Monthly Archives: February 2013

News from the Sayat Nova Project

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First off, we want to thank everyone again for supporting this project- the response this last month has been really incredible. We have a lot of great news to announce.

The Sayat Nova Project has started working with Onnik Krikorian, a journalist and photographer who’s been working in the Caucasus since 1994 and has written and photographed for the BBC, National Geographic, Al Jeezera English, and the Wall Street Journal. We couldn’t be more excited to be working with him, especially due to the fact that his work in Armenian/Azerbaijani co-inhabited villages in Georgia was a huge inspiration for the Sayat Nova Project. He’s interested in writing a story about us and has been photographing some of our recording sessions. His latest photos of our work are available HERE.

We’re also going to be collaborating with and screening the films of the independent filmmaker Vincent Moon. He’s well known for creating the online music series La Blogotheque  and for filming indie and mainstream musicians like R.E.M and The Arcade Fire, but he’s also done extensive field work with musicians all around the world, including the North Caucasus. We’ll be working with him in July when he visits Georgia during the start of his project “Eurasia“. We’ll also be screening his films on Chechnya and Dagestan at different venues in Tbilisi.

We’ve created a Soundcloud account where you can stream samples of some of the different musicians we’ve been recording over the past few months:

https://soundcloud.com/sayat-nova-project

As well as a Youtube channel where we’ve been compiling various clips of music and culture from the different people of the Caucasus:

http://www.youtube.com/user/SayatNovaProject/videos?view=1&flow=grid

We’ve got a trip to Zemo-Alvani planned for this weekend where we’re hoping to record Tush and Batsbi musicians.

One more thing – One of the focuses of the Sayat Nova Project is the phenomena of musical hybridisms, when two musical cultures are blended together to create something unique. This Sunday we attended a forum on Ashughs that was held by the Armenian community here in Tbilisi. There we had the great pleasure of meeting Marat Arjevanidze. Marat has been playing guitar since he was a boy and has always loved rock and pop music. When we talk about musical hybridisms within the sphere of this project, we are usually referring to folk music but in the case of Marat’s playing we decided to make an exception. He has an incredibly unique, charming, and unexpected way of interpreting western pop songs. We thought we’d include this video for your enjoyment:

With three days to go we’re just a few dollars shy of $3,000. Please continue telling everyone you know about the project and sharing our Facebook and Kickstarter

THANK YOU! 

The Sayat Nova Project

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Rəşid Behbudov and Persian Santur

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Rashid Behbudov

The Sayat Nova project has had a very productive week. A few days after I returned from Achara, Stefan, Anna, and I headed out to the village of Zinobiani in North-Eastern Georgia and recorded Udi music. (We’ll update you on this trip soon – Anna has a long Udi story to translate, as well as some information on the marriage rites of the Udi people). A few days later our good friend Erekle Qeshlashvili, a painter who specializes in  Georgian Orthodox icons, invited us to visit his icon studio and meet his friend Abbas.

Abbas turned out to be an incredible musician who had studied classical Persian music in his home country of Iran. Abbas is from Tehran but lives and works here in Georgia- He plays violin and Oud in a Iranian restaurant in the old city. We met with Abbas twice, once in the Erekle’s Icon work studio and yesterday he came to our apartment to drink some tea and help me repair my Oud.

During our first meeting, Abbas brought his Santur,  a Persian hammered dulcimer. He played a few improvisations for us while artists  in the studio painted icons and carved traditional Georgian ornaments into blocks of wood. Abbas seemed shy and reserved at first but as soon as we started talking about our project and  music in Iran and Azerbaijain, his eyes lit up:” I will improvise on a Rashid Behbudov melody.” Unfortunately, neither Stefan nor I had ever heard of Rashid Behudov but we still enjoyed Abbas’ playing:

After he’d finished this tune and discovered our ignorance, he told us all about Behudov. ” He was born here, in Tbilisi. He became a great singer and moved to Yerevan to sing in the opera. Later, after the war, he moved to Baku and became very famous.”

After further research, Rashid Behudov seems to be the pop singer version of Sayat Nova. He lived in all three of the major cities of the south Caucasus, he sang in Azerbaijani, Russian, Persian, Turkish and he toured all over the world: Iran, Turkey, China, Japan, Argentina and India where he performed in Hindi, Urdu, and Bengali!

Rashid Behudov was made famous by his role in the film “Arshin Mal Alan.” He played a rich man who disguises himself as a cloth peddlar so he can enter the cities’ courtyards and look at pretty women, in the hopes of finding a bride.

 

Since Abbas introduced me to Rashid Behudov’s music, I’ve watched about 50 clips of his performances but this one has got to be my favorite:

Meeting with Abbas and having these conversations about Persian music and the music of the Caucasus made me realize that the influence of Persian culture in this region is something that I occasionally take for granted. Most of both Azerbaijani and Armenian instruments are Persian in origin. The Azerbaijani Tar (the soloist in the beginning of the video above) was developed from the Persian Tar in 1870, when extra strings where added and the shape of the body was altered. Not to mention the theory behind Mugam has its roots in Persian music. I also live 20 minutes downhill from a Persian fortress in Tbilisi, in the old city which is full of buildings that were built in a Persian style, like this one:

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In addition to introducing us to Rashid Behbudov and discussing the culture of the Caucasus with us, Abbas also allowed us to record him playing multiple improvised tunes on his Santur. I’ve posted some videos and another streaming track below.

Please continue to let people know about the Sayat Nova Project and the work we’re doing with musicians like Abbas, in Tbilisi and around the Caucasus. Our Kickstarter page is still up and running: http://kck.st/WxntHo

-Ben

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UPDATE: Sayat Nova Project

The Sayat Nova project has reached its initial funding goal  in just over a week. We’d like to thank everyone who donated and/or shared our Kickstarter. Thanks to your contributions, we’ll be able to create the website, cover the expenses for your rewards, and pay for some of our travel costs.

With 11 days to go, we’re continuing  to promote the Kickstarter in order to fund even more recording trips across the Caucasus. Because of the abundant support we’ve received in such a short time, we’re hoping to continue fundraising to fully fund the high costs of traveling to hard-to-reach places such as Svaneti, Tusheti, Quba, and Xinaliq. This extra funding will also cover the costs of travel for local volunteers and interpreters when necessary. In the following months we’ll be meeting with Georgian, Roma, Jewish, Kurdish, Azerbaijani, Armenian, Abkhazian, Assyrian, and Ossetian musicians living here in Tbilisi. We also have multiple trips planned to surrounding areas and farther afield. Here’s the general itinerary for a few of our larger scale trips and some information about some of the different groups we’ll be recording:

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February: North-Eastern Georgia: we’re visiting musicians in villages surrounding TianetiAkhmeta Kvareli, and Lagodekhi .This trip will allow to record Georgian musicians from the region and hopefully Batsbi, Kist, Chechen, Dagestani, and Udi musicians as well.

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March: Azerbaijan: visiting QaxShekiGabalaXinaliqQuba, and Baku. We’ll be recording Azeri music (Ashigs and Mugam) as well as Georgian, Lezgin, Tats (Jewish), and Avar musicians. We’re also hoping to meet with some famous Azerbaijani electric guitarists (Remish!) in Baku (fingers crossed).

Digital Maps for Graphic Design

April: Armenia: In cooperation with the Union of Kurdish Youth of Georgia we’ll be visitingYezedi Kurdish villages in the Aragatsotn Province and traveling through villages on the way to Yerevan.

In addition to these larger scale trips we’ll be traveling on the weekends to villages all over Georgia in order to document as many musical dialects as humanly possible! We’re planning on traveling to Racha in May and Svaneti and Tusheti sometime in June (as soon as the snow melts). In addition to all these trips, We’ll be hosting events in Tbilisi with local musicians where we’ll present our work and give talks about the Sayat Nova project. To everyone who has donated so far:

 Thank you! Təşəkkür edirəm! დიდი მადლობა! Շնորհակալ եմ! Большое спасибо! 

Please help us continue to promote this project! 

Here’s our kickstarter: http://kck.st/WxntHo

Our facebook: http://www.facebook.com/SayatNovaProject

And an event we created for the frequent posting of videos: EVENT

– Ben

 

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Acharuli Chonguri and Hospitaliti

View from the village of Okroashilebi

View from the village of Okroashilebi

Just returned from a trip to Achara and I have some great recordings, a lot of pictures, and a couple of interesting stories.  I visited two cultural centers, a few schools, and several extremely remote villages.

I made my first recordings in a music room in the village of Oladauri’s only school. Oladauri is for sure the farthest  removed of all the villages I’ve ever been to in Georgia. To reach it, you first have to drive along the main road between Shuakhevi and Khulo, which is in pretty bad shape and occasionally terrifying: tiny lanes with no barriers, hugging cliff-sides, with all cars going to or from either town utilizing an imaginary “third lane” directly in the middle of the road.  Once you’ve started down the  dirt road to the east, signs of civilization pop up only occasionally, and in the meantime, your internal organs are significantly churned by the pot-hole-filled, muddy, snowy mess that is the road to Oladauri. But the landscape around you is so gorgeous it makes it hard to complain.  After approximately an hour of driving up steep, slippery hills, you’ll see the small grouping of houses and a school that comprise the village of Oladauri.  Here are a few pictures I took once I reached the town: 

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DSCF1172Achara (sometimes spelled Ajara) was conquered by the Ottomans in 1614. During this period the people of Achara converted to Islam. Currently, 30% of the population are still Muslim and there was a mosque in almost every village I visited. That might explain the attire of the man pictured on the gravestone in the first picture and the crescent moon above the door in the second. But more on that later.

I visited the school and met with the music teacher. He told me there were many good musicians from the village but they’d all moved to Batumi for work. He was eager to help me and recruited a couple of the local musicians that remained to play for me. They performed some instrumental music for me on Panduri and Salamuri.

When they’d finished, the music teacher ran outside to gather some more singers.

After these great performances I headed back to Shuakhevi. One of the most instructive things I’ve learned about living in Georgia is that you have to know someone to get things done. If you know just one person, they will know twenty more and one of those people will either know the person you’re looking for directly, or have some idea of how to find them. Case in point:  I told my Georgian language teacher at the conservatory that I was traveling to Shuakhevi. She called her colleague who is from the region and it turned out that his brother is the chief of police in Shuakhevi. I called the policeman once I reached the town and he took me to the cultural center to meet with the director.

I explained that I was hoping to record any musicians but was particularly interested in instrumental chonguri music (I’m hoping to write a paper for my conservatory studies on variations in traditional performances of Acharan  chonguri music). They made some phone calls and soon Ramaz Davitadze arrived. Looking the part of a dapper Georgian country gentleman, he strolled into the room with his Panduri in hand, greeting me happily and was eager to discuss traditional folklore with me. He had studied music in Batumi and was a member of Shuakhev’s Folk ensemble. During the next few hours I had some great conversations with him and we were able to share different variations of chonguri songs with one another.  He was one of my favorite people I’ve met while living in Georgia.

I was also able to come back the next day and record Ramaz playing another tune in the park:

And here’s a photo of Ramaz with the Center’s director, The chief of police, and another man from the center:

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During this trip I also spent some time in Khulo and met with some musicians at Khulo’s cultural center. I was asking about chonguri songs, and although they all claimed to be unable to play any, one woman borrowed my chonguri and within a few seconds they were singing this:

Later, I had lunch with the director of the cultural center, Avdantil Bolqvadze. We spoke about the people of Achara and its atmosphere of religious tolerance. Avdantil explained that Christians and Muslims live and work together and seemed almost surprised that it could be any other way.  Khulo has both a mosque and a church, located relatively close to one another. If you spend enough time in the town center, you might have the opportunity t0 hear both the call to prayer and church bells  sounding simultaneously.  I was obsessed with taking pictures of mosques during this trip, first because I think it’s an unique and interesting aspect of Acharan history and daily life, and second because they vary significantly in size, age, and building  materials. My favorite was the mosque in the town of Iramadzebi. It’s a completely wooden building, with the exception ofthe prayer tower which is made of some kind of tin. 

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View from across the Road/River

And these are a few photos from inside the mosque:

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My second favorite mosque was in the town of Dioknisi. It was built in 2001 with funding form the Turkish government. Notice the waterfall in the background on the left: DSCF1268

I took this footage outside a music room in Dioknisi’s school:

Because this is already a long post, I will try to make this next story as short as possible:

I wanted to visit a chonguri player in a remote village called Tskhmorisi, but did not have his number, address, or a ride. Just his name: Tamaz Nakishidze. So I spoke with the chief of police. He found his number– how, I have no idea– and told him I was coming. But then there was the question of a ride. Ramaz found me a bus heading out of town, towards Tskhmorisi which would take me to the bottom of a dirt road leading to the village. Pridon, the chief of police, arranged for a patrol car to meet me there and escort me to Tamaz’s house, a good 45 minutes crawling up a rocky hill. Once I had made my recordings and spoke with Tamaz, they took me back down the hill, blasting Russian rap music. The rest of the story involves hitchhiking, some students jump starting a car using pieces of discarded metal, and a cautionary tale about a man from the area who was recently eaten by wolves. But I finally made it home (much later that night) thanks to the hospitality of the people of Achara. And I have these great pictures and recordings from my meeting with Tamaz Nakishidze:

You’ll probably notice he’s playing the same piece as Ramaz from the video above. This is one specific aspect of Georgian folk I am trying to write about for my studies at the conservatory. There are  so many variations of these two instrumental pieces, Khorumi and Gandagana. I want to write a paper analyzing as many of these variations as I can find. In a culture that values group performance and polyphony, it’s interesting to see a tradition of soloistic instrumental music with such a diversity of improvisations. Here are two of Tamaz’s variations of Khorumi:

Tamaz's Grandkids

Tamaz’s Grandkids

Overall it was a very successful trip. The Sayat Nova project is planning to head back to Achara sometime in May. I have more pictures, recordings, and footage, but that will have to wait until we finish building the website for the Sayat Nova project. Our kickstarter is still up and running so please share this post and help us to continue to promote it!

– Ben

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