July 22, 2010
Turkish Apple Tea
2 red apples, do not peel and do not remove the seeds, cut in 4 or 6
1 orange, do not peel, cut in 4 or 6
1 stick cinnamon
2 whole cloves
4 cup water
Place all the ingredients in a saucepan, bring to a boil. Turn the heat down and simmer until the fruits are tender. Strain into the bowl pushing gently with the back of the spoon to remove all the liquid. Then pour into the tea glasses.
If you like you may sweeten with honey.
It won't kill you if you add sugar ... :)
found here: http://www.turkishcookbook.com/index.php
July 21, 2010
Spiritual Chanting and Prayer for Abundance
1. Binari 08:34
Soul Chanting for Pacification of the Deceased
2. Namdosamhyeon 01:29
3. Yeongdotmari 03:21
4. Gopuri 08:17
5. Gilddakgeum 19:47
*Ssitgim performed by Park Byeong-cheon*
Park Byeong-cheon has been performing for someone for praying throughout his life. Such talent was inherited by his family and passed down through generations. His practices are engaged in equally not only for the living but also for the deceased. The sound that he unravels makes the living to be blessed, and it is the sound itself for spirits to find out the way of entering the other world for the deceased. His own sound thus is the embodiment of heaven, earth and human being.
He is a man of knowledge and understanding. This ability indeed leads him to solve all the concerns with ease, and this is achieved by his performances that are transformed into meaningful sounds. "My performing activities that I dance and sing should be regarded as life itself, not as artistic form", according to him, and this remark clearly delivers significant messages of what he performs. The jangdan (rhythmic cycle) our of dancing and songs that he unravels with his body may be an essential model that can be applied to the principle of Korean philosophy. The sound that he, in his 70s, releases certainly touches
Praying & Well Wishing Remarks for the Living
Good health, longevity, wealth and prosperity are desired by all of us.
The shaman performs praying and well wishing remarks for the living.
Exorcising for the Deceased
Spirit of the dead becomes a soul, and it tends to continue to remain behind the living in order to enter the other world. Before getting into the better world, the spirit is cleaned by scented water and then it becomes a clean soul, when it is purified by mugwort, a fish and scorched smell are eliminated in it; when being purified by clean water, it becomes a clear soul. Then it is able to enter the other world when being exorcised the resentful spirit of the deceased. This is done by pallbearers' dirge who lead the purified spirit to the dead.
July 19, 2010
Denizin üstünde ala bulut
Yüzünde gümüş gemi
İçinde sarı balık
Dibinde mavi yosun
Dibinde mavi yosun
Kıyıda bir çıplak adam
Bulut mu olsam gemi mi yoksa
Yosun mu olsam balık mı yoksa
Ne o ne o ne o ne o
Deniz olunmalı oğlum
Bulutuyla gemisiyle balığıyla yosunuyla
Bulutuyla gemisiyle deniz olunmalı oğlum
Shall I be a cloud
over the sea
silver boat upon
yellow fish beneath
at the bottom blue algae
at the bottom blue algae
on the beach a naked man
shall I be a cloud, or a boat
shall I be algae, or a fish
no no neither this nor that
you must be the sea, my son
with the clouds, with the boats,
with the fish, with the algae, my son!
July 16, 2010
The origin of all of Frédérick Bruly Bouabré ’s work stems from a revelatory experience: on March 11, 1948, “the heavens opened up before my eyes and seven colorful suns described a circle of beauty around their Mother-Sun, I became Cheik Nadro: ‘He who does not forget.’'
From then on Bruly Bouabré tackled every field of knowledge and collected his research in manuscripts about arts and traditions, poetry, tales, religion, esthetics, and philosophy, revealing himself to be an astonishing thinker, poet, encyclopedist, creator. Searching for a way to preserve and transmit the knowledge of the Bété people, as well as the knowledge of the entire world, he invented an alphabet of 448 monosyllabic pictograms to represent phonetic syllables. Bouabré’s alphabet, which can transcribe all human sounds, reflects the essence of his thought: to achieve universality and to unite mankind.
In the 1970s, Bouabré started to transfer his thoughts to hundreds of small
drawings in postcard format, using a ballpoint pen and colour crayons. These drawings, gathered under the title of Connaissance du Monde (World Knowledge), form an encyclopedia of universal knowledge and experience.
Other projects, such as Readings from Signs Observed in Oranges (1988), serve as visionary records of divination.
For Frédéric Bruly Bouabré, his drawings are representation of everything that is revealed or concealed—signs, divine thoughts, dreams, myths, the sciences, traditions—and he views his role as an artist as a redemptive calling. He has stated: “Now that we are recognized as artists, our duty is to organize into a society, and in such a way to create a framework for discussion and exchange among those who acquire and those who create. From that could arise a felicitous world civilisation.”
Fréderic Bruly Bouabré the universalist . VO.English Subtitled from Andres Alvarez on Vimeo.
July 12, 2010
July 8, 2010
I got this ,along with many other interesting musics from Epirus ,very recently from a friend himself from Zagori the cultural heart of the area, who is into releasing old material from family recordings (as he explained to me, the family that was inviting and paying the musicians for the celebrations , in many cases was also recording during them and kept the tapes) through his newborn homemade label.
Details in the future.
(and of course he was showered with wishes and African goodies)
Sooo Takoutsia with Filippos Rountas from Simon Karas archive is accompanied with the best of recommendations.
If you are familiar with Takousia from the good Inedit recording you will easily understand that this is the real thing.
here is a nice place to share it.
and as always look in the comments....
for the tasty part of the post.
July 6, 2010
RESPONSE TO NAUMA'S COMMENT:
Dear Nauma, thank you for your comment and observation. And yes, you are correct, the Japanese have also engaged the "otherness" of Western culture, however historical circumstances resulted in a different approach. It was the West that prised opened Japan. The Meiji Restoration resulted in an all-out push for modernization/westernization. This was a Top-Down initiative (truly being a Divine Fiat since the Emperor was a god...). For the west, the encounter with Japan was a new "Flavor of the Month"; for Japan, the West was a matter of political, military and economic expediency. THis scenario has played itself out through East and South East Asia many times.
Having travelled to Japan (and LOVING IT!), ye, there is an apprehesion of the "exotic" west but something gets lost in translation, so to speak. Previous western commentators would not the lapses or "incomplete" quality of Japanese appropriation of western models,be they artistic, architectural, musical or whatever. (Just as there is an extremely superficial quality to most Wesern appropriations of Japanese models...). What I believe ACTUALLY occurred was a process of cultural editing according to Japan's own unique aesthetics. There are NO "lapses" in my opinion; rather a conscious decision to work with the new material on Japanese aesthetic terms.
Sometimes things get a little... silly. For whatever reason (I have NO explaination...), some western quirk embeds itself in Japanese culture... DEEPLY. I submit for your approval a musical example. I recall my amazement a couple of years back while listening to a collection of vintage Japanese film music to hear what was, a JAPANESE version of Rudolph Friml's "Song of the Vagabonds" from his early 20th century operetta "The Vagabond King." It was featured in the early Japanese film "Father and Son." It's a really GOOD version!!! While researching the film and this odd cultural cross-pollination, I discovered that the song had grown legs and continued to be a HIT in Japan, long after Friml and his operettas were forgotten in the West!
The song later was used for the end credits (and Japanese title) of the 1982 film by Kinji Fukasaku, "Fall Guy." Fukasaku would later go on to direct the popular "Battle Royal" series of movies.
To this day, Friml's klezmeresque melody can be heard in Japan as the boarding chimes at Kamat Station in Tokyo.
I have no explaination... ^_^
http://www.youtube.com/watch?v=iGs87qSYLtI (Fall Guy end titles)
http://www.youtube.com/watch?v=1en-lmDjSIg&feature=related (Kamata Station chimes)
July 5, 2010
"My music is the spiritual expression of what I am --- my faith, my knowledge, my being" - John Coltrane
Spiritual tones and Eastern ideas were later used in Coltrane's piece "Alabama", about the Sunday morning bombing of a Birmingham church in 1963 (Strickland). During this time of Black Nationalism, Coltrane's music was propelled by avant-garde ideas, but Coltrane himself remained a pacifist despite militant upwelling within the black community. This was most likely due to his close personal relation to his God and newfound Eastern philosophy. While he did not want to fight, he did however want:
to be a force for real good. In other words, I know that there are bad forces,
forces out here that bring suffering to others and misery to the world, but I
want to be the opposite, I want to be a force which is truly for good (Kofsky).
thanks to tyrian
July 3, 2010
Javanese literature of the 18th and 19th centuries is based essentially on
anonymous "macapat" poems which use various techniques of prosody.
These poems were generally handed down orally by the singers.
This record is by the finest reciter of the period, dalang R.S. Banjaransari, the street singer Sunarto
and finally, Niken Larasati who was the leading female singer
at Pakualaman Palace in Yogyakarta.
Recorded in 1975 - 1977
Text by Jacques Brunet
1. THE LEGEND OF DEWARUCI KACA Sung by R.S. Banjaransari
2. GAMBIRSAWIT Sung by Sunarto
3. SITERAN GAMBIRSAWIT Sung by Niken Larasati
the rest in comments...