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Intresting details about translation services. Please keep updating. Localization Companies in India. Good day, my name is. Fatima Ahmed from Jordan. James Eric. She has more of it than any singer I have seen or heard in recent times. She sings into being whole landscapes. The relationship, in the Orient, between poetry and song is absolute. She herself has spoken of how its meaning has made her attentive to every plea there is, and also of how it infuses her songs and the manner in which she performs them. Almost as hard to render in prose is what her music does to me. I may have found a key, however, and appropriately it is situated at a meeting point between European and Oriental cultural traditions. When speaking of duende Lorca comes at it from various angles, not defining but alluding rather to its properties. Or, rather, it reaches through to what is already there, fully prepared to receive, the soul as receptacle. Our junk culture has been responsible for producing a great deal of static interference. The channels are blocked with cheap surrogates, and, if one looks at popular culture in particular, the tendency now is to emote , to pull deeply from surfaces, which, for a second or two, are provided with an illusion of depth—an idiotic shriek masquerades as profundity. The danger here is that too much static may spoil forever our appetite for the pure. Lorca names some of the great artists of his time, all of whom had duende, many of them voices we can scarcely imagine, while others have been preserved on vinyl, although even here we are dealing with aural facsimiles. Duende depends to a great degree upon physical presence, and although it is to be found in every culture, in every genre, nowhere is it more readily discernible than in musical performance. Certainly duende cannot be willed, and even the most technically skilful musician may lack it. With commercial pressures brought to bear, a great number of performers have not been allowed to ripen naturally and have therefore been robbed of the possibilities of duende. They are forced to become their own aural facsimiles. Also, duende is the one term by which it is possible to encompass quite different, sometimes opposing, musical genres. The great blues singers have duende. Bob Dylan, when not mugging his own silences, has duende. So from where does it all come? Tucked in, at the back of the book, is a CD of recordings he made of the singers and musicians he met on his travels. At first the music was difficult to listen to, seemingly spasmodic in its architecture, but there was something in the alto voice that haunted me. There was virtually no concession to Western taste. Several hearings later, the apparent discontinuities were either gone or had entered, and enlarged, my musical vocabulary, making this a sound I would henceforth need. The thrill of the new is an experience that becomes, with age, increasingly scarce. The musician and specialist in Central Asian music, Razia Sultanova, who lives and teaches in London, arranged for me to interview her compatriot. What I got instead, and in the most cheerless of London guesthouses, was three hours of uninterrupted talk. There is no slouch whatsoever. A humble woman, she has travelled many thousands of miles, but with respect to her universal fame and where her true art lies, not so much as an inch from her native region, which she considers the most beautiful place on earth. I shall summarise the beginnings of her rise to fame. She was rejected by the Western-trained examiners for singing out of tune. Mirzaev, an instructor in the Department of Oriental Music, found her in the hallway sobbing. It just so happened that he had passed the door of the examination room a few minutes earlier and recognised from the timbre of her voice a quality uniquely suited to the music that he had made it his mission to preserve. It was then that he invited her to become his student, but only on condition that she submit absolutely to his teaching. This she did, gradually perfecting her technique, and now Mirzaev is happy to be in a supportive role. She describes the fateful meeting at the conservatoire as something God had written for her. I am halfway between heaven and earth. The musical training helped me to realise the spiritual state, which in turn helps to convey the songs to the audience. Shavkat Mirzaev taught me how to pronounce each letter of each word in the song, and how to breathe properly in order to give them the most impact. It was during this period of training that I arrived at this stage, and then, of course, the spirituality, the power from within, and the training, both of them are mixed and cannot be separated. So I consider them as one, as coming from the same place. A person drinking alcohol forces himself to get drunk, but this is different because it comes naturally during performance. In earlier times, it was achieved by performing zikr. People would connect to God and lose themselves. For the singer, the challenge is to get everything inside and to convey it from there to the people. If the singer feels it, then the audience will feel it as well. There are different styles you can sing from your stomach, from your throat and from your nose, but most important is the soul of the singing itself. The division was of a more local nature, within the family. My father, because we did not have any performers in our family background, at first did not want me to become a singer. It is not a job for a woman, he said, so he wanted to stop me from entering the conservatoire. After hearing that, and because my father respected my uncle, he let me go and prayed for my success. I had some background as to how to act on stage, so people did not have any problem in accepting me. The Soviet regime was suppressing it, right? After all, God belonged to the beliefs of an ancient and backward people. The wine in Sufi literature is obviously not the alcoholic drink—it is the love of God, and the people are considered to be the receptacle for that wine. We had to replace those phrases with words from other parts of the song. Still, we were allowed to perform those songs. Each period has its own pluses and minuses, its own positive and negative sides. The performers were few, but all of them were of far better quality than today. It was as if by putting boundaries on the traditional songs or the types of songs that could be performed, the performers, in order to preserve their quality, were forced to choose only the best ones. So the struggle against censorship forced the performers to improve themselves. It is the same as when looking at a drawing by Raphael or Michelangelo. An ignorant person will see an ordinary picture, but in order to understand the difference between it and rubbish you need a trained eye. It is the same with music. In order to understand its qualities you have to have a trained ear, which is why, many years ago, the children of kings and shahs were educated in music and the other arts, not because they were supposed to become artists themselves, but in order to be able to distinguish between pure and fake art. Everything depends on the training people receive. I remarked on the fact that Uzbek pop music was now absorbing aspects of the classical tradition. This is totally unacceptable. You have to be able to produce different types of sounds. Consider it as being like a diamond or ruby, which has many edges—the voice too must have many different edges. When you look at the stone from one side and slowly turn it, you will see the colour change. The more you turn this stone, the greater its variety. You never hear the same thing twice, which is what makes it sweet. The most important thing in music is not to destroy its tenderness. If you consider the silence at the centre of all great art, which must always be there, then surely there can be no art without this silence. A person would turn into a robot if everything were fine. So all these ups and downs are actually helping people live for something. As for my own personal feelings about silence, to be able to live within it, to develop within it, and to make people enjoy getting something out of that silence, is to give joy to the artist himself. So when I listen to silence and someone performs bad music, I am taken away from listening to and enjoying silence. On the contrary, she performs with considerable restraint. Such movement as there is, is mainly in the hands, which, as any flamenco master will substantiate, is the focus of a certain kind of dance. There is not a wasted gesture. As I said, the effect is erotic. One has to move delicately here, but once again a Spaniard comes to the rescue. I have been looking at the poems of the mediaeval mystic, Juan de la Cruz, which, in their likening the union with God to that of bridegroom and bride, startle even modern sensitivities. Certainly one feels in his verses the presence of an Oriental breeze. I think in all mysticism, both Islamic and Christian, there is something erotic in the expression of the meeting with God. It is expressed in the language of eroticism, and certainly you get this in the poetry of Hafez and Rumi. Do you find it difficult or awkward to express this eroticism in music? Music stays high above such things and is a kind of direct connection to God. In Uzbekistan, we have two mystical, more or less philosophical, schools, Yasavi and Naqshbandi, both of which are branches of Sufism. The first group think it is preferable to die, aged sixty-three, and to be united with God, whereas with the Naqshbandi the main idea there is for your hands to be at work and your heart with God, remaining both in this world and close to God. Likewise, this whole notion of eroticism is one that is meant for God alone. In performance, the music, the voice and the words, all three of them should complete each other, should come together, and, when doing so, they bring about that eroticism which you describe. It is spiritual, though, not physical. When I sing I feel pleasure in hearing my own voice and in feeling the relaxation of the environment. Also, when my teacher plays his instrument and the sound coming from it is in harmony with everything else, this, too, brings me joy and pleasure. And how the public accepts the music is important as well. So the voice, the music, the words and the audience—when in harmony, they induce that spiritual, erotic feeling. Its performance demands the physical well-being of whoever has to perform it, for such is its power and sheer vocal range. Is this a special plate? Every artist or performer or painter, even an engineer, has his own style and image, and for me it is important to wear traditional clothes, to have my hair down as it is now, and so, to have that plate, always the same plate, contributes to the whole image. I do not give it to other people to use. It is part of an image I am attached to. If they get rubbed down, I replace the heels. Coming back to the concept of silence again, some people advise me to dress in a more western way or to come up with a different hairstyle and to be, if you like, more attractive to the public, but what they do not realise is that if I were to listen to them, I would actually destroy that silence. If I were to succumb to popular demand and adopt a different image and style, then I will have destroyed the quality of the performance. Marius Kociejowski, poet, essayist and travel writer, lives in London. Yumma mod. WOW Reply. John Andrew mod. Localization Companies in India Reply. Debt Consolidation Loan mod. Regards, Reply. Do you need Finance mod. James Eric Reply. Post a Comment. Newer Post Older Post Home.

In Remembrance of the Saints

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Your purchase has been completed. Your documents are now available to view. Purchase chapter. Cite this Share this. Showing a limited preview of this publication:. Cite this chapter. In Remembrance of the Saints. In Ed. In: ed. Copied to clipboard. Copy to clipboard. Share this chapter. Supplementary Materials. Please login or register with De Gruyter to order this product. Register Log in. Chapters in this book 10 Frontmatter. Downloaded on

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