A POETIC INVESTIGATION ALONG THE RIVERS OF BENGAL ‣ Music | lifestyle | landscape
There is no other puzzle submitted to such a rising tide. Lands of sand between water and sky where environmental changes, seasonal cycles, wildlife, community needs, cultural practices, daily labor and individual routes are absolutely interlinked. An ecosystem which is reflected in a vibrant living poetry... [Fr]
Wandering off the beaten tracks, trying to capture a daily rhythm, chronicling a lifestyle which is threatened in 100 ways, collecting some testimonies of the representatives of traditions that may soon fade into the night, highlighting unused notes scribbled in the margins when it deals with West Bengal and Bangladesh...
Skyline: to experience the Ganges / Brahmaputra Delta and portray boatmen, fishermen and labourers' daily odyssey!
A travelogue project with Rodolphe Galant | videast, editor, director, photograph | Montreal (Canada)
With the precious inspiration and help of Saurav Moni | singer | Kolkata (India)
FAKIRS OF GORBHANGA: Armaan Fakir, vocals, dotara & jhuri | Golam Fakir, vocals & dotara | Babu Fakir, chant, harmonium & dotara | Akkas Fakir, vocals & dubki | Gopen Debnath, dhol & khol
FAKIRS OF NADIA & MURSHIDABAD: Khaibar Fakir, vocals, dotara & harmonium | Chote Gholam, vocals, dabli & dubki | Akkas Fakir, vocals & dubki | Babu Fakir, vocals, dotara & harmonium | Abdus Sattar Shaikh, dhol & khôl
FAKIRS AND BÂULS OF BENGAL: Ranojit Gosain, vocals, violon | Chote Gholam, vocals, dabli & dubki | Noor Alam Fakir, vocals, dotara | Mallika Akhar, vocals, ektara | Bijay Sardar, bangla dhol | Soumik Datta, presentation
Martial art by Huyen-Lallong Manipur Thang-Ta Cultural Association, located in Irllbung, Manipur (India).
Because of Manipur's cultural similarity, geographic proximity and ethnic ties with Myanmar, thang-ta is closely related to banshay. Both can be practiced in three different ways: ritual, demonstration and combat. The first way is related to the tantric practices and is entirely ritualistic in nature. The second way consists of a spectacular performance involving sword and spear dances. These dances can be converted into actual fighting practices. The third way is the true combat application.
The earliest record of thang-ta and its sibling Sarit Sarak dates back from the early 17th century. Warriors would arrange to fight one-on-one as a way of settling feuds or disputes. The day before a duel, fighters might eat dinner together. While thang-ta involves using weapons against one or more opponents, Sarit Sarak is the art of fighting empty-handed against armed or unarmed opponents, but on many occasions there is a combined approach to the training of these two systems. They were used with great success by the Manipuri kings to fight against the European colonists. Martial arts were banned during the British occupation of the region, since it was used to train the freedom fighter to fight against the Britishers, but the 1950s saw a resurgence of the traditional fighting forms. Today thang-ta is the most popular of Meitei martial arts practiced by both men and women. It is most often seen through demonstrations in cultural programs.
The legend says that Lainingthou Pakhangba, the dragon God-king, ordained King Mungyamba, to kill the demon Moydana of Khagi with a spear and sword, which he presented to the king. According to another story, God made the spear and sword with creation of the world.
In 2009, Gurumayum Gourakishor Sharma, a leading exponent and teacher of thang-ta, received the high Padma Shri honor award from the Indian Government for his contributions to the preservation and advancement of the art.
In collaboration with Bisheswor Sharma, son and disciple of Guru G. Gourakishor Sharma | Imphal (India)
10 PERFORMERS & MUSICIANS ON STAGE = logistical costs + stage work = ambitious project for which other partners would be highly appreciated!