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Sa Même Sa - Sellam, Renne*, Marthe & Cie - Traditional Odyssey download full album zip cd mp3 vinyl flac

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Traditional Odyssey, an album by Sellam-Renne on Spotify. We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. Sa même sa - Marthe & Cie. 4. Asé tuy Released on: Sign in to like videos, comment, and subscribe. Sign in. Watch Queue Queue. Patrimoine musical de l'Océan Indien: Morceaux inédits ou disparus en écoute intégrale ou extraits de morceaux encore commercialisés mais trop peu connus - Stie à vocation non commerciale - Ile Maurice, Ile de la Réunion, Chagos, Comores, Rodrigues, Seychelles, Madagascar, Mayotte - .

So during the evenings, when Paulo was free, they would both go down to Les Casernes, where almost everyday sega parties were held. Then, it became a regular habit Beeharry The Creole bash created an important opportunity:.

You have to attend a Creole wedding to understand the intensity with which this community devotes itself to merrymaking. After the cake has been cut and everybody serves a slice, the bride and bridegroom open the ball with a Viennese waltz.

Afterwards all kinds of music are played, with sega being the most popular. Every one joins in the fun, children dance with their grandparents, and many try to have a dance with the bride NgCheong-Lum Since my father was a tailor, he made me a good suit, so that I would look elegant at a Creole wedding. We are born here, and we grew up with descendants of African slaves, so why should we ignore each other? Sowamber The fancy fair, as a charity fair, took place in the courtyard of churches and was regularly organized by every parish on Sundays.

It included a meal of briani6 beer Sucu Sucu - The Laurie Johnson Orchestra - Sucu Sucu, a clothing market, games, and sega music performances. These spaces were not closed, but open to non-Christians. Many an indentured labourer, and later on, many Indo-Mauritians, even non-converted Tamil people would attend these specific events of Mauritian sociability.

My study of the singers who collectively constitute the field of chutney music reveals that the milieu is fairly homogeneous. From indentured workers established in rural or semi-urban zones, previously linked with sugarcane, most of the Indian hinterland countryside people were re-oriented towards the textile industry as factory-workers, or became vegetable-growers, grocers, customers, stretcher-bearers.

He is not a full-time artist, he has another job, and tries his best to save time for his music. Yet, he maintains a specific personality, owing to his extremely diversified sources of inspiration: his inheritance includes the Indian medieval mystical tradition, the latest Bollywood film music, African rhythm, the classical-light 19 th century European music through operettas and waltzes, modern disco and pop, from Europe and America.

He quite often wishes to get instruction in vocal Hindustani music, and therefore seeks out the help of a teacher. He takes part in numerous, not to say endless contests, not only at a national or international level, but also among the chutney singers themselves.

As the Malagasy musician studied by Julien Mallethe sings devotional songs in the temples, plays pop music on stage and provides musical wedding entertainment; he also performes in numerous social functions Marthe & Cie - Traditional Odyssey birthdays, political meetings, trade union meetings, and so on. I was born in a very poor family of labourers, sugar-cane field workers. My grandfather was a musician. He would play the violin. I used to love music, and I also loved the kavis, the poets, the bhajans, the kirtans, and the folk songs of the coolies.

I started singing at around. Now I have a troupe of dancing girls. When our ancestors came, when we arrived in Mauritius, we discovered the sega music. It tells about ancient times and the ancestors, but European Union Youth Orchestra - European Union Youth Orchestra also talks about change and a possible new world.

We also include chulewhistlings, because it is the Mauritian style Sewpaul I was born in I created the Dhamaka group. My ancestors came from Bihar, years ago. My father was a barber, he would play harmonium and banjo.

My mother would sing traditional wedding songs in Bhojpuri. I started by learning cantiques. I belong to Arya Samaj [a religious reform movement], but the sega rhythm is essential to me Nuckcheddy Where did my family come from? From Africa? From Mozambique? From Madagascar? I do not know. When I was born, inwe were too poor to go to school. But the baithka [Indian education system] was free, and I wanted to learn.

I bought a bal shiksha [an alphabet] for two rupees. I learned the Hindi alphabet. Slowly slowly I learned the letters. Indian people were perceived There Are Such Things - Frank Sinatra, Dean Martin, Sammy Davis Jr.

- The Rat Pack very puritanical, obsessed with saving money to purchase land, and insisting on education as a value. Creole people were perceived as idle and merry-making, but their ability to enjoy life and have fun was also much admired. Progressively, in the musical field, the ability of sega to make people dance was seen as something lacking in Indian folk music. It creates an atmosphere, it encourages us to dance] Le Chartier In the sega orchestra, instruments form a musical ensemble composed of ravannemaravanne and triangle.

Sega includes onomatopoeias and chule whistlingto Samba Bivolt - Projeto Cru - Cru people to join the dance circle. In the Sa Même Sa - Sellam process of the chutney music, the tempo became faster, sega rhythm was easily adopted.

The ravanne percussion was included. Chule were added to encourage the dancers on the stage. The choreography question became more delicate because chutney music involves not only writing Indian compositions to a sega rhythm, but also adopting and adapting a type of dance capable of competing with sega performance. The presence of dancing girls accompanying the groups, as in the sega tradition, became necessary.

Yet, Hindu parents would not allow their daughters to perform on stage. They thought it was shameful. Even the folk dances were performed only by elderly ladies and married women. Later on, in order to widen the audience to the European and Creole world and gain a prestige that the Indian folk-singing alone did not offer, a complete scenographic reorientation Vive Les Vacances - TÊTE DE CERF - LOriginal introduced.

The habit of including a troupe of Indian dancing girls began. Yet there were restrictions. The singer is accompanied with dancing girls wearing blouses showing the breasts, showing the belly. Lifting their long skirts they show their thighs and legs. In sega choreography, the woman dances with a male partner, and, though she never touches him, the gestures simulate a sexual relation. But Mauritian families of Indian origin are not ready to have such a display of the female body.

Even when parents allowed their daughters to perform on stage, it was only until they reached marriageable age. Consequently, once they reached the age of 16 or 17, they stopped performing. The launda is a female impersonator, dancer and singer, who may dance opposite a male dancer playing a male role.

His role is an institutional correlate of purdahthat is a role which fits logically with the seclusion of women from public life there are, however, a few women who dance in formal entertainment groups. Marthe & Cie - Traditional Odyssey launda makes a jerky hip dancing. He circles and turns with a gyrating pelvis, often one hand on his hip and the other behind his head. He might also lean back with his bent legs spread and arms in the air, jerk towards his leering, slightly crouched and pelvis-thrusting partner, who with hand at crotch level motions with his upraised thumb.

Nevertheless, a spirit of fusion is created through the dancing tradition transmitted by women in the wedding ritual context, which provides a basis for a new tropical pattern. During the Mati Kora a wedding ritual consisting of digging the earth and bringing it back home as an auspicious tokenwomen go outside and pick up a bit of dirt to put near the vedic altar, then they sing and dance performing a downward gesture, a movement considered to be the origin לבכות לך - אביב גפן* & התעויוט* - Live chutney dance style in Trinidad Ramnarine According to Peter Manuel.

Caribbean chutney choreography itself is essentially an Indian folk style, with perhaps greater emphasis on pelvic rotation. The conventions surrounding it, however, are a mixture of traditional Indian and contemporary Creole.

In some respects, they appear to be a contextualization of Indian wedding dance customs Manuel Being considered highly erotic, transgressive and provocative, it is performed by married women, and forbidden Marthe & Cie - Traditional Odyssey male public and children.

The body movement is Wie Neugeboren (Juice Exclusive) - Various - Juice CD No. 125 oriental double sway with the right hip, then with the left hip. In the context of migration, the reinvention of folklore and the re-creation of dance choreography become Renne* a stake and an important facet of cultural activity.

Colours are sometimes chosen to better match the Creole ambiance. Indian skirts or saris may be exchanged for boleros and sega skirts. Since the dancing girls are not allowed to lift up their skirts, they lift their muslin veils. And they dance rotating around the singer, like in sega. The result was very successful.

The reception both in the press and among the public was very enthusiastic. Figure 1. Sarah Andrieu has shown the discovery and re-appropriation of new choreographic forms, new aesthetics and new ways of using local customs in Burkina Faso, while Elina Djebbari has analyzed how the Mali national Ballet had been recomposing traditional elements.

Several encounters with Henriot Figaro, in the recording studio of Rose-Hill, helped me to comprehend his influence. Acting also as a go-between, he is one of the rare musicians I encountered during my fieldwork who really earns a living with his music. He plays the keyboard, guitar and percussions. As the name suggests, everyone is addicted to music in the Figaro family, but in a rather European or Creole style. But this leading figure is not the only arranger. The Sit-Basant Hindi-Bhojpuri play was rewritten, for instance.

Gilles Tarabout has shown the role of cultural entrepreneurs from Kerala who, in the same way, use folk dance or folk theatre patrimonies in order to inspire their own creation. Their aims go beyond mere patrimonalization. Focusing on Kerala as well, Christine Guillebaud a, b has shown how the performance scenography of folk village orchestras has changed by being brought on stage or under the impulse of the folk music industry.

He recalls that in the beginning:. Chutney-style dancing was done largely by lower-class women in the sexually segregated context of the wedding and other domestic rituals. Owing to the migratory experience, and through the chutney expression, the dancing practice has been changed from a private confidential feminine custom into an open, public stage performance Manuel Two dancers come informally and gyrate near each other on the dance floor and typically part without ceremony or conversation.

Yet, in Mauritius, its introduction has changed the relation to dancing in couples, much before the mediatization of Bollywood choreographies. The evolution from the gamat wedding entertainment music style to a more modern and spicy style, the equivalent of Caribbean chutney, has followed several steps.

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