Posts Tagged ‘Safeguarding of ICH’

Continuity called heritage


Over two years back, Madhukali invited unpublished analog recordings of Indian classical music in self-raised or inherited collections. Unplucked flowers, in mysterious ways, may turn into gems to be discovered by the fortunate. Heritage, like all things natural, is a presence waiting to be recognized. In a country rich in heritage like India, many scions of musicians families are blessed with letters, photographs and recordings of their ancestors. Yet, the urgent necessities of immediate life keep pushing the care of their inheritance off till they verge on brink of oblivion. Some music was received; not all of it can be restored fully or published at once. Commemorating the tenth anniversary of  UNESCO Convention 2003 for Safeguarding of  Intangible Cultural Heritage, Madhukali has released three compact discs restored from analog originals.

cdWork is also on progress for restoration and digitization of recordings of Dr. Lalmani Misra’s live recitals on Vichitra Veena, Sitar and other instruments as well as  wealth of  knowledge in lectures and lessons on Raga-s and essentials of Indian classical music. Apart from rich listening experience that each Raga recital provides, the collection is significant in another way. It constitutes an elaborate illustration of the Misrabani technique and style. How through  adequate application of Mizrab Bol-s, an artiste may create compositions starting from any beat in any Tal.

Dr. Misra had initiated a course in Indian music at University of Pennsylvania at Philadelphia in 1969. He taught there off and on throughout the seventies. Many of the recitals he presented in Philadelphia, New York and other cities were recorded by disciples . Almost all recitals were in different Raga-s. The students benefitted from such rich resource by making copies from the original tapes. It is possible that such copies may still be available with them while a few originals have been misplaced or deteriorated beyond restoration.  It would benefit the music world if  copies of such recordings are added to the main collection available with Dr. Misra’s family.  Madhukali in collaboration with Misrabani, would soon release the first volume to commemorate the birth anniversary of Dr. Lalmani Misra on 11th August.

MisraBani TantriCharya–Varanasi


Dr Lalmani Misra 

The first MisraBani TantriCharya is proposed to be organized at Varanasi in October 2013 with collaboration of  cultural organization(s) at local/ national level. Benares Hindu University has kindly offered its facilities for organizing Tantricharya. The event shall be held at Academic Staff College from 12 to 18 and at Faculty of Music and Performing Arts no 19th and 20th October 2013.


Dr. Lalmani Misra

Dr. Lalmani Misra, well known as a Vichitra Veena player, had an extraordinary ability for creating music. Spontaneity and perfection defined his music. The following remarkable quotes by prominent artists and members of the musico-academic community would give a brief notion of Dr. Misra’s exemplary creative strength before we proceed to analyze his genius:

"Prof. Misra was the Music Director of Udaya Shankar’s troupe and job amply speaks of his eminence as musician. He contributed some of lively tunes and melodious notes to music performances given in foreign countries which kept the audience spell bound. He gave his performance in almost 150 big towns of America and Europe and was hailed by one and all as a talented artist of the age. Prof. Misra can play on eight instruments with a master’s hand." [News Paper item (Telegraph May 6, 1952) excerpt]

Dr. Misra’s contribution to the music world is that he has written hundreds of compositions for sitar in more than 150 common and uncommon Ragas. Moved by a desire to perfect a system in instrumental music that would be as complete as the vocal tradition, he created a new Gat style, which gradually has come to be known as ‘Misrabani’. It was also referred to as ‘Koot Ki Gat’ owing to the complexity of the Gat. They were so labeled, recalling instances of using such complex rhythmic patterns by earlier musicians in flourishes hailed by the aficionados as Koot ki Taan.



DawnVeenThe Misrabani compositions he created are serious compositions in stylistic sense. They clarify that selection of Raga-s influences the minds of musicians.

Under this style he created a new Gatkari in Vilambit Jhoomara Tal, Vilambit Jhap Tal and Madhya-laya Ada Char Tal. In this new style Dr. Misra introduced Mizrab Bol DA RDA -R DA. Especially, in vilambit pace Da Rda -R Da shows a very different dimension of manifestation.

The oblique movement and complexity of a Raga is considered one of the main reasons for its unpopularity. There are many Raga-s that are extremely melodious and fulfill all the desired norms of Indian classical music (proper consonances with lower and upper tetra-chords) but owing to their complex nature they are rarely played by the instrumentalists. Most of such demanding Raga-s like Basant Bahar, Gandhari, Malhua Kedar, Anand Bhairav, Multani, Kaushik Kanhada, Malgunji, Bageshri Kanhada, Sindoora, Neelambari etc. were played by Dr. Misra.

Workshops have been engaged by Dr. Ragini Trivedi around the country to train Sitarists in this advanced and cerebral style of playing. One may view few excerpts on Youtube channel of Omenadnet.



MisraBani TantriCharya is aimed at young instrumentalists who have received professional training for 5 years or more.

Learners in the group (10 to 15) would be trained by two Misrabani Sitarists under supervision of Dr. Ragini Trivedi, daughter of Sangeetendu Pt. Lalmani Misra, creator of Misrabani string style. Senior-most disciple of Dr. Misra, Dr. Pushpa Basu would give expert guidance.

MisraBani TantriCharya would be hands-on intensive workshop of two four- hour sessions each day for 7 days.

  • Learners would be provided detailed syllabus with Mizrab Bol-s, Alankar-s and Compositions in play-as-you-read digital notation system, Ome Swarlipi.
  • Learners would make their own arrangements for lodging & boarding.
  • Learners would bring their own instruments: Sitar/ Sarod/ Veena/ Santoor.



Interested learner may send in their application forms through email and hard copy.

Email should be sent to with subject; MisraBani TantriCharya attaching filled in application form by 15th August 2013 and scanned image of Demand Draft. The hard copy should be sent to Astha, B-31, Aakriti Garden, Nehru Nagar, Bhopal – 462003 (M.P.) India so as to reach before 31st August 2013.

Registration Fee:

Till 30th June 2013 Rs. 3,000.

Till 31st July 2013 Rs. 4,000.

Till 31st August 2013 Rs. 5,000.

Till 30th September 2013 Rs. 9,000 provided seats are available.

Discount for Students* Rs. 1,000.



A limited number of Sponsorships by disciples of Sangeetendu Pt. Lalmani Misra have been reserved for exceptional learners between 21 to 28 years pursuing regular course in music in college/ UTD, subject to their selection by Madhukali.

Those desirous of Sponsorship should submit a detailed note of recommendation from a teacher of repute. The note should detail particulars of Raga, Tal the candidate can perform flawlessly. Application form & detailed note with Demand Draft of Rupees 1000 only payable to Madhukali at Bhopal should reach Astha, B-31, Aakriti Garden, Nehru Nagar, Bhopal – 462003 (M.P.) India before 15th June 2013. Scanned image of Demand Draft and duly signed note of recommendation, along with application in pdf (Portable Document Format), should be emailed to before 10th June 2013.

*Students of UGC recognized College and University Teaching Departments would have to present current Scholar Identity Card along with recommendation of Head of Department.


Click here to download form.


Articles on Omenad
Video on Omenadnet
Tweets #Tantricharya    Follow  @madhukali and @omenadnet


Misrabani Vichitra Veena: heritage aLive Vol. 1 {Published}

Format:  Sound Recording
Year: 2013
Publisher: Misrabani, Philadelphia, 2013
Description 1 audio disc (52 min.) : digital ; 4 3/4 in.



Raga Malgunji                             38:50
            Alap, Jod
             Vilambit Jhumra Tal (slow 14 beats)
              Drut Ada CharTal (fast 14 beats)
Raga Bhupali                                  12:50
               Kaharwa Tal (8 beats)

A Dawn of Veena: Bairagi  on Vichitra Veena by Dr. Lalmani Misra {more}

Format:  Sound Recording
Year: 2013
Publisher: Madhukali, Bhopal, 2013
Description 1 audio disc (51 min.) : digital ; 4 3/4 in.


Raga Bairagi 
                Alap:  19:33
                   Jod:  10:24
                    Gat:   11:20
Raga Bhairavi
                  Dhun:  05:22 

Celestial Music of Pandit Lalmani Misra: Vichitra Vina  {more at omenad}

Format:  Video
Year: 2006
Publisher: Rohnert Park, CA: Music Dept., Sonoma State University, 2006
Description: 1 video disc (45 min.) : sd., col. ; 4 3/4 in.


Raga Sindura 
           Alap, Vilambit & Drut teental:  31:28
Raga Tilang                                                   10:23
Raga Bhupali                                                 15:31

India: Vicitra Vina : The Music of Pandit Lalmani Misra = Inde : Vicitra Vina : La Musique De Pandit Lalmani Misra    {buy at amazon?}

Format: Sound Recording
Year: 1996
Publisher: France: Auvidis Unesco, 1996
Description: 1 sound disc (62 min.) : digital ; 4 3/4 in.

Raga Kausi Kanhada (Malkauns style)
                                                    Gat in slow tintal
                                                     Gat in fast tintal

Nectar of the Moon: Vichitra Vina Music of Northern India  {buy at amazon?}

Format: Sound Recording
Year: 1981
Publisher: Los Angeles: Nonesuch, 1981
Description: 1 sound disc : 33 1/3 rpm, stereo. ; 12 in.


A Raga Ananda Bhairava                20:04
B1 Raga Multani                                   12:16
B2 Dhun In Raga Ananda Bhairavi  7:54

Material in possession of Libraries (Worldcat)

Publisher: Los Angeles, Ca. : Ravi Shankar Music Circle, ©1979

Document Type: Sound Recording

All Authors / Contributors: Lalmani Mishra; Chotey Lal

OCLC Number: 11153496

Performer(s): Lal Mani Mishra, vichitra veena ; Chotey Lal, tabla.

Production notes:
"Recorded in concert, Herrick Chapel, Occidental College–3/18/78"– Container.

Description: 1 sound cassette (60:00) : stereo.


Basant bahar in Ektal, 12 beats and Teental, 16 beats —
Bhairavi  in Dadra, 6 beats —
Tabla solo Delhi style in Teental, 16 beats.

Conserving Complex Content





Culmination of 3 Day Symposium Workshop with

Morning Raga-s


Mainly presented by


Jaipur-Atrauli Doyen

January 15th 2012 9:00 am

Preetamlal Dua Auditorium, Indore

View clip of Durlabh Raga Prasang Symposium – Workshop

Dawn of Awareness: Manganiar Singers


In its endeavor to introduce the concept of Safeguarding ICH practices, Madhukali has been in contact with members of several communities. It is with a sense of fulfillment and joy that we acknowledge success. The musician communities of Rajasthan have fared a whit better than their counterparts as a result of projection and promotion of the state as tourist destination of India. Several f them have been fortunate in taking their art to distant lands. Suraj Bhopa is one such, who through collaboration with Italian singer Andrea Camerini, has toured widely and made his singing style visible to the world. Yet, it takes a community decision to plan survival and preservation of their cultural heritage.

Read the rest of this entry »

Recognition–A step towards preservation


Madhukali congratulates all sensitive and concerned citizens for encouraging appreciation of our intellectual and cultural heritage. There are numerous ways that the mammoth task of preserving seeds, if not fruits and flowers, of traditional knowledge rooted in warmth of harmonious nature-human relationship may be addressed. Recently Madhukali made digital release of four albums recorded on magnetic cassette tapes. Of the numerous live recordings of Vichitra Veena made by Dr. Lalmani Misra on magnetic spool tapes, three tapes have been digitally converted. The music would be made available soon.

Read the rest of this entry »

Digital Preservation of Music


Technology has helped in capturing and preserving works of art and artistic practices that relied solely on oral tradition in past. An engine of democracy it has empowered people in many ways. Ever since Hemendra Mohan Bose imported the phonograph machine that Edison invented in 1898 and Nobel laureate Rabindranath Tagore recorded Bande Mataram in his voice, a sample of Indian Classical Music has been archived — not always the best, experts might claim, but the far and few recordings made are indeed helpful. In the late sixties as analog tapes found a commercial channel in sleeker cassette tapes, the recording companies began to release Indian Classical Music on this media too. Late seventies saw cassette technology become affordable and soon less media-savvy musicians too got a chance to have some of their music recorded. The professional recordings of established music companies were in time converted to digital music but the smaller albums self-published or released by small entrepreneurs are on verge of extinction. Understandably, a part of such music might not measure up to strict standards, yet it allows representation to the individual practitioner and probably to the form and content of his output. Digitization of knowledge and practices is being carried out at all levels. The reclusive stalwarts and budding artistes whose presentations were recorded on analog spool and cassette tapes ought to be credited for their contributions. This would also enlarge the database of Indian music recordings and bring to fore some forgotten bandish or difficult Raga that is no longer practiced.

Madhukali invites proposals from artistes, heritage workers, museum and music industry experts for digital preservation of Indian Classical Music.

Proposals may be for private analog recordings or limited release public recordings on cassette tapes.

Interested parties may send their proposals to ich at madhukali dot org.

ICH Awareness: Workshop / Conference


India is rich in cultural heritage and is host to numerous practices that have survived for centuries. A large number of agencies are actively engaged in keeping arts and other practices vibrant. However, at all levels the threat to these practices can be felt. Further, there is a large number of those activities which have not received any patronage so far having survived on their own merit up to now. The need for identification of such practices is urgent as is the necessity of charting plans to ensure their continuity.

Madhukali plans to invite academics, bureaucrats from various cultural academies, NGOs, leaders of community practitioners and interested individuals as first level facilitators. As most of them are already associated with cultural practices, they would gain a new viewpoint regarding their activities. Understanding the concepts of Safeguarding they would give us the first list of cultural practices within their domains along with degree of danger to these practices and possible action plans. This shall bring into public domain the state of ICH practices in India.

In the two day workshop-cum-conference a part shall be devoted to explaining the concept, possible lines of action, the process of nomination and evaluation. As exercise the participants might list cultural practices and even suggest plans for action. To motivate genuine commitment and creation of network, experts from various countries shall present case studies of similar practices of their countries, which have been inscribed on Representative List of UNESCO.

Eligible persons may apply to ich at to ascertain their participation. All participants shall have to bring a description of at least one traditional practice with supporting text, graphic, audio or visual material and be ready to present a plan for preservation / promotion of same. To gain better understanding they may consult the kit on intangible cultural heritage,  developed through the generous support of the Government of Norway. Composed of 7 brochures and fact sheets on 12 safeguarding projects, it is a basic reference and pedagogical instrument for promoting and ensuring an effective understanding of intangible cultural heritage and the 2003 Convention by governments, communities, experts, concerned UN agencies, NGOs and interested individuals. It can be downloaded from UNESCO website on ICH

Speech on behalf of participating NGOs at 4COM


Abu Dhabi. October 2nd, 2009

Fourth Session of the Intergovernmental Committee

for the Safeguarding of the Intangible Cultural Heritage

Abu Dhabi, Sept – Oct. 2009

Common statement of NGOs[1]

Thank you Mr. Chairperson.

I am Cristina Amescua and I am here to speak on behalf of some 30 NGOs recommend for accreditation, that for purpose of time I shall not mention, their names are on a document available outside, I’d like to sincerely thank our hosts for their warm and generous hospitality. We also want to thank all and each of the members of the Intergovernmental Committee and the Secretariat for their important contribution to the implementation of the convention.

Of course, diversity is what characterizes us: we come from northern and southern organizations. Some of us have been part of the process of the 2003 convention for several years now, but also, some of us are new. We represent organizations that work at the international level as well as others whose realm of action is national and local. It is important for us to include both NGOs and CBOs of the Developing countries. For this we are aware of the capacities we have within ourselves, we think our diversity is our best asset and we want to enhance it.

Safeguarding Heritage: Participants at 4COM, Abu Dhabi

Safeguarding Heritage: Participants at 4COM, Abu Dhabi

We have extensive knowledge and important networks so we can contribute to that. We can add value and also be strategic partners in the challenge of keeping this democratic convention in motion and help the tasks of the Committee and the Secretariat.

We also believe that our involvement can and must go beyond the examination of nominations, for instance, as facilitators in an effort to attain regional balance in civil society representation. In doing so, we can also serve as an interface between UNESCO and the communities at the local level.

We are aware that our level of involvement has to be one that the State Parties feel comfortable with. In order to perform efficient and effective work we need some basic conditions to be fulfilled: some of them are up to us and can be built by ourselves through our already existing capacities, but for some others we need to work jointly with the committee and the secretariat. As enabling factors we suggest the following:

1. In order to enhance the NGO regional balance we look forward to the creation of virtual space for debate, using technological resources in a creative way to ensure that we can continue to build and strengthen the engagement of civil society for the Convention. We request the Secretariat to establish a web based e-group or platform where all NGOs and community-based organizations can also join, and share information, work experiences and activities. In this regard it would be really important to create for the Committee Sessions, a real life internet broadcast. This enables NGOs and community-based organizations that cannot, for whatever reason, attend the next sessions, to communicate live with the entire meeting.

2. We would like to hold a one day forum prior to each Intergovernmental Committee meeting, in order to put the virtual meeting place into a real one and collaborate more closely. This will go a long way to empowering those attending the sessions for the first time.

3. We need State Parties to let us know what is expected from us, and what is actually entailed by accreditation.

4. We want to take an active role in the examiners meetings, so we can offer our experiences and insights and knowledge as practitioners and academics.

This is why the willingness of our hosts today to provide the funding for our participation in this meeting is so important. We therefore urge the organizers of the next sessions to follow this example, thus guaranteeing that all organizations can be part of these important debates, especially from developing countries.

Today October 2, on the birth anniversary of Mahatma Gandhi, we recall in this regard his inspiring words “Be the change you want to see

Thank you Mr Chair.

[1] Association de Nasreddin Hodja et du tourisme, Association nationale Culture et Traditions, Centro UNESCO de Melilla, Chambre des Beaux Arts de Méditerranée, Craft Revival Trust, Extra Moenia, Goa Heritage Action Group, Human Heritage – La enciclopedia del patrimonio cultural inmaterial, ICOM, ICOMOS, ICTM, IDAST, Int. Organisation of Folk Arts, International Social Science Council, Int. Society for Ethnology and Folklore, Korea Cultural Heritage Foundation, Madhukali, Mediterranean Diet Foundation, MUSA, Norwegian Crafts Development, Repriz, SIMBDEA, Tamilnadu Rural Arts Development Centre, The Archival platform, Traditions for Tomorrow, UNESCO Centre for Catalonia, World Crafts Council, World Martial Arts Union,

Madhukali at 4COM


During its third session held in November 2008, the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage accepted the offer from the United Arab Emirates to host its fourth session (Decision 3.COM 13). This fourth session will take place in Abu Dhabi, capital of the United Arab Emirates, from 28 September to 2 October 2009. ICHAbuBg
Madhukali shall be sending its representative to attend this session. It is one of the eleven Indian N.G.O. s invited. More information regarding venue and schedule is given at unesco portal