Comparison of music; Trade routes

This is “Master Musicians of Jajouka”
If you compare the two sounds you will find that they are extremely similar. The purpose of both folk songs are for ritual.

From Morocco

When you go to their website you will find this information: “Brion Gysin, William S. Burroughs, Steven Davis and other writers have connected elements of Jajouka’s musical traditions to Ancient Greek and Phoenician ceremonies.”

http://www.jajouka.com/the_full_story.html

“The Masters’ performances feature a dancer dressed as Bou Jeloud, a Pan-like figure half goat half man. Although the character of Bou Jeloud is found all over Morocco, it takes on different form in Joujouka.

In Joujouka, Bou Jeloud gave an Attar ancestor the gift of flute music and bestowed fertility on the village every spring when he danced. The music relating to this is the Masters at their most mind-blowingly powerful”

http://www.joujouka.org/the-legend/bou-jeloud/

The half man half goat being is called Bou Jeloud. There is the same being recognized through ritual in Macedonia and Bulgaria.

The music that I posted before this it’s meaning has not been confirmed.

Video

Comparison of music; Trade routes

This is the Teskoto oro “The hard one”
Macedonian

Ritual: It has the components of the watcher, the shaman and the trance.

Note the ritual of meditation into trance.  The  sound and vibration is almost the same as the “Master Musicians of Jajouka”.

 

Could Pan be the relationship between human and goat.  Logic and kaos.  Does the music and dance unlock the knowledge of this relationship.  Pan gave the shepard the flute.  Does it help to merge with the wild goat.

Video

Balkan Ritual Costume: Hip Belts

Marks left on clay female figures shows the adornment style for that society of that time.

  • Vinca were very detailed about their ritual costumes.
  • Society lived around 6-7 thousand years ago.
  • The hip belts were normally big disks of wood, bone, stone and leather
  • They buried their dead in these decorated hip belts.
  • Hip belts were found worn naked or over an apron or fringed skirt.
  • The priestesses wore the belts/ritual costume
  • The clay sculptures were painted with ground seashell, ochre and black to color the hip belt.

Page 45-46 “The Goddesses and Gods of Old Europe, 6500-3500 B.C.: Myths and Cult Images”—By Marija Gimbutas

*need to find a good copy of these figurines.  For now, you can find the photos in the library or on-line

Kalderash of Europe and Lambani of India: Adornment comparison

 

 

Photo credit:  Elena Nazare

http://elena-nazare.blogspot.com/2011_09_01_archive.html

Both groups of people finger twist a small part of hair in the front of the hair line.  Then that twist is braided.    Notice the headscarf worn towards the back of the head and the brightly colored prints.

Photographer unknown

Photographer unknown

Photographer unknown

Photographer unknown

 

Some from both groups will add jewelry clipped to the braids.

Photo credit unknown

Photo credit unknown

This shows the braiding and adornment of the Lambani

Photo credit unknown

Photo credit unknown

This is a women from the Banjara group who are related to the Lambani

Image

Lambani of Karnataka

Image

Photo COPYRIGHT:JAINA MISHRA

http://www.jainamishra.com/portfolio

Karnataka 2002-The hunt for someone real

I was staying on a friends land for a while.  He had a battery powered radio.  I had heard the clear sounds of tribal music.  Ancient that is older then the current Karnatic ragas so commonly played.  My friend called the radio station to find out about the origins and location of the tribe who composed that particular song.

A day later I found myself living with a Eco Warrior Brahmin family in Hubli.  They understood my desire and research to find the musicians of the song I heard over the radio.  In between a royal wedding and a revolution against the government, the family drove me to small encampments and invited musicians to the house to tell me their story.

I begged the musicians to take me with them.  They kindly refused.  They were afraid of what calamities would take place by bringing back a white woman to their families.  I understood and let it go.

Yes, they were the same musicians who recorded the song I heard over the radio.

Sitting with them I observed their social conduct.  This observation gave me ideas of how to approach a tribe if I was given the opportunity again.

Revolution happened, host family had to flee the city in the middle of the night and I was on a bus back to my cliff.

Weeks later I met a modern man.  Causally over tea I found out that he is in fact of the Lambani tribe.  He said since he was working in town he didn’t wear the traditional dress.  He sisters, mother and grandmothers did.  He invited me to meet them, but I had to wait to arrange the time because he respected his families privacy and their daily routine.

When I finally sat down with the women of the tribe I found out that they were just as excited as I was to meet. They shared many songs and hand clapping rhythms with me.  If I remember correctly I cried with joy the whole time.  We also shared embroidery techniques and different ways to sew mirrors onto fabric.  I asked them why did they accept our meeting.  Outsiders are normally not welcome and suspicious.  They got real serious and told me that their son had told them that I was “a wild witch who held no claim to any country.”  They traveled a few times to visit me on my cliff and watch the moon rise.

After I had moved on from my cliff I found my self with a plain dressed lambani couple who were trading the tribe’s crafts.  After everything I had observed about the tribal folks I had the opportunity to meet I guess I made a great impression on them.  They invited me to join them on a journey to a Lambani gathering.  An event that happens once a year when extended Lambani from the surrounding states come together.

That event was a whirlwind for me.  So much happening at once, my eyes were always tired.  I was constantly in a loving way mobbed by everyone asking questions in an unknown local dialect.  As a whole the tribe was happy that I wore their clothes, worked their goats with them and was not afraid to get up and dance around the fire at night.  I had been getting very wild before this gathering, living in isolation for many months.  I don’t remember much.  What I do remember was the strength and power of the women.  Their eyes could pierce steel with one look.

short academic essay on Roma ‘tribe’ sub sections in Bulgaria

Categorizing the different Roma Clans by their migration period and what they crafted.  For example, one clan would be the spoon makers and another would be the colander makers.

 

http://balkanologie.revues.org/index323.html

 

Bulgarian woman wielding a fantastic power

I found an interesting paper written in 2005.

http://www.writing.upenn.edu/wh/involved/series/artgallery/dancing_milkova1.pdf

The author writes about women’s status and the symbology of their power in Bulgarian folktales.

Folk tales are stories of the past.  True or false, these tales could be the modern link to the pre-historical society that considered women to be “mediator between the earth and the sky”

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