Sagar Ram and ensemble opened the festival at Jaswant Thada
You do not have to be religious to connect with the sacred. If you agree, you’ve probably had the chance to listen to deeply-felt music under an open sky. The Sacred Spirit Festival held recently at venues in and around the picturesque Mehrangarh Fort, Jodhpur, Rajasthan, offered a chance to experience this. A variety of instruments (made of reed, wood, string) and the human voice created synergies between remote parts of the world.
The music was new and ancient, modern and traditional, sung solo or in groups, in languages known and unknown. And, it spoke of the themes of connection, mentorship and dedication. More than perfection, the music spoke of immersive engagement.
A women’s ensemble peerforming Deba, an art of Sufi origin
While Mohd Aman Khan heralded the day with khayals set in raags such as Desi Thodi and Ahir Bhairav , musicians from the Meghwal, Manganiyar and Langa communities wowed audiences with their soulful repertoire steeped in religious motifs different from their own religious roots. Anwar Khan, Talab Khan and others who performed on the last morning of the festival demonstrated the power of music to be free of boundaries.
The Chaar Yaar Ensemble led by Madan Gopal Singh strung together medleys — meditative and merry — taking listeners to meet Bulleh Shah, Bertolt Brecht, Kabir and Rumi, all in one afternoon. The audience was happy to co-travel. The voices of Kelam and Dariya from Barmer rang out sweet and clear. S. Swaminathan’s veena recital was vibrant and fast paced, with the thani avarthanamadding a sparkle.
Naissam Jalal performed genre-bending compositions with three collaborators
The other set of afternoon concerts saw the fiddle and Carnatic violin play one after the other. Violinist CS Anuroop and his disciple Parvathy Dileep kept the audience tapping their feet to ragas such as Hamsadhwani and Kathanakuthuhalam (‘Gana murthe’ provided a lilting contrast). Violoneuses Perrine Bourel and Mana Serrano conjured up the Southern Alps through renditions on the fiddle, morching and voice — their collaborator Mosin Kawa on the tabla lent the Rajasthani flavour.
S. Swaminathan and group performing at Chokhelao Garden
The Khusal Trio delighted with women’s songs of wisdom in Occitan. The Trio’s subsequent collaboration with veteran Kamaicha players Ghewar Khan, Dara Khan and others felt unequal, however, and one wished to hear more from the seasoned folk musicians.
The early evening concerts struck an emotional appeal, with Ranjani and Gayathri’s Carnatic renditions holding the audience as riveted as Naissam Jalal’s genre-bending music that reflected her reverence for Hindustani music. The latter, based on five Indian landscapes that had moved her, saw the audience lingering to interact, despite a time call from another venue packed with more artistic treats.
The Osei Kwame Korankye Ensemble from Ghana
The performances on the festival main-stage were marked by colourful and creative conversations. The Osei Kwame Korankye Ensemble from Ghana played and narrated the seperawa’s history. Juan Carmona’s guitar and Gazi Khan Barna’s percussion provided a backdrop for Flamenco and Kathak. The prayerful music of the Dudukner Ensemble from distant Armenia almost resonated with ragas such as Sindhu Bhairavi and Punnagavarali. Multi-instrumentalist Davide Ambrogio’s Mediterranean music blended effortlessly with music by the Langa Surniya and others.
An afternoon performance showcasing the roots of Kalbelia dance
Another striking performance on the main stage was by a women’s ensemble that showcased the Deba, an art of Sufi origin, once practised exclusively by men but now reserved for women. Through gentle, swaying movements and harmonised music, the women presented “songs of praise for the Prophet Muhammad, the history of his companions, and also stories of love between people”, to quote Faizouna Malidi from the group. The dance inspired by “everyday gestures or from translations of the sung text”, is choreographed by lead dancers, she adds. This is the troupe’s second performance in India.
‘Gypsy Beats’ included Juan Carmona’s guitar renditions and Maise Marquez’s Flamenco performance
Besides performing regularly “in Mayotte’s villages, on joyful occasions and in a spirit of communion”, the group has taken its art to the United Kingdom, France, Denmark, Sweden and Norway, among others.
Published – March 04, 2025 03:01 pm IST
