the world of sangit om

All is Number

2011-12-17T20:53:00.001+02:00

The dictum of the Greek philosopher Pythagoras (ca. 580-500 BC) and his school was All is Number. To understand what was truly meant by this phrase we have to understand a little more about Pythagoras. He was much more than a mathematician. The contemporary of the saint Gautama Budhha was first of all a spiritual teacher and a healer, and he belonged to the first generations of searchers of wisdom and truth that came from the Hellenic world and were later called „philosophers“.

Pythagoras observed that music and sound follows certain numerical laws of harmony. Moreover he discovered that all things of the universe have numerical attributes that follow the same laws. He even created a musical system based on those laws. But in this context we have to understand, that when in the ancient world the word „musike“ was used, it was inseparably connected with poetry and dance. Literally music meant the „arts of the Muses“, and the Muses embraced more or less all the arts.

Especially music, poetry (sung and spoken) and dance formed one unit, and it was common practice that those three arts were performed simultaneously and very rarely alone. But they not only appeared together, they even determined each other. For example, Homers verses were written in a certain rhythm (the Hexameter) that lead to certain dance steps (those of the Syrtos). And simultaneously the words were declaimed in melodies that fit into the rhythm and the dance.

For now I do not want to go further into the Pythagorean music theory. But I want that we have a look at the basic, fundamental and principal meanings of the first three numbers in correlation with the arts of the „Muses“, especially Rhythm and Dance.

Lets start with the number ONE. Interestingly, the Pythagoreans did not consider „ONE“ to be a number at all. ONE is so perfect in itself, that it can have no attributes. It represents the divine. Just like the „TAO“ of the Chinese mystic LaoTse, that can not be spoken or described. ONE in its absence of duality can not be known, because there is no split between subject and object yet. Translated into the realm of Rhythm it could be said that one beat alone can not form a rhythm, and the same applies for only one single dance step. But we can associate the number ONE with the focused stillness of the dancer before the actual dance begins. And just like every dance at one time springs out of the stillness, it also goes back into it.

If you think we have more luck with the number TWO, I have to disappoint you again. The Pythagoreans considered neither the TWO to be a number. They saw it as a symbol of duality. A symbol of balance, but also of conflict and opposition. Without the number TWO, the positive and negative could not exist. The Pythagoreans thought this number to be most unlucky. Because it was the opponent of the godly ONE it was dedicated to the god of the Underworld. And a few hundred years later, Plato argued that there was no meaning to the number TWO, as it suggests a relationship and a relationship will in turn introduce a third factor.

When we look at dance, we can see that the TWO at the most represents our ability to walk on two feet, which can not yet be called "dance". But it can form the means and the background for real rhythms and dance steps.

Only when we combine the holy ONE with the under-worldly TWO we arrive at THREE. Now we have finally arrived at the realm of numbers (for the Pythagoreans the THREE was the first true number) and therefore: at the realm of rhythm and dance. Try to combine the movements of your both feet in a way that they perform cycles of three steps, and you suddenly will realize that the dance has started to happen.

It can be said that THREE is the most important, and also most sacred number of all. The first geometrical figure is the triangle. In the Hellenic world the Tripod (a chair or a small table standing on three legs) was sacred and symbolized the God Apollo. In the Oracle of Delphi the priestess Pythia would take her seat on the tripod. Tripods were also widely used by ordinary people as alters.

Three was considered the number of harmony, wisdom and understanding. A meaningful dialogue can only happen through threefold dialectic (thesis – antithesis – synthesis). In Hinduism the three Gods Brahma / Vishnu / Shiva represent creation – preservation and destruction: the eternal cycle of existence in time. And finally in Christianity the Holy Trinity (Father - Son - Holy Spirit) represents again the divine principle of the number Three.

I could go on describing the attributes and meanings of the following numbers. Maybe some other time? For now I just wanted to show you that all this counting and dancing would not exist without the birth of THREE out of ONE and TWO. (According to the Pythagoreans ONE is the father and TWO is the mother.) However, I think it has become clear why THREE is also the number of the magicians. With its help the world can be created, including the fascinating and manifold cosmos of the „Muses“. Again and again, through all times.

Sangit Om

Dance & Rhythm

2011-06-24T15:46:00.004+03:00

Traditional Greek Dance and Drumming (a workshop)

In the Greek tradition, dance is considered to be the highest of all arts. Higher even than playing a musical instrument. When you think, that for the dancer the whole body becomes his instrument, then this concept starts to make sense. The fundamental base of both music and dance, is rhythm. In fact rhythm is the base of our whole life: think of our heartbeat, our breezing, our movements and more or less all expressions of the joy of living. Rhythm is also a link that unites individuals: when we move together we are synchronizing with each other through rhythm.

When we want to learn traditional dances, we have to understand the language of rhythm. The more we are able to master a basic repertoire of rhythms, its principles and methods, the easier it will be to move freely in the framework of traditional dances. Therefor it is a great idea for dancers to practice drumming and to play percussion instruments. To develop the art of rhythm greatly empowers our skills in dancing. Very often, if someone faces difficulties to proceed in the art of dancing, developing a stronger feeling for rhythms does solve the problems and opens doors for new dimensions.

But it also functions the other way around: for a musician the experience of dancing can open up a whole new world. I am myself a musician, and today I am dividing my life into two periods: the times before I was a dancer and the time after I had started to integrate dance into my life. Before I was maybe not a bad musician – but something was missing. But when I finally had discovered the other half it was, as if a part of me that was hidden deep inside, was finally allowed to flow and to unfold its power.

So, here you have a few reasons why I have decided to offer a workshop for traditional Greek dance combined with drumming and playing percussion. The workshop will take place from December 26th 2011 to January 2nd 2012 at the Island of Crete. We will learn Greek dances, mainly dances of the Island of Crete. And we will also learn to play on various percussion instruments like tumpeleki, tarabuka, daouli, framedrums, udu, shakers and many more. It will be a great opportunity to connect with our hidden powers and to start the new year with full energy. If you are interested, please don't hesitate and send a short email to dance@sangitom.de right now. In return I will send you all the details about the workshop (without any obligations, of course). You can also find additional information at www.psiloritis.de

Love
Sangit Om

Forgotten Dances of Crete

2011-03-14T16:58:00.010+02:00

I will be holding a dance workshop in Kamilari / Crete from May 1st until May 7th. I thought the issue of this workshop might be interesting for everybody, so I would like to share with you what it is all about.

The Minoan civilization on the Mediterranean island of Crete began nearly 5,000 years ago and it lasted several thousand years, before the Dorians from the Greek mainland took over the island. When we consider that the Minoan Crete has formed the oldest civilization on European soil, it can be assumed that the Cretan dances are among the oldest cultural dances of humanity. Homer described the Cretans as enthusiastic dancers, and we know from many illustrations, that dance has played a central role in the life of the Minoans.

There is no clear evidence that the contemporary Cretan dances are stemming directly from the Minoans, but there is every indication that this is the case, at least for some dances. Therefore we can speak of a special status for the Cretan dances. Some dances certainly came later to the island, but the particular Cretan character is always obvious.

Today, most Cretans are commonly mastering five different dances, which we will also practice in our workshop:

1. Sirtos of Crete (also called Chaniotis, the most popular dance)

2. Malevisiotis (originally a war dance with fast, dynamic steps)

3. Siganos (or Siganos Pentozalis, a very simple dance)

4. Pentozalis (or Pidichtos Pentozalis, dynamic dance with jumps)

5. Sousta (a couples dance)

Except for the Sousta all those dances are danced in an open circle, as it is common in all of Greece. They are still danced at festivities (village festivals, weddings, baptisms, etc.) and taught in the schools. Although they belong to the general education of every Cretan, it is important to note that there are also local differences and variations.

However, it is generally not well known that additionally to these 5 dances there are many other Cretan dances, which are often almost forgotten and only maintained in some villages or areas. We want to dedicate this seminar to some of these dances, which form a unique cultural treasure and deserve to be rescued from oblivion. Only recently they are receiving increased attention and there are more and more musicians who play the accompanying music and have also recorded them on CDs.

Our aim is to learn at least 8 of those additional dances during this one week workshop

Although the Cretan dances with their Minoan influence have a special role, they still belong to the Greek dances, with their typical characteristics, as they have been formed in the ancient world. They were not only just dances for the people, but also a means for the comprehensive training of body and mind. They were considered "sacred exercises”, which have been brought by the Gods to humanity, in order to give mortals an opportunity to get in touch with the higher worlds. They belong to the realm of the "Muses" and are considered the highest discipline in the field of music. It is important to understand that the ancient Greek word for "music" equally included the playing of musical instruments, singing and dancing. All three are inextricably linked and all three are based on the traditional view of the "Divine Harmony", which can be expressed in figures, and so the dance has its counterpart in the numerical proportions of rhythm, meter and proportion.

As we will learn those dances in our seminar, we will also look for a deeper understanding of such relationships. But mainly we will be engaged in the actual process of dancing, thus having the direct experience of the forces and messages that each dance contains within itself, and ultimately can not be described with words. Just like the "Real Crete" will intuitively reveal itself only to the person who is willing to meet it with open hearts.

Hope that made you more curious... and I am also looking foreward to see some of you at the workshop or at other events and workshops that will certainly follow in the future.

For additional information please visit www.psiloritis.de

Love
Sangit Om

The Green Ragas Experience

2010-10-26T14:45:00.000+03:00

At the end of the year 2009 I found a message in my email box from one of my best musician friends, the British sarod and guitar player and film maker Chinmaya Dunster. I think we first met when we collaborated on a CD with Sangit Sirus, who was then an artist of the famous NIGHTINGALE label in South Germany. So was I, and Sirus had asked me to play some flute on this recordings and do the engineering. The name of the CD was Spiral Dance. It was a great session, I think it was around 1993. I still remember that Sirus said to me: „you are a born flute player“, which encouraged me to carry on studying the bansuri (the Indian bamboo flute). I also remember those fantastic Persian meals that Sirus prepared. But it was a special gift from existence that I first met Chinmaya during these sessions. Not only because it was a great experience to play with this excellent musician who was continously searching for ways to combine Indian and Western music, but also because this was the start of fa great friendship and has led to many more collaborations over the years.

But back to my email box. In this message Chinmaya simply asked me if I would like to participate in a series of live concerts in India. Well, this was beyond my wildest dreams, although I had already thought many times about visiting Mother India once again (after 20 years of absence). So I packed my suitcase, gave my dog Mayla into the loving care of my Welsh neighbors Roy, Louise and Zoi (thanks!) and off I went in February 2010 from Crete via Athens to New Delhi. And what can I say? It was one of the greatest experiences in my whole life! Besides Chinmaya and the fantastic singer Sandeep Srivastav we were six more musicians: three from the West and three from India. In the cozy living room of our little hotel we spent 10 days of intense rehearsal and worked out the program for the „Green Raga Band“. I mostly played bansuri, except for two songs where Chinmaya had begged me into playing a few Cretan tunes on my Cretan Lyra. At first I was a little worried if this instrument would really fit into the all over style of the band. But I quickly realized that our Indian friends played those tunes as if they had Cretan blood running in their veins. Even the singer Sandeep contributed a vocal solo on a Cretan „Sirtos“, a mixture that has most probably never happened before. Instead of describing these highlights verbally I am just presenting here one videos, I think it says enough.

In October I went to New Delhi again, for two concerts that were given as part of the 2010 Common Wealth Games festivities. Another fantastic experience! The audience was simply freaking out – there was so much joy and heart touching energy happening during those concerts. Here is a link to an article in the Osho Times about Green Ragas Concert in Delhi, that says it all.

What also made these concerts so special was the fact, that they are really multi media events. This is mainly Chinmayas contribution, who is deeply engaged in spreading awareness about environmental concerns and social justice issues, mainly in India. He presents on a screen above the stage his great video films, carefully chosen to fit with each song of the program. Moreover, to add more color to the program, the female poet Kanupriya Dhawan from Delhi presented her poems and the vocalist Anand Risha from Gujarat performed two of her great songs with the band as a guest artist.

And whats next? I don't know, but I have a feeling as if this was just the beginning. Lets stay in touch, I will keep you informed.

Love
Sangit Om

a review

2010-05-28T11:21:00.008+03:00

Hello everybody,

a few days ago I have been told that Lloyd Barde of Backroads Music has written a review about my latest CD The Spirit of Yoga. I highly appreciate this review not mainly because it is very positive, but because it sums up what I feel myself about my latest CD. Here it is:

SANGIT OM Spirit of Yoga

Sangit Om has four previous releases, focusing on Eastern healing arts such as Qui Gong (Chi Kung), Tai Chi or Feng Shui. He finds himself very much at home on the latest, "The Spirit of Yoga," with a combining of Indian instruments, the modes of selected Indian ragas and the chanting of sacred mantras. While fusing influences from the East and the West, he stays true to the essence of Yoga, and the lucid liner notes explain how this practical philosophy was developed in India in ancient times. Through his beautifully flowing music, played through the combining of Indian bamboo flutes, santoor, tanpura, tablas and other percussion instruments, Sangit Om provides inspiring music to support the practice of yoga, providing healing effects which are positive and uplifting. There are a couple of mantras that enhance the listening experience, sung through he weaving of male and female voices. They are carefully mixed amongst the ragas and flowing compositions. His knowledge and absorption of Indian music, spiritual practice and musical forms and structures all adds up to an unparalleled recording, sure to stand out in a field that is often saturated with sameness. I have been thoroughly enjoying this CD, a very faithful rendering of "The Spirit of Yoga". - Lloyd Barde

Thank you Lloyd, and with best wishes from Crete...

... oh, as I mention Crete... people are asking me about the economic crisis that we are facing here. We are all right, strong as always and optimistic. Come and visit us!

Love
Sangit Om

Hi everybody,

2010-03-15T18:26:00.003+02:00

last time I was writing about year 2009 events. Now somebody has said to me, that I can't tell last years news in a BLOG. I don't know how you feel about it, maybe is he right? His opinion was that the most important thing about news is that they are new. Hmmm... and I thought the most important thing was that the news contain the truth. Like Mullah Nasrudin, who had no doubt about this, as this little story demonstrates:

One morning Mullah Nasrudins wife read in a newspaper the announcement of her own death. She quickly called her husband who was outside the town and said: "Have you read the morning paper, Mulla? And, did you see the announcement of my death?" "Yes," said Nasrudin. "where are you calling from?"

I agree that the best news are those that are new and true. But please feel free to leave a comment (scroll down!) about your opinion. Anyhow, I am informing you today about may latest CD-release. In January 2010 "SANGIT OM / THE SPIRIT OF YOGA" was released by OREADE.

I have made a whole track available at Myspace . It is called "Bittersweet", although the real title as it appears on the CD is called "The Inner Flame":

In case someone wants to order the CD, I suggest AMAZON (see left).

The work on this CD was really a big adventure for me. I went deep into the spirit of Mother India. Almost all pieces are featuring the Bansuri, the Indian Bambooflute. There are Ragas and Mantras. I also had a special guest on this CD: the Mantrasinger Lucia Licht from Germany, who has also just recently released a wonderful CD with her Mantrasinging. It is called "Mantras - Prayers of Silence".

BTW, it has been twenty years that I have not been in India until this February, when I went to New Delhi to play with the "Celtic Raga Band" of Chinmaya Dunster. I will tell you more about this recent trip and the concert in another post. Right now I would like to share with you some more thoughts about Yoga. The following is an excerpt of the liner notes of my CD:

Yoga means much more than body exercises. It is a practical philosophy, which has been developed in India already in very ancient times. It coveres all aspects of human life and maintains the idea, that men and women are able to reach the highest state of consciousness by consequently following a spiritual practice. There are mainly five branches in Yoga:

1.Raja Yoga: the path of meditation and spiritual exercise
2.Karma Yoga: the path of the right action
3.Jnana Yoga: the path of proper understanding
4.Bhakti Yoga: the path of devotion
5.Hatha Yoga: the path of body practice

Those different branches are not strictly separated from each other. And more or less in all of them there is a place for music. This is most obvious in Bhakti Yoga, where singing and chanting is an important way of showing devotion to a Diety or to the Guru. But also the meditation on sounds like "OM" or on Mantras (sung or spoken sanskrit verses) is an important discipline, mainly as a part of Raja Yoga. There is also "Nada Yoga" - a path of exploration of consciousness through sounds. Another tradition is "Nadopassana" (dedication to music), where music is used and seen as a prayer to God. And then there is Nataraj-Yoga, where dance is used as a spiritual practice, of course accompanied by musical instruments.

It even could be said that the complex system of Indian classical music - one of the richest and most highly developed musical traditions of the world - is clearly rooted in the spirital context of Indian religious traditions. It is obvious that music can be a great contribution to any kind of practice in the realm of Yoga traditions. Already the overtone-rich sounds of Indian instruments have an uplifting and healing effect. And the system of the Ragas (the musical "modes" of Indian music) forms a highly developed musical framework in which all aspects of human life - spiritually and worldly - have their place. The first aim of the Ragas is - generally - to bring everything into balance with the help of musical harmony.

Greetings to all!!!
Sangit Om

PS: feel free to leave your comment and/or subscribe (this means you will be notified whenever I post something new here)!

Dear music lovers,

2010-03-02T14:47:00.002+02:00

here we go into the world of blogging! After 14 newsletters distributed and hosted through groups.yahoo.com I have finally decided to use a more up-to-date format for my "NEWS". I think blogging is much more flexible and offers a lot of possibilities. And I thought, why not start with a review of some of my year 2009 activities?

We all know: LOVE makes the world go round! So I have released a new SANGIT OM CD at OREADE called "Songs from the Heart". This is a compilation of 11 traditional lovesongs from 8 different countries. They are all recorded as instrumentals, mainly featuring my various flutes. The CD starts with "Down By The Sally Gardens", played on an Irish tin whistle and ends with "Wan Wagninkte", a traditional song from the Lakota Red Indians. Click here for more information and for sound examples.

I have had the great pleasure to take part on a wonderful CD with the Austrian singer and multi-instrumentalist Susanne Heilmayer. This double-CD with the title "Simsalabim Bamba Saladu Saladim" is simply outstanding. It contains 50 (!) children songs. They all come with very creative arrangements, and it is great fun to listen to all those songs. I am playing several instruments: the bansuri (bamboo flute) the Cretan lyre, the Greek Baglama and... I am singing (I think this is the first time in my career!). Oh... and I should not forget my dog "Mayla". She is barking, howling and rhythmically panting on one of the songs (she is a very talented Bernese Mountain Dog).

And then there is the well known Dutch new age composer Guy Sweens. He had asked me if I would like to play bamboo flute on one of his tracks, and of course I did! His latest CD "The legend of Ganesha" has been released in March 2009 and I played on the track called "Universal Parents", you can listen to a part of the track, order CDs and learn more about Guy here. The whole CD is carrying the spirit of India in a very fascinating way.

I think this is enough for now, I will let you know more about my recent activities, e.g. my debut in the Bollywood film industry. So, let's stay in touch and don't hesitate to leave a comment (one of the beauties of blogging). And please subscribe (if you have not already done) and you will automatically be kept updated on all the SANGIT OM news. Until then, if you are interested in "old news" you can sift through my newsletters of the past decade at Yahoo.com.

Thank you for your patience
lots of love
Sangit Om