a deeper understanding of these instruments.

The exhibition will also be accompanied by a number of events, workshops, concerts, and lectures.
Catalogue in German
Klang / Körper – Saiteninstrumente aus Indien, Hrsg. Johannes Beltz, Marie Eve Celio, Museum Rietberg Zürich. Mit Beiträgen von Marie Eve Celio, Bengt Fosshag, Albert Lutz, Ludwig Pesch. Broschur, Fadenheftung, 80 S., über 90 Abb. (farbig), 23 x 30 cm. ISBN 978-3-907077-54-2.
Verkaufspreis während der Ausstellung: CHF 28 | 23 EUR, erscheint im September 2014.
Guided Tours and Workshops


Public guided tours in German: every Saturday, 2 p.m.
Private tours (German, French, or English): please call +41 44 415 31 31
For workshops (in German) for public audiences and schools, visit www.rietberg.ch/kunstvermittlung.
Exhibition Credits
Exhibition Curator
Dr. Johannes Beltz (director)
Dr. Marie Eve Celio Scheurer (assistant)
Exhibition design
Martin Sollberger
Installations
Walter Frei
Jean Claude Plattner
Marc Zünd
Lighting
Rainer Wolfsberger
Multimedia
Masus Meier
Präsidialdepartement
Graphic Design (exhibition)
Jacqueline Schöb (director)
Stefanie Beilstein (intern)
Graphic Design (print products)
Raffinerie AG für Gestaltung
Graphic Design (catalogue)
Thomas Röder
Exhibition Text Editor
Karin Schneuwly
Translations (songs and exhibition texts)
Martin Kämpchen
Peter Pannke
Marie Eve Celio Scheurer
Melanie Newton / Tradukas GbR
Art Education
Caroline Spicker (director)
Maya Bührer
Vera Fischer
Christiane Ruzek
Gabriel Studerus
Guided Tours
Gabriela Kamp
Sylvia Seibold
Marketing & Communications
Christine Ginsberg (director)
Ursina Wirz
Monica Stocker
Andrina Sarott (intern)
Events
Caroline Delley
Präsidialdepartement
Information and Contact
Downloadable information (text and images) at www.rietberg.ch/press
Museum Rietberg Zürich
Gablerstrasse 15
CH-8002 Zürich
T. + 41 44 415 31 31, Infoline: T. + 41 44 415 31 00
F. + 41 44 415 31 32
museum.rietberg@zuerich.ch
www.rietberg.ch
Opening hours
Tue–Sun 10–17h
Wed 10–20h
Entrance fees
Adults: CHF 18 | discounted: CHF 14
Admission free for children and adolescents 16 and under
How to find us
Tram no. 7 (direction Wollishofen) to the “Museum Rietberg” stop (four stops from Paradeplatz). No onsite parking; parking for disabled persons available.

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28/06/2014

Sculpted Sound Stringed Instruments from India Museum Rietberg

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

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Orissa/Odhisa Lanka Podi Jatra masks. Photo credit http://lankapodijatra.blogspot.com/

2008 - 2016

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SCULPTED SOUND

STRINGED INSTRUMENTS FROM INDIA

http://www.rietberg.ch/en-gb/exhibitions/preview.aspx

5 September 2014 to 9 August 2015

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In November 2013, the Museum Rietberg seized a unique opportunity to purchase a superb collection of lutes amassed by the successful illustrator and commercial artist, Bengt Fosshag of Rüsselsheim in Germany. The acquisition was made possible thanks to the generous support of the Rietberg Circle.

The exhibition will show about eighty of the finest instruments in the Fosshag Collection. Artfully carved in wood, the lutes are around a hundred years old, although one or two are even older. The exhibition will also feature selected music samples such as songs with a lute accompaniment as well as background information on the manufacture and use of these instruments. Visitors can therefore look forward to some magnificent sculpting with intricate carving and an exceptionally wide range of forms as well as a wealth of fascinating stories and melodies.

The exhibition will also offer a global take on the history of music. After all, the lute is thought to have originated in Persia before spreading throughout Asia and via the Mediterranean region to Africa and Europe. 

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24/06/2014

THE LUTES OF THE SANTHAL

ETHNOFLORENCE

INDIAN AND HIMALAYAN

FOLK AND TRIBAL ARTS

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Orissa/Odhisa Lanka Podi Jatra masks. Photo credit http://lankapodijatra.blogspot.com/

2008 - 2016

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THE LUTES OF THE SANTHAL

 

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Article edited by Mr. Bengt Fossahg, he is a  graphic designer and illustrator from Germany.

He studied at the Art School in Offenbach, now called HfG. From 1960-70 he served as the  Art Director of several advertising agencies and automobile designer at Opel (GM -factory of Ruesselsheim, Germany).

From 1971-83 he was the owner of the Creative Studio SIGN.

 

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Since then he has worked as freelance graphic designer and illustrator for reputed German advertising agencies, famous magazines, newspaper and publishing houses.

He has received numerous awards, has been a member of the  Art Director Club (ADC) Germany and the Deutscher Desighner Cluc ( DDC). 

In addition Mr. Fosshag is known as a collector of tribal art from Africa and Asia, about which he has published many technical papers.

Presently he lives in Rüsselsheim, where he also has his studio today.

 

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In this article he talks about Dhodro Banam a stringed musical instrument of the Adivasis.

 

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All photos Copyright Museum Rietberg

Zurich Photo Zur Buchen

 

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See more on

http://livelystories.com/2014/06/23/lutes-santhal/

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BENGT FOSSHAG

RABAB SARANGI SARINDA AND RELATED INSTRUMENTS

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EXCTRACT FROM

THE TRIBAL ARTS

A

CROSS CULTURAL HERITAGE

NUMBER 0

 

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SEE MORE ON 

http://ethnoflorence.skynetblogs.be/archive/2012/09/27/be...

 

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SANTAL TRIBAL ARTS

 

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SEE MORE ON

http://ethnoflorence.skynetblogs.be/archive/2012/04/03/sa...

 

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18/03/2014

Magia Mistero Memoria Gli Archetipi di Enzo Mordacci

ETHNOFLORENCE

2008 - 2014

Post n 732

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MAGIA MISTERO MEMORIA

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GLI ARCHETIPI

DI

ENZO MORDACCI

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Pictures taken at the 2013's November exhibition

of the

Centro Studi Mordacci

 La Spezia Italy

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a

pilot interdisciplinary research project

curated by

Andrea Mordacci and Ethnoflorence

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Photo Ethnoflorence

 

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Centro Studi Mordacci

All Rights Reserved

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Photo Ethnoflorence

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BARCELONA

MUSIC MUSEUM

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SANTAL DHODRO BANAM

 

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HELAMBU

SERMATHANG 

1978

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Photo credit of Johan Reinhard

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26/04/2013

Lutes of the Santal

PHOTO OF THE DAY

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Lutes of the Sant(h)al

Dhodro Banam

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15:31 Publié dans LUTES OF THE HIMALAYAS, PHOTO OF THE DAY, SANTAL TRIBAL ARTS | Lien permanent | Commentaires (0) | |  Facebook | | | | Pin it! | | |  del.icio.us | Digg! Digg

27/09/2012

BENGT FOSSHAG RABAB, SARANGI, SARINDA AND RELATED INSTRUMENTS

BENGT FOSSHAG

RABAB, SARANGI, SARINDA AND RELATED

INSTRUMENTS

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EXTRACT FROM

THE TRIBAL ARTS

A

CROSS CULTUAL HERITAGE

NUMBER

0

 ethnoflorence.skynetblogs.be/archive/2012/09/07/the-tribal-arts-a-cross-cultural-heritage1.html

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Text and Pictures courtesy 

of

Bengt Fosshag

All Rights Reserved 

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The common characteristic of these types of lutes is the fact that the body and the neck form a joint sound box.

Their body

is covered with skin, their neck locked by a thin wooden to permit playing.

Home of the rabab are

South Asia, Afghanistan, Yemen and North Africa.

Under the name of Rebec, it also existed in Europe for a short period of time.

 

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Quanbus, a rabab from Yemen

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Rabab from Marocco

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The RABAS from Afganistan, Pakistan and India are club-shaped like the instruments mentioned above, however they clearly show identical indentations on each side. 

Indentations, extensions, incisions or belt are characteristic for this type of lutes in India and the Himalayan region.

The neck of the Afghan rabab contains additional pegs for the aliquot strings.

 

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Rabab from Afghanistan, offering extensions between neck and body as well as additional pegs in the neck area.

The Rabab from Nepal and adjacent areas is called

DAMYEN

There is a wide variety of bodies, likely related to local  ethnical peculiarities.

The peg box is particulary remarkable because, in contrast to the already mentioned instruments it shows an opening to the rear.

  

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The Chikara is a bowed lute.

I's morphology is comparable to that of the rabab, altough this instrument has a neck open to the rear.

This offers the advantage of easily attaching all strings to the pegs, in contrast to the Afghan rabab where it's difficult to attach the strings.

According to the same principle, the saranghi is built.

However, this instruments looks more squared.

 

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Sarangi, the neck open to the rear is clearly visible..

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Sarangi, small old instrument.

The peg box is shaped like an open mouth.

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The

Sarinda

shows the same principle of bisetion, too.

However, one part is not covered by wood but remains open.

With the Sarinda these two parts constitute the body to which a massive neck is attached.

If figures are mounted to the Sarinda they are most easily seen from the side.

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Sarinda from Afghanistan.

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 Sarinda

from Nepal,

characteristically this instrument shows a peg box open to the rear.

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Sarinda from Nepal and Orissa 

(India)

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The Dhodro Banam

is a

Sarinda.

 

The body is bisected, the lower part covered by skin, the upper part remains open. 

 

This instrument appears to be more slim, however, the open part does not show the crescent form. Verier Elwin made this lute of the Santal popular in the mid 20th century.

 

Today,  

 

it is called Santal lute. 

 

However, it has to be kept in mind that various Adivasi and other population groups in India and Nepal play these instruments, too.

The dhodro banam is perceived in an anthropomorpous manner, ideally as a human figure shown with arms, legs, breasts and everything else.

 

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Dhodro Banam in ideal presentation as a fully formed human body.

To shape the head the pegbox was left open the rear to show the upper part of a human body in a plastic way the opening was turned to the rear.

The deptiction on the box of the Banam seems to be an extremely important element for the players and their audience because it often constitutes one third of the instrument.

 

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This clearly depicts the mighty structure.

One side of the head shows the hair knot which can be attached to the back of the head.

The Santal

still have another type of lute,

the

HUKA BANAM

not related to the Sarinda at all.

It's held similar to the violin and not like a cello as the Dhodro Banam is held.

Again one tries to give this type a human structure.

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HUKA BANAM

With the Dhodro Banam the neck is used like a neck

while the neck of the Huka Banam has to be kept between the legs.

ABSTRACT:

THE TECHNICAL POSSIBILITIES OF THESE LUTES WITH THEIR VARIATIONS CONSTITUTE THE

BASIS

FOR THE CREATION OF A WIDE RANGE OF DIFFERETLY DESIGNED INSTRUMENTS BY LOCAL ETHNICAL GROUPS.

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26/01/2012

ARTS PREMIERS HIMALAYAN TRIBAL ARTS THE LUTES OF THE HIMALAYAS VI AN HIDDEN HERITAGE

 

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THE LUTE OF THE HIMALAYAS

 

 

 

AN HIDDEN HERITAGE

VI

 

ETHNOFLORENCE

INDIAN AND HIMALAYAN

 

FOLK AND TRIBAL ARTS

 

PHOTO ARCHIVE

 

1990 2012

 

 

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MORE

STARTING FROM

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12/01/2012

THE LUTES OF THE HIMALAYAS SANTAL TRIBAL ART MUSEE DE LA CASTRE CANNES HIMALAYAN TRIBAL ARTS

 

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THE LUTE OF THE HIMALAYAS

 

 

 

AN HIDDEN HERITAGE

 

see more starting from

 

http://ethnoflorence.skynetblogs.be/archive/2011/12/18/th...

 

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SANTAL TRIBAL ARTS AND MUSIC

 

link resume

 

http://ethnoflorence.skynetblogs.be/archive/2010/02/01/tr...

 

 and  more on:
http://ethnoflorence.skynetblogs.be/post/6109784/14-dhodr...
http://sanza.skynetblogs.be/post/6241521/art-et-musique-d...
http://sanza.skynetblogs.be/post/6250339/art-et-musique-d...
http://www.tribalarts.com/feature/santal/
About the Santal panels see more on:
http://sanza.skynetblogs.be/post/6221941/panneaux-de-pala...
http://ethnoflorence.skynetblogs.be/post/7109086/santal-p...
About the Santal flutes see more on:
 http://ethnoflorence.skynetblogs.be/post/6163132/4-tribal... .
About the Santal painted scrolls from Hervé Pedriolle collection  see more on:
http://santalparganas.blogspot.com/
About the Oral Tradition and Primal Elements in the Santhal Musical Texts see the interesting writing  by Mr Onkar Prasad  on:
http://ignca.nic.in/ps_01014.htm .
About the carved Santal doors see more on:
http://sanza.skynetblogs.be/post/5546402/portes-santal--o...

 

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MUSEE DE LA CASTRE, CANNES

 

 FRANCE

 

Himalayan Classic, Folk and Tribal Arts new stuff.

 

 ETHNOFLORENCE Indian and Himalayan Folk and Tribal arts photo Archive.

 

http://ethnoflorence.skynetblogs.be/archive/2009/12/27/mu...

 

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