Field recordings from Vinayaka village in Bundi District of Rajasthan. The tape contains ritual performances by various communities in the village including Bhajans and devotional music performed by the musicians of the Dholi community of the village.
Field recordings from Vinayaka village in Bundi District of Rajasthan. The tape contains ritual performances by various communities in the village including Bhajans and devotional music performed by the musicians of the Dholi community of the village.
A series of poems and 'bat' (stories) related to Raja Bhoj recited and narrated by the father of Hakam Khan Manganiar at Kiraliya village, district Jaisalmer, Rajasthan.
Field recordings at the shrine or 'mazar' of Sufi saint poet Shah Abdul Latif Bhitai in Sindh, Pakistan. The tape contains recordings of Shah Abdul Latif's poetry sung by Sufi singers at the shrine along with the characteristic string instruments known as the 'Damboora'.
Recording containing two track of instrumental renditions of Rajasthan traditional songs played on the Kamaicha Sakar Khan Manganiar. This is by an instrumental solo track of Murali played by a Langa musician.
Proceedings of a seminar on the topic of North Indian folk literary traditions held at Rupayan Sansthan in Borunda organized by Sahitya Akademi, Delhi. The seminar consisted of performances of regional storytelling traditions and lecture presentations by eminent scholars and researchers of the field. This tape contains stories or Katha narrated by Daluram ji of Dhadhi community.
Proceedings of a seminar on the topic of North Indian folk literary traditions held at Rupayan Sansthan in Borunda organized by Sahitya Akademi, Delhi. The seminar consisted of performances of regional storytelling traditions and lecture presentations by eminent scholars and researchers of the field. This tape contains stories or Katha narrated by Daluram ji of Dhadhi community.
Proceedings of a seminar on the topic of North Indian folk literary traditions held at Rupayan Sansthan in Borunda organized by Sahitya Akademi, Delhi. The seminar consisted of performances of regional storytelling traditions and lecture presentations by eminent scholars and researchers of the field. This tape contains an episode from the epic of Bagrawat, narrated and sung by Narayanji Bhopa of Ladana village, Rajasthan. Bagrawat ri Par is narrated with the painted scroll depicting the narrative of the epic and the musician accompanying himself on the Jantar, alternately singing and providing the 'Arthav' explanation.
Proceedings of a seminar on the topic of North Indian folk literary traditions held at Rupayan Sansthan in Borunda organized by Sahitya Akademi, Delhi. The seminar consisted of performances of regional storytelling traditions and lecture presentations by eminent scholars and researchers of the field. This tape contains an episode from the epic of Bagrawat, narrated and sung by Narayanji Bhopa of Ladana village, Rajasthan. Bagrawat ri Par is narrated with the painted scroll depicting the narrative of the epic and the musician accompanying himself on the Jantar, alternately singing and providing the 'Arthav' explanation. This is followed by a story narrated by a male speaker and 'Jagdev Pawar ri Katha' or the story of Jagdev Pawar, a brave king from Rajasthan, by Daluram Dhadhi.
Proceedings of a seminar on the topic of North Indian folk literary traditions held at Rupayan Sansthan in Borunda organized by Sahitya Akademi, Delhi. The seminar consisted of performances of regional storytelling traditions and lecture presentations by eminent scholars and researchers of the field. This tape contains narration of 'Jagdev Pawar ri Katha' or the story of Jagdev Pawar, a brave king from Rajasthan, by Daluram Dhadhi.
Proceedings of a seminar on the topic of North Indian folk literary traditions held at Rupayan Sansthan in Borunda organized by Sahitya Akademi, Delhi. The seminar consisted of performances of regional storytelling traditions and lecture presentations by eminent scholars and researchers of the field. This tape contains narration of 'Jagdev Pawar ri Katha' or the story of Jagdev Pawar, a brave king from Rajasthan, by Daluram Dhadhi.
This collection includes digitized negatives created by field experts and professional photographers during research surveys between 1966 and 1990. The images document heritage buildings in various Indian states (Jammu and Kashmir, Karnataka, Tamil Nadu, Andhra Pradesh and Telangana, Chhattisgarh and Madhya Pradesh, Odisha, Uttar Pradesh, etc) that are decayed, damaged, or inaccessible. Also included are images of rare terracotta sculptures unearthed in excavations conducted at archaeological sites in Jammu and Kashmir, Punjab, Bihar, Haryana, Uttar Pradesh, West Bengal, and Karnataka, and a collection of miniature paintings commissioned by Mughal and Rajput patrons during the 16th to the 19th centuries in Uttar Pradesh, Rajasthan and Himachal Pradesh.
The Albanian National Film Archive (AQSHF) has digitized a curated selection of materials from the photographic and graphic art collections that includes costume and set design sketches, animation slides and production stills, allowing viewers to trace the journey of Albanian visual artists.
SPANISH: Fotografía de Tomás Olivera rodeado de personas en inauguración del stand "Africanía"<br>ENGLISH: Photograph of Tomás Olivera surrounded by people at the opening of "Africanía" stand
FRENCH: Ce morceau est chanté en solo par une femme (Soussaba Dialllo) avec un chœur de femmes, accompagnées au tambour (dundun). Cette chanson a été enregistrée à Bangassi-Gopéla.<br>ENGLISH: This song is performed solo by a woman (Soussaba Dialllo) with a choir of women, accompanied by a dundun drum. This song was recorded in Bangassi-Gopéla.
Recordings made by researcher Vibeke Homaa made at Paota, Jodhpur. This tape contains songs sung by Anwar Khan Manganiar with Kamaicha played by Chanan Khan Manganiar and Dholak played by Niyaz Khan Manganiar. Vibeke Homaa's research dealt with processes of pedagogy among the Rajasthani caste musicians.
The Fundacja Q Archive aims to counteract the vulnerability of ‘queer memory’ by preserving queer history, including evidence of Polish queer activism from the late 1980s until the present. This digital collection includes community heritage such as photographs, postcards, written personal memoirs, short-run printed materials, zines, personal documents, correspondence, posters as well as internal documents and official records.
This digital collection includes documents from the Interdiocese Project for the Recovery of the Historic Memory (REMHI): Never Again. This project was launched in 1994 by the Archbishop's Office for Human Rights (ODHA) of Guatemala and collected documents and testimonies related to the armed conflict in Guatemala (1960-1996). The materials include community reports, eyewitness accounts of massacres, newspaper clippings and additional press materials. These different kinds of documentation reflect a range of themes and topics, including the Communities of Population in Resistance (CPR), the Civil Self-Defense Patrols (PAC), refugees and internal displacement, social violence of the internal armed conflict. The collection also includes photographs that show the first exhumations carried out in the early 1990s, the anniversary of the martyrdom of Monsignor Juan Gerardi Conedera, the Peace Process and Martyrs' Hall.
This digital collection focuses on photographs from multiple collections held at the Archivo Histórico de Tijuana, including materials from the Colección Guadalupe Kirarte Domínguez. Images in the collection document people, buildings, political activism and public events as well as the City’s administrative office.
The Instituto de Lengua y Cultura Aymara’s archive on the Aymara language and culture from the mid twentieth century to the present was collected in Bolivia, Chile and Peru. Materials include early pamphlets and newspapers, fieldwork recordings including speech and songs, fieldwork notes and transcriptions, documentation on Aymara regional variants, and teaching materials, some concerning intercultural bilingual education in Bolivia and elsewhere.
FRENCH: Cette chanson est chantée en duo alterné par deux femmes (Kagni Diawara et Diaba Sylla), accompagnées la jita (calebasse avec cauris) et aux battements de mains. La chanson a été enregistrée à Diagadoromou.<br>ENGLISH: This song is performed as an alternating duet by two women (Kagni Diawara and Diaba Sylla), accompanied on jita (half calabash with cowrie shells) and rhythmic hand clapping. The song was recorded in Diakadromou.
FRENCH: Cette chanson est chantée en duo alterné par deux femmes (Waagi Kébé et Assan Diakité), accompagnées à la jita (demi-calebasse avec cauris) et aux battements de mains. La chanson a été enregistrée à Diagadoromou.<br>ENGLISH: This song is performed as an alternating duet by two women (Waagi Kébé and Assan Diakité), accompanied on jita (half calabash with cowrie shells) and rhythmic hand clapping. The song was recorded in Diakadromou.
FRENCH: Cette chanson est jouée en duo alterné par deux femmes (Ami Traoré et Niamakolo Coulibaly), accompagnées au tambour (djembé). Elle a été enregistrée à Konimbabougou.<br>ENGLISH: This song is performed as an alternating duet by two women (Ami Traoré and Niamakolo Coulibaly), accompanied by the djembe drum. It was recorded in Konimbabougou.
FRENCH: Ce récit est déclamé par Hamadi Sylla, qui s’accompagne au luth (ganbare). Il a été enregistré à Gakoura-Guidimakha.<br>ENGLISH: This story is recited by Hamadi Sylla, who accompanies himself on the lute (ganbare). It was recorded in Gakoura-Guidimakha.
Proceedings of a seminar on the topic of cultural, economic and social significance of pearl millets in India, held at Rupayan Sansthan, Borunda, with the support of Indira Gandhi National Centre for Arts, New Delhi. This tape contains a lecture presentation by Komal Kothari and group discussions led by Komal Kothari.
Proceedings of a seminar on the topic of cultural, economic and social significance of pearl millets in India, held at Rupayan Sansthan, Borunda, with the support of Indira Gandhi National Centre for Arts, New Delhi. This tape contains a lecture presentation by Komal Kothari and group discussions led by Komal Kothari.
FRENCH: Cette déclamation est faite par Baba Dango, accompagné au luth (ganbare) par Cheikhna Dango et enregistrée à Diakandapé.<br>ENGLISH: This recitation is made by Baba Dango, accompanied on the lute (ganbare) by Cheikhna Dango and recorded in Diakandapé.
FRENCH: Ce morceau est joué en duo alterné par deux jeunes filles (Kandé Coumba Camara et Khoumba Nkolo Diakité), accompagnées au tambour (dundun), à la jita (demi-calebasse renversée) et aux battements de mains Il a été enregistré à Dag-Dag.<br>ENGLISH: This song is performed as an alternating duet by two young girls (Kandé Coumba Camara and Khoumba Nkolo Diakité), accompanied on the dundun drum, jita (upside-down half calabash) and rhythmic hand clapping. It was recorded in Dag-Dag.
FRENCH: Ce morceau est joué en duo alterné par deux jeunes filles (Aissé Kébé et Hatoumata Doucouré dite Hatouta), accompagnées au tambour (djembé) et tambour (dundun). Il a été enregistré à Ouléguéla lors de l’ouverture de son école.<br>ENGLISH: This song is performed as an alternating duet by two young girls (Aissé Kébé and Hatoumata Doucouré aka Hatouta), accompanied on djembe and dundun drum. It was recorded in Ouléguéla when her school opened.
