Sagar Ram and Ensambal opened the festival in Jaswant Thada

You do not need to be religious to join the holy. If you agree, you probably have a chance to listen to deeply developed music under an open sky. The Sacred Spirit Festival held recently held at Jodhpur, Jodhpur in Rajasthan and the recently held Spirit Festival held at the places around it. Different types of tools (made of reed, wood, string) and human voice created synergy between remote parts of the world.

The music was new and ancient, modern and traditional, in solo or groups, in known and unknown languages. And, it talked about the subjects of connection, mentorship and dedication. More than perfection, music spoke of immersive engagement.

A woman’s artist contingent, an art of Sufi origin

While Mohammad Aman Khan managed the day with Khayalas installed in ragas like Dai Thodi and Ahir Bhairav, musicians of Meghwal, Manganiyar and Langa communities separated the audience immersed in different religious forms in their own religious forms from their religious forms. Anwar Khan, Talab Khan and others performing the last morning of the festival demonstrated the power of music to be free from boundaries.

Char Yaar Encons, led by Madan Gopal Singh, performed the listeners together to meet Bulle Shah, Bertolt Brecht, Kabir and Rumi together in one afternoon and together. The audience was happy to travel. The sounds of Kelm and Dariya from Bermer were sweet and clear. S. Swaminathan’s Veena’s recurrence was vibrant and rapidly book, with Thani AvtaranamAdding a glow.

Nominee Jalal demonstrated styling compositions with three colleagues

The second set of afternoon concerts saw a Fidel and Karnataka violin playing one after the other. Violin player CS Anuraop and his disciple Parvati Dilip kept the audience tapping their feet for ragas such as Hamsadwani and Kahnakuthuhalam (‘Gana Muratha’ provided a contrast). Violonius Perin Boulel and Maina Serano cherished the southern Alps through presentations on Fidel, Morhing and Voice – His colleague Mosin Kava lended Rajasthani taste on tabla.

S. Swaminathan and Group perform at Chokhelo Garden

Khuzal trio pleased with the songs of women’s knowledge in Octitan. The subsequent cooperation of experienced Kamcha players with horses Khan, Dara Khan and others felt uneven, however, and one wished to hear more than experienced folk musicians.

Early evening concerts made an emotional appeal, Ranjini and Gayatri’s Karnataka presentations saw the audience as the style of Niseas Jalal’s style-shaking music, reflecting his reverence for Hindustani music. The latter was based on five Indian scenarios, which had moved him, looked at the audience to interact, despite the time packed with more artistic behaviors from another site.

Osei kwame korankye dress with ghana

The performance at the main-step of the festival was marked by colorful and creative interactions. Ghana to Osi Quame Koranke Pahanwa narrated and narrated the history of Seprava. The collision of Juan Carmona’s guitar and Gazi Khan Barna gave a background for flameco and Kathak. The prayer music of Dudukner Pahanwa from far Armenia resonates almost with ragas like Indus Bhairavi and Pannagavali. The Mediterranean music of the multi-installinglist David Ambrogio mixed with Langa Cernia and other people easily with music.

One afternoon performance displays the roots of Kalbelia dance

Another striking performance on the main stage was performed by a contingent of a female artists, in which an art of Sufi origin was exclusively practiced by men, but is now reserved for women. Through benign, dominated movements and harmonious music, women presented “songs of praise for the Prophet Muhammad, the history of their companions, and the love of love among the people,”, to cite Faizona Malidi from the group. She says that “Dance inspired by translations of everyday gestures or sung text” is choreographed by lead dancers. This is the second performance of the congregation in India.

‘Gypsy Beats’ included Juan Carmona’s guitar performances and Mess Marke’s performance performance

In addition to performing regularly “in the villages of Mayat, on joyful occasions and in the spirit of the Communian, the group has taken its art to others for the United Kingdom, France, Denmark, Sweden and Norway.