Rees suggests that the music is not as "ancient" as it is marketed to audiences. The Dongjing repertoire had both secular and ritualistic aspects but after the 1970s, the music played was mainly secular. Many of the musicians that had prior experience were allowed to play again through the boon of local authorities. With this opportunity, groups were able to form and were also able to gain new members. In particular Rees refers to a group called the Dayan Ancient Music Association which was originally a country ensemble that was formed in 1988. The group's recent origins are a complete contrast to its moniker which falsely implies that such music has been carried from generation to generation.
Western scholars have criticized Chinese orchestra as not being authentic in the sense that the costumes are far too bright, the general ambiance is too similar to Western concerts or in some cases the music appears to be pre-recorded. In my opinion, some of these criticisms appear to be fairly caustic. Scholars must realize that they are not the most qualified arbiters of deeming what is authentic or not as they are applying their own standards. Moreover, in an increasingly globalized world we must realize that our music and traditions will evolve and change as a result. This has certainly occurred in this particular brand of Chinese music. Like identity, our sense of what is authentic and what is not is constantly changing with the times.
When dealing with matters of authenticity, we must ask ourselves, is it really necessary to define it according to a particular set of standards? For example, many Bollywood songs contain many roots in tabla and sitar but for many people, such songs are not authentic to Indian culture. However, there are some who would argue that Bollywood is an integral part of Indian culture and hence authentic. Essentially one's view of authenticity is subjective and unique and is consequently a topic full of gray areas.
Thursday, April 26, 2007
Thursday, April 19, 2007
Post #3 - April 19, 2007
The most obvious differences between "Ratna Ayu" and the "Gamelan Bali Nyepi" are with regard to setting and as well as the rhythm and quality of the music.
Firstly with respect to setting, Ratna Ayu was a performance at a university with the intention of educating people about the cultural aspects of Bali. In contrast, the Bali Nyepi is featured in a more rustic setting - a beach in Bali. The latter has a greater sense of authenticity primarily because it takes place in Bali although this effect is somewhat counteracted by the fact that they are on a beach and most likely playing for the tourists' leisure.
The Ratna Ayu features elaborate costumes with an accompanying dance. The costumes are colorful and heavy on detail, which to a certain extent diverts attention away from the gamelan performance itself. Another notable feature is that many of the musicians were not Balinese themselves, thus showcasing a diversity that was lacking the Bali Nyepi. The Bali Nyepi did not feature these elaborate costumes nor did it feature a dance. All the men seated were wearing white clothes with an accompanying headband. Another importance point was that the men appeared to sit in rows of groups as opposed to be in a more open form so the audience could see them (as the Ratna Ayu did).
Moreover, another noticeable quality was the rhythm of the music. The Ratna Ayu music slowed down for dramatic effects which incorporated well with the dance and the initial slow, steady movements. It then followed a more brisk pace. In contrast the Bali Nyepi kept a steady rhythm except in certain places when it picked up the pace. In addition to the rhythm, I felt that the piece played by the Bali Nyepi was "happier" in contrast to the Ratna Ayu which had more of a mystical, moody sentiment that was echoed in the dancing as well.
But all in all the settings clearly affected the quality of these two performances. Ratna Ayu was far more appealing to watch for the bright colors, the elaborate costumes and other visuals. But I also felt that the dancing took attention away from the beautiful music which was probably intended as the piece was long and could thus bore the audience - hence it would be better to have to things simultaneously occurring than simply one. The Bali Nyepi certainly had a more natural and authentic quality but in terms of tourists, may not be as of much interest as the other performance.
Firstly with respect to setting, Ratna Ayu was a performance at a university with the intention of educating people about the cultural aspects of Bali. In contrast, the Bali Nyepi is featured in a more rustic setting - a beach in Bali. The latter has a greater sense of authenticity primarily because it takes place in Bali although this effect is somewhat counteracted by the fact that they are on a beach and most likely playing for the tourists' leisure.
The Ratna Ayu features elaborate costumes with an accompanying dance. The costumes are colorful and heavy on detail, which to a certain extent diverts attention away from the gamelan performance itself. Another notable feature is that many of the musicians were not Balinese themselves, thus showcasing a diversity that was lacking the Bali Nyepi. The Bali Nyepi did not feature these elaborate costumes nor did it feature a dance. All the men seated were wearing white clothes with an accompanying headband. Another importance point was that the men appeared to sit in rows of groups as opposed to be in a more open form so the audience could see them (as the Ratna Ayu did).
Moreover, another noticeable quality was the rhythm of the music. The Ratna Ayu music slowed down for dramatic effects which incorporated well with the dance and the initial slow, steady movements. It then followed a more brisk pace. In contrast the Bali Nyepi kept a steady rhythm except in certain places when it picked up the pace. In addition to the rhythm, I felt that the piece played by the Bali Nyepi was "happier" in contrast to the Ratna Ayu which had more of a mystical, moody sentiment that was echoed in the dancing as well.
But all in all the settings clearly affected the quality of these two performances. Ratna Ayu was far more appealing to watch for the bright colors, the elaborate costumes and other visuals. But I also felt that the dancing took attention away from the beautiful music which was probably intended as the piece was long and could thus bore the audience - hence it would be better to have to things simultaneously occurring than simply one. The Bali Nyepi certainly had a more natural and authentic quality but in terms of tourists, may not be as of much interest as the other performance.
Thursday, April 12, 2007
Post #2 - April 12, 2007
The concept of being an insider and outsider simultaneously is a concept that is quite prevalent in society; specifically we see this dichotomy play out in cultural contexts. One of my favorite books, The Namesake by Jhumpa Lahiri, talks about the dichotomy of young South Asians still familiar with Indian tradition but never truly feeling Indian or even American for that matter.
I sometimes feel this cultural conflict in my own life. I was born and raised in the US and visited Pakistan occasionally with my family. Though I grew up with the language, the food and the customs (such as traditional dress), I was also brought up in a diverse community where I had the opportunity to learn about other cultures. Consequently when I attended high school and college, I was surprised to see so many Pakistanis form their own cliques whereas I was plugged into a group of friends that included Indians, Chinese, Koreans and Latinos.
But at functions such as weddings and culture shows, I always felt like a bit of an outsider; although I could readily ingratiate myself in certain traditions, I very much felt like a fish out of water. I often found myself observing what other Pakistanis were doing and saying, almost as if an observer. Part of this had to do with the fact that I had such a diverse upbringing that I never felt particularly compelled to engage in Pakistani customs growing up. Hence, my knowledge of such customs is fairly general and not as detailed and as practiced as many of my peers.
Although I feel like an outsider when engaging in Pakistani traditions, I can also function as a insider as well. For example, at UCLA I have had many students ask me questions ranging from food to clothes to Pakistani politics and even to Aishwarya Rai. In this sense, people are dependent on my knowledge as an insider. There is an assumption that because I am Pakistani, I have a general if not expansive knowledge of my culture. Thus depending on the situation, I don't necessarily feel either like a cultural insider or outsider; in fact such labels don't particularly matter in such a tremendously diverse city such as Los Angeles where everyone is considered an Angeleno.
Moreover, music in Pakistani culture is considered an integral part of society. For example, many people are particularly fond of Bollywood music whereas the more conservative members of society may prefer nasheeds which are songs that with a religious theme. Though it has a day-to-day significance, music is fundamentally important in weddings.
Generally South Asian weddings are huge affairs composed of several events. The first of these is called a dholki. In this ceremony, female members of both sides of the family gather around the bride and gossip, sing songs and decorate their hands with henna. A great example of this is available at the following site: http://www.youtube.com/watch?v=_ViaM0uDDY0
This video is taken from "Monsoon Wedding." Usually some families (if they are living in India or Pakistan) will hire a singer who will sing the wedding appropriate songs. In this case, the song sung has no instrumentation; all that is present is the singer's voice along with the female guests as well as the rhythmic clapping of the hands. (See translation of the song at the bottom). In this case, we see that the music, particularly the song reflects the process of arranged marriage, of finding an appropriate bride and finally settling on a bride who meets the appropriate criteria (i.e. being light-skinned which is considered beautiful in India). In many ways the song mocks the marriage process by pointing out how choosy men can be in picking the right wife as well as the nonchalance with which one can discard prospective brides. In this case, the music is the central aspect of the event; it is what binds all the women of the house together and garners even more excitement for the impending marriage ceremony. However, it is not the only important aspect to the event. The dholki is also a time to reconnect with old friends, to paint henna on one's hands (a very important ritual), to talk and to dance. If one was to isolate this event and perhaps present it as an show for tourists, the lose almost the sacred qualities of this song. As mentioned earlier the purpose of the song is to bring the women folk together, a sentiment that would be clearly lost upon tourists. Furthermore, there is a certain randomness in a dholki (as seen in the video) with people getting up to dance and others using money to circle around their heads (this guards off the evil eye) is what makes this particular song so intrinsically special, if not memorable.
Translation:
O women of the house
Decorate me with henna
Make these fair hands beautiful with henna
Madhorama asks "Which one shall we marry?"
Madhorma says "The Fat One!"
The Fat One needs a bed too large to sleep on
Let's drop her on the wayside! Right on!
We want another! Right on!
We are fancy gentlemen
Brimming with lust and desire
Life intoxicates us
Do I lie? No way!
Madhorama asks "Which one shall we marry?"
Madhorama says "The Fair One!"
The Fair One has the color of butter
She sleeps alone on the roof as her lover pines for her below
This is the one we shall have
This is the one we like
We will marry her
I sometimes feel this cultural conflict in my own life. I was born and raised in the US and visited Pakistan occasionally with my family. Though I grew up with the language, the food and the customs (such as traditional dress), I was also brought up in a diverse community where I had the opportunity to learn about other cultures. Consequently when I attended high school and college, I was surprised to see so many Pakistanis form their own cliques whereas I was plugged into a group of friends that included Indians, Chinese, Koreans and Latinos.
But at functions such as weddings and culture shows, I always felt like a bit of an outsider; although I could readily ingratiate myself in certain traditions, I very much felt like a fish out of water. I often found myself observing what other Pakistanis were doing and saying, almost as if an observer. Part of this had to do with the fact that I had such a diverse upbringing that I never felt particularly compelled to engage in Pakistani customs growing up. Hence, my knowledge of such customs is fairly general and not as detailed and as practiced as many of my peers.
Although I feel like an outsider when engaging in Pakistani traditions, I can also function as a insider as well. For example, at UCLA I have had many students ask me questions ranging from food to clothes to Pakistani politics and even to Aishwarya Rai. In this sense, people are dependent on my knowledge as an insider. There is an assumption that because I am Pakistani, I have a general if not expansive knowledge of my culture. Thus depending on the situation, I don't necessarily feel either like a cultural insider or outsider; in fact such labels don't particularly matter in such a tremendously diverse city such as Los Angeles where everyone is considered an Angeleno.
Moreover, music in Pakistani culture is considered an integral part of society. For example, many people are particularly fond of Bollywood music whereas the more conservative members of society may prefer nasheeds which are songs that with a religious theme. Though it has a day-to-day significance, music is fundamentally important in weddings.
Generally South Asian weddings are huge affairs composed of several events. The first of these is called a dholki. In this ceremony, female members of both sides of the family gather around the bride and gossip, sing songs and decorate their hands with henna. A great example of this is available at the following site: http://www.youtube.com/watch?v=_ViaM0uDDY0
This video is taken from "Monsoon Wedding." Usually some families (if they are living in India or Pakistan) will hire a singer who will sing the wedding appropriate songs. In this case, the song sung has no instrumentation; all that is present is the singer's voice along with the female guests as well as the rhythmic clapping of the hands. (See translation of the song at the bottom). In this case, we see that the music, particularly the song reflects the process of arranged marriage, of finding an appropriate bride and finally settling on a bride who meets the appropriate criteria (i.e. being light-skinned which is considered beautiful in India). In many ways the song mocks the marriage process by pointing out how choosy men can be in picking the right wife as well as the nonchalance with which one can discard prospective brides. In this case, the music is the central aspect of the event; it is what binds all the women of the house together and garners even more excitement for the impending marriage ceremony. However, it is not the only important aspect to the event. The dholki is also a time to reconnect with old friends, to paint henna on one's hands (a very important ritual), to talk and to dance. If one was to isolate this event and perhaps present it as an show for tourists, the lose almost the sacred qualities of this song. As mentioned earlier the purpose of the song is to bring the women folk together, a sentiment that would be clearly lost upon tourists. Furthermore, there is a certain randomness in a dholki (as seen in the video) with people getting up to dance and others using money to circle around their heads (this guards off the evil eye) is what makes this particular song so intrinsically special, if not memorable.
Translation:
O women of the house
Decorate me with henna
Make these fair hands beautiful with henna
Madhorama asks "Which one shall we marry?"
Madhorma says "The Fat One!"
The Fat One needs a bed too large to sleep on
Let's drop her on the wayside! Right on!
We want another! Right on!
We are fancy gentlemen
Brimming with lust and desire
Life intoxicates us
Do I lie? No way!
Madhorama asks "Which one shall we marry?"
Madhorama says "The Fair One!"
The Fair One has the color of butter
She sleeps alone on the roof as her lover pines for her below
This is the one we shall have
This is the one we like
We will marry her
Monday, April 2, 2007
Post #1 - April 2, 2007
Hi everyone, my name is Maha Sami and I am a third year biochemistry major. When I was younger, I used to play the clarinet. Though I had a very traditional musical background for a few years (I gave up clarinet during middle school), I was also accustomed to the uptempo beats of Bollywood as well as the more subtle sounds of the sitar and tabla. Both of my parents are Pakistani and consequently, I was exposed to South Asian music from a very early age.
Though I haven't participated in any ensembles or culture shows, I am an avid consumer of music. Initially I went through a British rock phase but soon after coming to UCLA, I began to immerse myself in the more traditional South Asian music of my childhood. One of my favorite pieces of Indian music comes from the movies Umrao Jaan and Water respectively. The songs from Umrao Jaan are widely considered to be the epitome of Hindi film music because of their superb use of classical Indian instruments as well as poetic lyrics. Water is a more contemporary film that carries on the same musical tradition of Umrao Jaan.
Soon after immersing myself into Indian music, I also became interested in both Arab and Persian music; moreover, as I was taking Spanish classes I also began to listen to Juanes, Celia Cruz and Silvio Rodriguez. At this point my iPod contains a mixture of music from different regions of the world.
I am interested in taking this class so I can better understand the origins of the different types of music that I listen to on a daily basis. I'm also curious to learn about music other than the types that I have been exposed such as East Asian music.
In the past, I have visited England, Pakistan, Saudi Arabia and Dubai and I have found that more people have become interested in the music of other countries in spite of not being able to fully understand the language. For example, on a recent vacation I recall seeing British tourists purchase tablas in Dubai and in Pakistan, I watched in amazement as my younger cousins began singing Juanes. With increasingly globalization, I am interested in seeing how music of one region can affect the music of another as well as how both can be combined to produce a completely different sound.
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