CD1_BHAJANS OF NEPALI FOLK CULTURE\n\nA bhajan is a spiritual chant in traditional Nepalese culture that is performed mainly in temples. The lyrics typically recount the good deeds of various gods and goddesses. It is believed that the performance of a bhajan brings about peace and prosperity and an improved quality of life for all living beings. Bhajans of Nepali Folk Culture This CD includes examples from four distinct categories of bhajan, namely Devi Bhajan, Dafa Bhajan, Khainjadi Bhajan, and Usha Charitra Bhajan.

CD6_FLUTE TUNES OF THE HERDSMEN OF NEPAL\n\nCattle rearing is a major occupation for people residing in the rural areas of Nepal. Herdsmen go to the forest with their cattle for grazing. They carry a flute with them so that they can play music for several purposes, such as expressing their feelings, guiding the cattle, and passing time. As the herdsmen move to the forest after eating in the morning and come back at dusk, their only friend for the entire day is the flute. The bamboo flute is very popular all over Nepal as various styles of folk music can be played on it. The sad tunes coming from the flute lure all the herdsmen or workers into the calm and peaceful environment of the forest, where it is easier for them to express their emotions.

Veiqaravi vakavanua literally means “service in the manner of the land.” This is the heart of traditional Fijian diplomacy and traditional orature, in which carefully chosen words, expressions, intonation, and even pauses all work in tandem to create the sacred atmosphere befitting some traditional occasion. It is on these occasions when the traditional orature and Fijian oral culture are highly esteemed, when good orators utter rich metaphoric expressions and sentences to welcome a high chief or esteemed guest with either yaqona roots or a whale’s tooth. This is followed by the mixture of yaqona libation in a tanoa (wooden bowl carved from the trunk of vesi, intsia bijuga). This vessel is placed in front of the honored guest at a respectful distance. Men in traditional dress are arranged around and behind the tanoa and chanting \nis carried out as the libation is mixed. Thereafter, the yaqona mix is served to the honored guest while chanting continues.

This selection tells how native Yapese learned to use betel nuts (areca nuts) and how they learned tying patterns and techniques. It also talks about the roles and responsibilities of newly married Yapese couples and their families.\n

Baul Fakiri Song\nDo not look for God anywhere, look for Him in the human body. The Bauls & Fakirs are conveying the message of peace through their music, they reject division of caste, creed, religion etc. The Bauls are minstrels whose song and dance reflect the joy, love and longing for mystical union with the Divine. The Bauls believe that one can free oneself from earthly attachments through their philosophy. Murshid or Guru is the steersman who takes the devotee to God. They propound detachment from earthly bonds or ties.

Baul Fakiri Song\nDo not look for God anywhere, look for Him in the human body. The Bauls & Fakirs are conveying the message of peace through their music, they reject division of caste, creed, religion etc. The Bauls are minstrels whose song and dance reflect the joy, love and longing for mystical union with the Divine. The Bauls believe that one can free oneself from earthly attachments through their philosophy. Murshid or Guru is the steersman who takes the devotee to God. They propound detachment from earthly bonds or ties.

Baul Fakiri Song\nDo not look for God anywhere, look for Him in the human body. The Bauls & Fakirs are conveying the message of peace through their music, they reject division of caste, creed, religion etc. The Bauls are minstrels whose song and dance reflect the joy, love and longing for mystical union with the Divine. The Bauls believe that one can free oneself from earthly attachments through their philosophy. Murshid or Guru is the steersman who takes the devotee to God. They propound detachment from earthly bonds or ties.

Baul Fakiri Song\nDo not look for God anywhere, look for Him in the human body. The Bauls & Fakirs are conveying the message of peace through their music, they reject division of caste, creed, religion etc. The Bauls are minstrels whose song and dance reflect the joy, love and longing for mystical union with the Divine. The Bauls believe that one can free oneself from earthly attachments through their philosophy. Murshid or Guru is the steersman who takes the devotee to God. They propound detachment from earthly bonds or ties.

Baul Fakiri Song\nDo not look for God anywhere, look for Him in the human body. The Bauls & Fakirs are conveying the message of peace through their music, they reject division of caste, creed, religion etc. The Bauls are minstrels whose song and dance reflect the joy, love and longing for mystical union with the Divine. The Bauls believe that one can free oneself from earthly attachments through their philosophy. Murshid or Guru is the steersman who takes the devotee to God. They propound detachment from earthly bonds or ties.

Jhumur Song\nJhumur is the lifestyle music and dance of Purulia and Bankura. This folk music form dates back to being older than the Vaishnav Padabali. Jhumur songs and dances are an integral part of local community Parabs (festivals) and rituals like Badna, Tusu, Karam Puja and special occasions like marriage, harvests etc. Jhumur songs are songs of everyday life and widely accepted among all cross sections of the society.

Jhumur Song\nJhumur is the lifestyle music and dance of Purulia and Bankura. This folk music form dates back to being older than the Vaishnav Padabali. Jhumur songs and dances are an integral part of local community Parabs (festivals) and rituals like Badna, Tusu, Karam Puja and special occasions like marriage, harvests etc. Jhumur songs are songs of everyday life and widely accepted among all cross sections of the society.

CD2_HISTORICAL RECORDINGS FROM THE 1930S OF ARNOLD BAKE VOL. II: EVERYDAY SONGS\n\nThe recordings by Dutch ethnomusicologist Arnold Adrian Bake in India in the 1930s and later are one of the earliest examples of what may be called “ethnographic” recordings. Arnold Bake and his wife Corrie spent a long time in Bengal but travelled all over India, recording the music, sounds, and other forms of intangible culture of the people. These recordings cover an immense range of music and recitations that are part of people’s everyday lives, such as work songs, devotional pieces, and ritualistic performances, and include a high number of women’s songs and cultural expressions. Bake’s first field trip was in 1925 and his last was in 1955. During that time, he travelled not only to India but also to Nepal and Sri Lanka. Collections of Bake’s recordings are held in archives in the United Kingdom, Germany, and the United States. Recordings from 1925 to 1929 were on cylinders, and those from 1938 to 1939 were recorded on a machine called Tefifon. The collection that has been digitized for this project consists of the recordings made in 1938 and 1939. \n\nThe Tefi recordings were transferred to spools and deposited in ARCE in 1982. During those two years, Bake travelled from Sindh, the Gujarat coast, to Kerala, and thus the recordings are from Maharashtra, Karnataka, and Kerala. There are also recordings made in the Maldives and Sri Lanka. Thus, the selections presented on these albums are largely from the Southwest Coast of India. These recordings were chosen because they carry great historical value yet were not easily accessible until now. NB: The titles given by Arnold Bake have been retained. However, in the notes, places and names have been changed to reflect current designations – e.g. Canarese was changed to Kannada. Place names have also been modified to follow current spelling conventions.\n\nEveryday Songs - The everyday lives of people are what make up the core of intangible cultural heritage (ICH). This selection includes rituals, work songs, devotional and religious songs, as well as common songs that express joys and sorrows. In addition to songs, some tracks include cries and noises, reflecting the wide variety of sounds that Bake recorded.