A brand new collaboration between Welsh and Indian Musicians, lead by Welsh singer songwriter Gwyneth Glyn and Indian musician Tauseef Akhtar will likely be premiered in Mumbai this week. His vision was the spark that ignited what has become a local chutney-music trade, lighting up the world with our artistes taking the tradition to the United States, Europe and even to India. But positively with the decline of language and the dearth of any type of formalized pedagogical system, the recognition of the music has declined.
Also, you find the same folksongs being sung in Fiji, one other vacation spot for indentured employees from the Bhojpuri region during the same period. The music of each is distinctively imbued with Indian sounds and non secular themes, but the core sound is late 60’s psychedelic rock (a ‘retro’ character for less than one of them, in fact).
Mohammed and his relations who succeeded him performed a significant half in uniting the nation, especially Indians and Africans. By the time he was 14 years old, Samaroo was a member of the Lever Brothers Canboulay Steelband where he had mastered all the devices.
Flamenkarnatic stems from the encounter and trade between artists from India (Ravi Prasad) and Spain (Mónica de la Fuente as dancer, José Salinas as singer and Carlos Blanco on the guitar) who, somewhat than create a ‘collage’ of virtuosity, search to delve into the deepest roots and discover these expressions which are the ‘mothers of the dance and music of all ages’, as García Lorca acknowledged.
Whereas the cross-pollination of other cultures was the norm starting in the middle of the swinging 60s with a specific interest from the unique and historic lands of India the place each celebratory and musician gave the impression to be looking for their spiritual guru of alternative, many musicians jumped on this bandwagon and added the oriental sounds of sitars, tablas and other unique devices to their music in hope of finding that good bridge of cultures.