Telluric Currents: Kamala Kantha (2003) 7'50"
'Kamala Kantha' combines sounds of the tabla and a sanskrit text which praises Saraswati the Goddess of music and knowledge.
Sarastwati is one with words and music which are the very source of the cosmos. She is the impeller of true and sweet speech, she is the creative process with the syllable 'OM'. She points to the potent quality of sound.
She is represented dressed in white, with four arms, holding a book and a Veena and is often depicted by a river with a swan and a lotus flower. The lotus represents supreme knowledge in activity and is symbol of evolution and detachment. It makes its way through the ocean of life by rising above its surface - it is the path from the outer being to the inner being.
Saraswati's female form demonstrates the great respect and recognition that women held in Vedic tradition. She extols tolerance as well moral and spiritual strength. She can withstand roughness and bear pain.
Artistic creation as well as knowledge of the sciences epitomize human culture; integrated knowledge refines the world into something beautiful and special.
| Kamala jadala
vimala sunayana karivarada karunambude karunasharade kamala kantha Kesi narakasura vibhedana varada velapura surothama karuna sarade kamala kantha |
Oh Lord who
has eyes like the petals of the lotus, you blessed Ga Jendra with Mercy like an ocean. Oh Lord of Lakishmi, You destroyed kesi and Narakasura. Oh grantor of boons, You have blessed velapura With your kind presence |
My thanks to Gyan and Sharat for their inspiration and especially Meera for her beautiful voice.
This piece was made possible with funds from the Scottish Arts Council and composed in the studios at the University of Edinburgh.
Kamala
Kantha combines sounds of the tabla, birds, an Indian boatman singing
on a river and a Sanskrit text praising Saraswati . Saraswati is one
with words and music, the very source of the cosmos. She is the impeller
of true and sweet speech; she is the creative energy within the syllable
'OM' that points to the potent quality of sound. Represented dressed
in white with four arms, holding a book and a Veena she is often depicted
by a river with a swan and a lotus flower. The lotus represents supreme
knowledge in activity and is a symbol of evolution and detachment,
making a journey through the ocean of life by rising above its surface
- it is the path from the outer being to the inner being.
These ideas are reflected in the exploration of electronic sounds and
their interplay with the rich sounds of Indian tabla, language and countryside.
Rhythm plays an important part in the conception and structure of the
piece - the intention was to ‘play’ with the ear rhythmically
as well as acousmatically. Acoustic tabla sounds are mixed with recordings
from an electronic practice tabla machine, and combined with phonemes,
and subsequently, fragments of Sanskrit text. In the first section of
the piece, the phonemes chosen are strong sounding ‘Ks’ and
curt ‘Ss’, used to establish a rhythmic unease. After certain
rhythmic patterns have been alluded to, and the juxtaposing of harsh
and soft sounding phonemes have effected an unsettled feel, the ear is
guided via a tabla ‘roll’ and softer sounding consonants,
into a spacious environment of water, cicadas and softly spoken text
fragments. A feeling of timelessness is achieved, and left open during
the emergence of the Indian boatman singing on the river until a bird
chirping in a rhythmic pattern is mimicked with inorganic, abrupt, yet
subtle, sounds. The environmental and rhythmic, organic and inorganic
interplay is re-established, until the final dialogue of all material
builds to an exciting close.
