The Lutes of the SANTAL by Bengt Fosshag
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The tribal art of India is widely neglected in Europe and America. Its meaning is largely unknown and it is generally overshadowed by Classical Indian art. European artists at the beginning of the century made us aware of the arts of Africa and Oceania, and perhaps now we should learn to appreciate the formal language of Indian tribal art as well. […]
The creators of the songs of the Santal remain anonymous. As soon as a new song appeared, it became common property. There was no distinction made between the performers and the composer. Whether the dhodro banam was considered a work of art closely connected with the name of its maker or if the maker remained anonymous is not clear. However, the surviving material leads us to believe that the creators of the instruments designed their own models and developed their own styles. […]
REFERENCES:
Bor, Joep. The Voice of the Sarangi. Delhi: National Centre for the Performing Arts, 1987.
Chattopadhyaya, Kamaladevi. Tribalism in India. New Delhi, 1978.
Danieloud, Alain. “Sudasien.” Musikgeschichte in Bildern 1,4 (1978).
Dietrich, Wold and Bengt Fosshag. Aussereuropaische lauten, Werkzeug und Kunstwerk. Frankfurt/M, 1992.
Leuzinger, Elsy. Propyläen Kunstgeschichte. Die Kunst Der Naturvolker. Frankfurt, 1978.
Mode, Heinz and Subodh Chandra. Indische Volkskunst. Leipzig, 1984.
Indian Folk Art. Leipzig/New York, 1985.
Prasad, Onkar. Santal Music. New Delhi, 1985.
Sachs, Curt. Die Musikinstrumente Indiens und Indonesiens. Berlin & Leipzig, 1923.
Shirali, Vishnudass Sargam. An Introduction to Indian Music. New Delhi, 1977.
Verrier, Elwin. The Tribal Art of Middle India. London, 1951.
Source: The Lutes of the Santal | Bengt Fosshag
Address : http://www.bengtfosshag.de/santal/index.html
Date Visited: Fri Apr 25 2014 18:49:02 GMT+0200 (CEST)
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