Esplanade's A Tapestry of Sacred Music 2018 Turns 10!
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FOR IMMEDIATE RELEASE
Esplanade’s A Tapestry of Sacred Music 2018 Turns 10!
Featuring a completely free line-up of close to 50 performances, workshops and talks
SINGAPORE, 13 April 2018 – Esplanade – Theatres on the Bay’s A Tapestry of Sacred Music
turns 10 with an entirely free line-up of programmes featuring sacred music and arts from
Singapore and around the world. From 20 to 22 April 2018, the festival features a stellar line-
up of new and returning artists to Esplanade. From the deep and sonorous throat-singing by
one of the world’s most renowned xöömei or Tuvan throat-singing collectives Huun-Huur-Tu,
to the entrancing Hindu devotional singing by Parvathy Baul from Bengal, revellers can choose
from a range of sacred music forms, many of which are often only seen in places or contexts
of worship, and experience them in a neutral environment at Esplanade.
Tan XiangHui, Programmer, The Esplanade Co Ltd said, “A Tapestry of Sacred Music is a
rare chance for people to encounter the beauty of sacred music normally only seen in places
of worship in Singapore, as well as other important cultural expressions from communities
around the world. Despite the rich diversity in cultural expressions, they all come about in
response to what we all experience as humans, and it is this celebration of common humanity
underlying our differences that we want to highlight. This year the festival, which features
some of the very best performers in their respective cultures, is completely free so even more
people can experience the festival with no barriers. We hope everyone who comes to the
festival will get their curiosity piqued and appreciate the diversity of expression and culture.”
Page 1 of 25
New to the festival
Many of the sacred artforms featured in the festival are not usually practised in public and this
is a rare opportunity for everyone to experience them in a neutral environment at Esplanade.
New and rare artforms to keep an eye out for this year include UNESCO Artist for Peace,
Kudsi Erguner and his Ensemble from Turkey who will pay tribute to the religious traditions of
different communities that settled in the ancient city in Liturgical Songs of Istanbul. Audiences
can also look forward to Cham – Masked Dances of Tibet, a dance that is usually done during
the Nagrang oracle festival. It brings auspiciousness to the community featuring monks from
the historical Mangtro Monastery which is located in the remote foothills of the Himalayas.
Popular acts return
Over the last 10 years, A Tapestry of Sacred Music has played host to over 20 religious
traditions and 50 different cultural communities, and built lasting relationships with several
artists and arts groups, growing an audience and their appreciation of these unique artforms
or practices. This year, the festival warmly welcomes the return of some of these artists and
artforms. Masters and pioneer throat singing ensemble Huun-Huur-Tu presents Throat
Singers from Tuva. Last presented at the festival in 2010, witness up-close this traditional
technique used to communicate with the spirits of nature where the throat creates two or more
notes at the same time. Powerful female mystic singer and one of the most celebrated Baul
performers, Pavarthy Baul, who is from a community that practices syncretic beliefs of both
Hindu and Sufi traditions, will also return in Mystic Songs of the Bauls. She presents an artform
that has been recognised as a Masterpiece of the Oral and Intangible Heritage of Humanity
by UNESCO.
A day to night experience
The three-day festival opens on Friday evening, followed by two full days of meditation
sessions, workshops, talks and performances on Saturday and Sunday. The festival is
designed to guide audiences through a line-up of programmes beginning with the quiet and
introspective, to invigorating and engaging the senses through hands on participation, and
finally to igniting and revitalising one’s being through performances which go on into the
evening. Some activities to highlight include an opportunity to experience the chants that make
a soundscape of a Catholic monastery or Tibetan Buddhist Hall early in the morning with Call
of the Dawn programmes, and beginner-friendly and non-religious meditation sessions to start
the day with mindfulness. There will also be an Italic calligraphy workshop by Ludwig Tan
where participants can learn the style of calligraphy that was reserved for official documents,
which was developed in the Vatican during the 15th century.
Page 2 of 25
Esplanade is a charity and not-for-profit organisation, and free programmes such as A
Tapestry of Sacred Music are made possible by our funders and donors. The performances
at this festival celebrates what we all experience as humans, bringing to the fore our
commonality as opposed to differences. Organisations or individuals can help keep this
festival free by making a contribution at donation boxes placed around Esplanade, or on
www.giving.sg/esplanade
Please refer to the Annex for the festival’s full line-up and details. More information and
registrations for A Tapestry of Sacred Music 2018 workshops and activities can be found at
www.esplanade.com/tapestry.
Several essays on the different sacred music artforms at the festival have been published on
the Learn section of Esplanade’s website and can be read at these links:
• Kirtan: Singing to the Divine
https://www.esplanade.com/learn/in-depth/theatre-music-and-dance/kirtan-singing-to-the-
divine
• Tuvan throat singing: the call of the herdsman
https://www.esplanade.com/learn/in-depth/theatre-music-and-dance/tuvan-throat-singing-
call-of-the-herdsman
• The Bauls: poets and rebels
https://www.esplanade.com/learn/in-depth/theatre-music-and-dance/the-bauls-poets-and-
rebels
• Qawwali: From shrine to rock arena
https://www.esplanade.com/learn/in-depth/theatre-music-and-dance/qawwali-from-shrine-to-
rock-arena
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About Esplanade – Theatres on the Bay
Esplanade is Singapore’s national performing arts centre. It has a year-round line-up of about
3,000 performances presented by Esplanade, its partners and hirers. As an arts centre for
everyone, Esplanade also creates opportunities for seniors, youth, children and underserved
communities to experience the arts. More than 70% of the shows that take place each year at
the centre are non-ticketed. The centre works in close partnership with local, regional and
international artists to develop artistic capabilities and content, push artistic boundaries and
engage audiences. It also develops technical capabilities for the industry nationally.
This architectural icon, with its distinctive twin shells, houses world-class performance spaces
complemented by a comprehensive range of professional support services. Its two main
venues are the 1,600-seat Concert Hall and a Theatre with a capacity of 2,000.
Esplanade – Theatres on the Bay is operated by The Esplanade Co Ltd (TECL), which is a
not-for-profit organisation, a registered Charity and an Institution of a Public Character. The
Charity Council awarded TECL the Special Commendation Award – Clarity of Strategy in
2016, and the Charity Transparency Award in 2016 and 2017.
In October 2017, Esplanade launched #mydurian—a year-long celebration for its 15th
anniversary—comprising programmes and activities that bring together people and stories
that have helped shape the iconic arts centre fondly dubbed the Durian.
Visit www.esplanade.com for more information.
~ End ~
Issued by The Esplanade Co Ltd.
For more information, please contact:
Gina Koh
Communications Specialist
The Esplanade Co Ltd
Tel: 6828 8332
Email: kgina@esplanade.com
Eddie Toh
Arts Marketing Strategist
The Esplanade Co Ltd
Tel: 6828 8287
Email: teddie@esplanade.com
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Annex
A Tapestry of Sacred Music 2018
A Tapestry of Sacred Music was first launched by Esplanade – Theatre’s on the Bay in 2009.
The festival focuses on artistry and music inspired by faith, practised by communities all over
the world. Over the past nine years, we have showcased as many as 23 different spiritual
traditions, as well as 56 different cultural communities, creating a rich tapestry of some of
humanity’s most affecting and powerful musical expressions.
In our 10th edition, we present some of the highlights of the previous years, bringing together
sacred music practitioners who have touched the hearts and minds of our audiences. Many
of these artists practise within places of worship not commonly accessible outside of the
community; others come from further abroad and are torchbearers of their own traditions.
Their art comes in a myriad of forms, from meditative chants to melismatic devotional songs,
ceremonial percussion and ritual theatre.
We invite you to revel in these diverse expressions of a common humanity that convey our
pains, joys and hopes, as we reach out to something greater than ourselves.
A Tapestry of Sacred Music runs from 20 – 22 April 2018.
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Liturgical Songs of Istanbul
by Kudsi Erguner Ensemble (Turkey)
21 Apr, Sat, 8 – 9.15pm
(1hr 15mins, no intermission)
Esplanade Concert Hall
With a long history of invasions and conquests by Greek colonists, the crusaders and Osmanli
conquerors, the city we now know as Istanbul has witnessed the rise and fall of many empires,
all of which have added to the cultural diversity that it is known for today. Once the capital of
the Byzantine Empire and the prime centre of Christianity alongside Rome, it was also the
capital of the Ottoman Empire, during which the Greeks, Persians, Arabs, Armenians, Jews
and Turks co-existed and contributed to the richness of the city. Consequently, the songs of
the Hebrew maftirim (Jewish mystic music), Sufi ceremonial music and Eastern Orthodox
hymns became part of the musical fabric of the people.
In tribute to the multi-faith history of Istanbul, the Kudsi Erguner Ensemble presents a
repertoire of traditional sacred music from the various communities in the ancient city.
About Kudsi Erguner
Paris-based musician, composer, musicologist, teacher and author Kudsi Erguner is one of
the foremost ney (Turkish reed flute) masters of our time and an authority of traditional Sufi
music who has introduced Ottoman and Sufi music to the world.
Born in Diyarbakır, Turkey, into a musical family following the Sufi tradition, he is the only
Turkish musician of his generation to learn the ney in the classic aural tradition.
Erguner began his musical career in 1969 as a member of the Istanbul Radio Orchestra. In
1975, he moved to Paris to study architecture and musicology. In his work as a musical
anthropologist and historian, he has published many field recordings of traditional music, and
made many studio recordings of music from the 16th century Ottoman repertoire.
Erguner has performed and collaborated with a wide range of internationally celebrated artists
including Robert Wilson, Peter Brook, Alexandre Desplat, Nusret Fathi Ali Khan, and
ensembles like the Hillard Ensemble and the New Ensemble.
He has also released more than a hundred CDs mostly dedicated to the different aspects of
the Ottoman music, as well as published books in French.
In 1981, Erguner founded the RUMI association, an institute for the study of the classical
music and teachings of the original traditions of Sufis. He gives conferences on Sufism and
Sufi music all over the world and leads two small communities connected to the Mevlevi
tradition; one in Paris and one in Istanbul. In 2014, Erguner was awarded an honorary
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doctorate from the Bulent Ecevit University in Turkey and was designated a UNESCO Artist
for Peace in 2016. He is a professor at the Rotterdam Conservatory (CODARTS), and
conducts master classes (Birun) at the Giorgio Cini Foundation in Venice.
This performance is made possible with the generous support of the Embassy of the Republic
of Turkey and Turkish Airlines.
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Pipe Organ Recital
by Jeremy Woodside (New Zealand)
22 Apr, Sun, 3 – 4pm
(1hr, no intermission)
Esplanade Concert Hall
It’s your chance to catch the Esplanade Concert Hall’s pipe organ in action! In this solo recital,
Jeremy Woodside plays a varied programme of 17th to 21st century organ works from the
English, German and French traditions. Highlights include Bach’s Prelude and Fugue in A
Minor, BWV 543, Max Reger’s Introduction and Passacaglia in D minor, and Franck’s
magnificent and virtuosic Chorale no. 3 from his Three Chorales For Organ.
About Jeremy Woodside
Jeremy Woodside was born in Christchurch, New Zealand, where he was a chorister at
ChristChurch Cathedral and later Assistant Organist. He has held organ scholar positions at
Wells Cathedral and Westminster Abbey, and has directed and accompanied a number of
choral societies and choirs.
In 2011, Jeremy directed the ChristChurch Cathedral Choir for the National Memorial Service
in Hagley Park following the February earthquakes, in the presence of HRH Prince William.
He also gave a number of solo recitals throughout Europe to raise money for the cathedral’s
appeal, and has released three solo CDs on the ChristChurch Cathedral organ. He is an active
composer with various pieces being published by the RSCM and SOUNZ.
Jeremy graduated with a Bachelor of Music (First Class Honours) degree from the University
of Canterbury, and later completed his Master’s in Organ Performance at the Sydney
Conservatorium of Music. In August 2013, he gave the inaugural organ recital at the
Transitional Cathedral, Christchurch.
Jeremy’s organ tutors were Daniel Moult, Thomas Trotter and David Briggs. He received his
Fellowship in Organ Performance from Trinity College, London in 2009 and also holds an
Associateship Diploma from The Royal College of Organists. As a recitalist/accompanist, he
has performed in venues including Gloucester, Ely, Lincoln and Manchester Cathedrals, St
George’s Chapel Windsor, the Notre Dame in Paris, the International Organ Summer Festival
in Rome, and the Musikverein in Vienna. Recent and future engagements include St Andrew’s
Cathedral in Sydney, Westminster Cathedral, Malvern Priory, Christ Church Priory Dorset,
Esplanade in Singapore, Organix 18 in Toronto, and Westminster Abbey. In September 2015,
Jeremy took up a post at Repton School as Head of Keyboard and School Organist.
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Post-Concert Pipe Organ Tour
22 Apr, Sun, 4.30pm, 5.30pm & 6.30pm
Meeting Point: Esplanade Concert Hall Information Counter
Join us on an exclusive backstage tour to view Singapore's largest pipe organ. See the pipes
and mechanisms up close, and find out how the instrument makes a range of sounds, from a
tiny whistle to a monstrous growl.
Priority will be given to pre-registered participants on a first come, first served basis. Check
out www.esplanade.com/tapestry for more information.
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Morning Programmes
Call of the Dawn: Gregorian Chants
by Schola Cantorum Sancti Gregorii Magni
21 Apr, Sat, 9 – 9.45am
Esplanade Concourse
The Gregorian chant, which originated in Rome in the seventh century, is considered to be
one of the oldest manifestations of Western music and the first of its kind to evolve musical
notation into what we have today.
During the season of Eastertide (the period after Easter), the Church celebrates the
resurrection of Jesus Christ, his appearances after the resurrection, his ascension to heaven,
and the coming of the Holy Spirit at Pentecost. It is a period of rejoicing most obviously marked
by the extensive use of the acclamation, “Alleluya”.
Join Singapore’s only Gregorian chant group Schola Cantorum Sancti Gregorii Magni in a
contemplative morning as they present the Lady Mass during Eastertide.
Call of the Dawn: Tibetan Buddhist Chants
Mangtro Monastery, Ladakh (India)
22 Apr, Sun, 9 – 9.45am
Esplanade Concourse
The picturesque Mangtro (Matho) Monastery is a Tibetan Buddhist institution perched on a hill
in Ladakh, overlooking what some call “the Last Shangri-la”. Established in 1410, the remote
monastery is a place of great cultural and spiritual significance. It carries a tradition of masked
Page 10 of 25dances, oracle festivities and ceremonies, performed against the backdrop of the snowy
Himalayan peaks
We bring you a rare opportunity to experience the aural soundscape of this historic monastery.
Led by HE Dagpo Shabdrung Rinpoche, the monks from the Mangtro Monastery will begin
the day with Tibetan Buddhist chants.
Meditation Session (Beginner Friendly)
by Joyful Garden Community of Mindful Living
21 & 22 Apr, Sat & Sun, 9.50am
Esplanade Concourse
Awaken to mindfulness with this meditation session, guided by Joyful Garden Community of
Mindful Living. This non-religious meditation session is suitable for all levels including
beginners.
About the facilitator
Joyful Garden Community of Mindful Living is a community in Singapore that follows Zen
Master Thich Nhat Hanh and the Plum Village tradition. It was formed in 2008 by a group of
friends who were inspired by the practice of mindfulness. The group organises regular
mindfulness programmes such as their monthly Day of Mindfulness and retreats.
Page 11 of 25Afternoon to Evening Programmes
Laude Novella: Franciscan Devotional Songs from Mediaeval Italy
by Cappella Martialis
20 Apr, Fri, 7.15 – 7.45pm
22 Apr, Sun, 2.15 – 2.45pm & 7.30 – 8pm
Esplanade Concourse
The early Franciscans encouraged members of the church to sing songs of praise in Italian in
addition to the Latin chants of the official services. One important collection of these is the late
13th century Laudario di Cortona. Cappella Martialis explores some of these praise songs for
various occasions—Christmas, Easter, St Francis, and the Virgin Mary—through various
combinations of voices and mediaeval instruments.
Guqin - Music of the Sages
by Zhuomin
20 Apr, Fri, 8.15 – 8.45pm
22 Apr, Sun, 6.30 – 7pm
Esplanade Concourse
For over 3,000 years, the guqin (seven-stringed Chinese zither) has captivated its listeners
with its meditative, austere and mellow tones, said to have the ability to cleanse one’s mind
and bring one closer in harmony with nature. The instrument is steeped in symbolism and
meaning—in its music, physical construction and philosophy. Over centuries, guqin ideology
developed from the confluence of Confucianist, Taoist and Buddhist influences. Some of its
most celebrated pieces express the ideals of Taoist hermits and being in communion with
nature, while others draw influence from Buddhist chants and states of serenity.
Page 12 of 25About Zhuomin
Zang Zhuomin the founder of the Zhuomin Guqin School and a PhD student of Traditional
Music Aesthetics in the Nanjing University of the Arts. She is an Executive Council member
of the Yangzhou Qinzheng Association, and a member of the Chinese Musicians' Association
Aesthetics Society. Additionally, she serves as a guqin examiner of the China Nationalities
Orchestra Society and jury of Yangzhou International Guzheng Competition. Zhuomin is a
proponent of aesthetics education for children, and one of the co-authors for the syllabus of
the Chinese Cultural Experience Workshop.
Mystic Songs of the Bauls
by Parvathy Baul (India)
20 Apr, Fri, 9.15 – 10pm
21 Apr, Sat, 4.30 – 5.15pm & 7.15 – 8pm
Esplanade Concourse
The mystic Baul minstrels from rural Bangladesh and West Bengal are a syncretic religious
sect known for their freedom from convention and spontaneous expression of love for the
divine. Their music has for centuries been a huge influence on Bengali culture, particularly on
the poetry and music of Nobel Prize laureate Rabindranath Tagore.
Dating back to the eighth century, the Baul tradition weaves together threads from Sahajiya
Buddhism, Turkish Sufism and Bengali Hinduism. This powerful musical form has been
recognised as a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO.
About Parvathy Baul
As the most renowned female Baul performer in the world, Parvathy Baul is a practitioner,
performer and teacher of the Baul tradition from Bengal, India. She is also an instrumentalist,
storyteller and painter.
She has performed in over 40 countries, including prestigious concert halls and music festivals
such as the Noh Theater in Kyoto, the World Music Center in New York City, and the Festival
of World Sacred Music in Fez, Morocco.
Parvathy’s technical virtuosity—her mastery of vocal pitch and tone while playing multiple
instruments and dancing—has been lauded by music experts. The depth of her mesmerising
performance is rooted in her deep spiritual practice, and is described by critics as “riveting”
and “spellbinding.”
Parvathy’s performance work emerges from a long lineage of master Baul singers, dancers,
and spiritual teachers. She studied closely with two of the most respected Baul singer-gurus
Page 13 of 25of the previous generation, Sri Sanatan Das Thakur Baul and Sri Shoshanko Goshai. She was
recognised by her gurus as both a musical and spiritual teacher in the Baul tradition, carrying
forward their spiritual legacy.
She is a tireless advocate for the preservation and renewal of the tradition and frequently
makes use of her international reputation to promote lesser-known master performers. Her
efforts in bringing women more opportunities to train in the traditional Baul arts have also been
unprecedented.
Parvathy has recorded five music CDs and published a book on the Baul tradition through
Ekathara Kalari, her non-profit institution which promotes ancient Indian spiritual traditions,
with an emphasis on Baul arts and practices.
The Griot Tradition of West Africa
by N'Faly Kouyaté (Guinea)
21 Apr, Sat, 5.45 – 6.15pm
22 Apr, Sun, 5.15 – 5.45pm
Esplanade Concourse
Griots (meaning “blood of the society” in Mandinka language) are West African musicians,
praise-singers, historians, storytellers, poets and advisors whose practices originate from 13th
century Mali Empire. They are akin to living libraries who perpetuate wisdom and knowledge
through the oral tradition. Griots are said to have power in speech, their very words are imbued
with a spiritual force that allows their songs to motivate or shame, shaping the reputation of
the patron. Not everyone can be a griot, however, as the tradition is passed through specific
family lines.
Often called upon for their services in formal ceremonies such as weddings, baptisms and
funerals, griots sometimes perform on the kora (21-string plucked instrument) that is capable
of producing sounds of deep reflection as well as mellifluous, running melodies. Although
modern griots sometimes bring contemporary influences to the music, the centuries-old
repertoire is still performed today.
Page 14 of 25Zafin - Devotion and Celebration
by Firqah Alwehdah
21 Apr, Sat, 8.45 – 9.30pm
22 Apr, Sun, 4 – 4.45pm
Esplanade Concourse
Zafin is a centuries-old dance form that means “footwork”, and it’s no wonder how it got its
name. The genre is noteworthy for its deft footwork and the spring in each dancer’s step,
whether the song is fast and energetic, or slow and relaxing.
This dance form, which is always accompanied by music and singing, is believed to have
originated in Persia and Arabia and then introduced to Malaysia, Indonesia, then Singapore
by Arab traders and Muslim missionaries in the 15th century. Once it took root in these
countries, regional versions were born, inspired by the culture and lifestyles of each region.
Originally intended as a way to further the spread of Islam, only males could perform zafin,
and in the presence of religious teachers who explained the meaning of the verses being sung.
It was how religious knowledge was being passed on to the audience.
Historically, zafin was danced during important occasions in the religious calendar such as Eid
al-Fitr at the end of the fasting month of Ramadan, the Prophet Muhammad’s birthday, and Eid
al-Adha after the Hajj pilgrimage.
There are no fixed rules to the number of dancers that can perform together, but
because zafin is interactive, it is usually performed in pairs. This gives each couple the
opportunity to tease and challenge each other as they keep to the rhythms.
The gambus (a lute-like stringed instrument), accordion, violin, marwas (bongos) and
the rebana (hand drum) are all mandatory instruments used to create the signature full-
bodied zafin sound that inspires merry-making and participating.
Today, Arabic zafin is still mainly performed by men, although it has later influenced genres
of Southeast Asian secular dance such as zapin Melayu where both men and women are able
to participate.
Firqah Alwehdah presents a musical invitation into the culture, sounds and movements
of zafin.
Page 15 of 25Throat Singers of Tuva
by Huun-Huur-Tu (Tuva)
21 Apr, Sat, 10.15 – 11.15pm, Esplanade Concourse
22 Apr, Sun, 9.15 – 10.15pm, Esplanade Outdoor Theatre
For centuries, the low, droning call of the Tuvan herdsman has resounded in the vast, cold
grasslands of Tuva between Siberia and Mongolia, the land of herding, wrestling, shamanism,
wildly romantic folklore, and Tuvan throat-singing known as xöömei.
It is the art of singing two or more notes at a time by manipulating the muscles of the throat,
mimicking the sounds of the land, honouring earth, animal, water and sky. The song transports
listeners to a world of rushing waters, whistling winds, galloping horses and birdsong. Find out
how the Tuvan’s belief in spirits is reflected in their musical practices and learn how natural
sounds are mimetically transformed into music representations.
Today, it is still practiced as part of the traditional Tuvan way of life, now performed in
ensemble with traditional instruments such as the horse head fiddle, capturing the hearts of
audiences worldwide.
Among its biggest stars is four-piece music group Huun-Huur-Tu.
About Huun-Huur-Tu
Huun-Huur-Tu come from the former Soviet Autonomous Republic of Tuva, a sparsely settled
region of grasslands, boreal forests, and mountain ridges that lies 2,500 miles east of Moscow,
Russia, situated at the centre of Asia, just north of Mongolia. The indigenous music highlights
rare instruments and preserves what is arguably some of the world's oldest forms of music-
making. The best-known genre of Tuvan music, xöömei (throat-singing), comprises what one
might call a lexicon of musical onomatopoeia in which natural sounds are mimetically
transformed into musical representations. Their past collaborations range from Ry Cooder to
The Kronos Quartet. The current album Eternal is a collaboration with electronic musician and
record producer Carmen Rizzo (Niyaz, Ryuichi Sakamoto, Paul Oakenfold, Seal) to form a
unique blend of ambient electronic and sonic textures compared to the style of Brian Eno. The
album takes you through a lush cinematic journey of almost dream like sequences of deep
happiness. Forty minutes of a thrilling ride from start to finish.
More details: http://www.hhtmusic.com/band.html
Kaigal-ool Khovalyg: vocals (khoomei, sygyt and kargyraa), igil (two-string bowed instrument)
Sayan Bapa: vocals (kargyraa and khoomei), toschpulur (lute with two strings), igil, guitar
Alexei Saryglar: vocals (sygyt), tuyug (horse hooves), tungur (shaman-drum), igil
Radik Tyulyush: vocals, igil, shoor (Tuvan flute)
Page 16 of 25Korean Shamanistic Music
by Yang Bona (Korea)
20 Apr, Fri, 7 – 7.30pm (Festival Opening) & 9 – 9.45pm
21 Apr, Sat, 7 – 7.45pm
Esplanade Outdoor Theatre
Shamanism has a history of some 5,000 years in Korea, where it was once a state religion.
The fact that the first mythical ruler of the peninsula was a shaman attests to its importance in
this ancient society. Although diluted and diverted throughout its history by religions brought
over from India, China and the West, it never completely died. It is possible to see its traces
in every aspect of life, from the casual rituals of daily events to music and dance.
The core of Korean shamanism is the gut ceremony, aimed at catering to certain needs of a
pre-historic agrarian society. Music and dance are also a way to create a communal union
with the audience. Once the most important part of ritual, shamanic music is now performed
on the concert stage for eager audiences. The gayageumzither, bowed string haegeum and
even the Western acoustic guitar are sometimes used to tamper with the rawness of shamanic
music, appealing more to contemporary listening tastes.
About Yang Bona
Yang Bona is an award-winning musician trained in Korean shamanic music. She has
received numerous honours in Korea and abroad, including the prestigious President Award
of the 14th World Samulnori Competition. Her performance will showcase different forms of
gut music, complete with colourful costumes, intense rhythms and exciting dances.
Page 17 of 25Qawwali - Exaltation and Ecstasy
by Nurulhuda Islamic Ensemble
20 Apr, Fri, 8 – 8.30pm
21 Apr, Sat, 9.15 – 10pm
22 Apr, Sun, 7.45 – 8.30pm
Esplanade Outdoor Theatre
The history of maritime trade between the Arabs and Indians goes as far back as the seventh
century, where Muslim traders would sail to India carrying fragrant spices, gold and other
precious goods. Along with items of material value, the Arab voyagers also carried with them
their spiritual beliefs to the southern shores of India, some settling down along the Malabar
Coast, building some of the first mosques in the Indian subcontinent. The spread of Islam did
not come to a halt there, but also filtered through to Southeast Asia.
The mass influx of migrants after Singapore in the 19th century marked the transference of
South Indian Muslims to the island. Their culture and music co-existed and sometimes fused
with those of other peoples in the region. They brought from India their own frame drums
called daffs, and played them in unison to a common beat. At the same time, they encountered
the kompang – Malay frame drums, played in a layered, interlocking rhythm. Over time, both
instruments found their place in the celebrations of this migrant community.
In recent years, qawwali devotional songs from Pakistan and North India have become a
popular musical influence to the descendants of the South Indian Muslim migrants. This
enrapturing form popularised by Nusrat Fateh Ali Khan and his contemporaries inspired others
to incorporate the format to occasions of worship and celebration. However, where qawwali is
typically sung in Urdu, the South Indian Muslim ensembles sing in their own vernacular. These
varied influences created a unique genre of Islamic music that exists not only as an exaltation
of the divine, but also a rich cultural expression born from the melting pot that is the Malay
Peninsula.
Established in 1983 as a kompang group to serve the needs of the Indian Muslim community
in Singapore, Nurulhuda Islamic Ensemble passes on the traditions of the frame drum, and
provides a safe social environment for youth under the guidance of group mentor Mohamed
Ali Jinnah. The ensemble has adopted the use of various instruments such as the dhol (barrel
drum) and electronic harmonium, and has adapted the qawwali genre in their performances,
creating unique renditions of Tamil Islamic music. Through their innovative approach and
captivating sound, the group is highly sought-after within their community for weddings, social
meetings and celebrations. The ensemble has received international recognition for their
performances abroad, and has performed on local radio and in television productions.
Nurulhuda Islamic Ensemble is joined by special guests Habib Ansari, Mohamed Nazir and
Gopalakrishna S/O Murugaya.
Page 18 of 25Cham – Masked Dances of Tibet
by Mangtro Monastery, Ladakh (India)
20 Apr, Fri, 7.30 – 8pm & 8.30 – 9pm, Esplanade Courtyard
21 Apr, Sat, 8.15 – 8.45pm, Esplanade Outdoor Theatre
The picturesque Mangtro (Matho) Monastery is a Tibetan Buddhist institution perched on a hill
in Ladakh, overlooking what some call the Last Shangri-la. Established in 1410, it is the home
of two legendary oracles that make an appearance in the festival of Nagrang, held on the 15th
day of the first month of Tibetan calendar. During this auspicious occasion, monks perform
dance ceremonies known as cham.
The dance’s colourful masks, regal costumes and broad movements belie an esoteric,
mystical aspect only revealed to initiated practitioners. Performed to a ceremonial ensemble
of long horns, cymbals and drums, each carries different meanings: some to appease and
delight the deities, others to subdue evil. It is believed that having the fortune to witness the
cham dance brings blessings and clears obstacles from the path of life.
20 Apr, Fri, Esplanade Courtyard
7.30pm: Deer Dance, Warrior Dance
8.30pm: Bhikshu (Monk) Dance, Deer Dance
21 Apr, Sat, Esplanade Outdoor Theatre
8.15pm: Warrior Dance
Page 19 of 25Sikh Kirtans: Singing to the Divine
by Gurmat Sangeet Academy, Sikh Centre (Singapore)
22 Apr, Sun, 6.15 – 7pm
Esplanade Outdoor Theatre
Regarded by the Sikhs as one of the highest forms of devotional music, the kirtan (meaning
“glorification” or “praise of the divine”) is a meditative call-and-response form of chanting that
is performed at every important occasion in all Sikh households.
Replete with devotional lyrics and gentle rhythms that clear one’s mind, kirtans establish a
connection with the Supreme Being and are normally performed within the gurdwara (Sikh
place of worship).
This presentation by devotees from the Gurmat Sangeet Academy at the Sikh Centre features
North Indian instruments not often seen in public.
West African Ceremonial Music
by Fanka Fellas and N'Faly Kouyaté (Singapore/Guinea)
21 Apr, Sat, 7.45 – 8.15pm & 8.45 – 9.15pm
22 Apr, Sun, 7.15 – 7.45pm & 8.30 – 9pm
Esplanade Courtyard
Drums hold a special place in the culture and history of Africa. Used for a variety of occasions,
from sounding the call of war, to conveying joy, play, community and death, even reaching out
to the spirit world, drumming is as much a spiritual practice as it is integral to the social and
cultural fabric of the African way of life. In much of Africa, drums can also symbolise royalty
and offer protection.
Page 20 of 25This presentation showcases the percussive and melodious elements of West African
mandingue music through the djembe (a wooden drum with goat skin) and kora (a traditional
African string instrument).
About Djembe Singapore Club
Djembe Singapore Club is a community of aficionados who meet up regularly to learn West
African djembe drumming. Weekly classes have been running since 2005 with occasional
workshops which feature guest artists. Classes and performance repertoire include traditional
drumming songs from the highlands and the forest regions of West Africa.
About Fanka Fellas
Fanka Fellas are a group of djembe percussionists who studied traditional drumming
extensively and are responsible for influencing the djembe movement in most parts of Asia.
About N’Faly Kouyaté
Known as the “Jimi Hendrix” of Kora, N’Faly Kouyaté is a multi-talented artist who comes from
a deeply traditional background. As the son of the famous “Konkoba” Kabinet Kouyaté from
Guinea, he was brought up as a griot (a West African historian, storyteller, worship singer,
poet and/or musician), an ambassador of the Mandingo culture. A griot (which in the Mandinka
language translates to “blood of the society”) is considered to be a living library, a history teller,
counsellor to the king and the population. The Grammy-nominated musician, N’Faly was also
named Ambassador of the Intercultural Dialogue and winner of the Guinée Music Award in
Belgium in 2012.
Page 21 of 25Workshops & Talks
Priority will be given to pre-registered participants on a first come first served basis.
*Registration required. Details on www.esplanade.com/tapestry
*A Papal Script: Chancery Italic Calligraphy Workshop
by Ludwig Tan
21 Apr, Sat, 10am – 12pm & 2.30 – 4.30pm
22 Apr, Sun, 10am – 12pm
Esplanade Bay Room
Have you ever wanted to learn traditional Western calligraphy? In this workshop, get to know
the basics of italic, a calligraphic style that originated in the 15th century, used in the Papal
chancery. It remains very popular today, owing to its beauty, simplicity and versatility. Learn
how to write with an edged pen, make basic shapes with it, and combine them into letters of
the Italic alphabet. By the end of the workshop, you should be able to write your name and
some short phrases.
About Ludwig Tan
Ludwig Tan has been practising Western calligraphy since 1986, and conducts regular
workshops for the public and at schools. He is an executive committee member of the UK-
based Society for Italic Handwriting, for which he co-edited a book on handwriting, Dance of
the Pen. Ludwig is Associate Professor and Vice-Dean of the School of Arts and Social
Sciences (SASS) at the Singapore University of Social Sciences (SUSS).
*Incense-Making Workshop
by Chia Wei Sheng
21 & 22 Apr, Sat & Sun
11am – 12pm & 2.30 – 3.30pm
Jendela (Visual Arts Space)
Incense is the liberation of scent and perfume by use of fire. Historically, apart from being
used as offerings in religious settings, it was also used by people to scent themselves and
their environments.
At this workshop, learn to make your own natural incense sticks or cones while you find out
some of the ways that incense can be used to perfume our surroundings and reduce stress.
About Chia Wei Sheng
Chia is the president of the Incense Culture Association of Singapore and author of incense
knowledge website kyarazen.com, where he shares his knowledge of incense and teaches
readers how to appreciate it.
*Introduction to Throat Singing
by Huun-Huur-Tu (Tuva)
21 Apr, Sat, 1 – 2.15pm
Esplanade Recital Studio
Get a glimpse into what is arguably one of the world’s oldest form of music making - xöömei.
It is the art of singing two or more notes at a time by manipulating the muscles of the throat,
mimicking the sounds of the land, honouring earth, animal, water and sky. The song transports
listeners to a world of rushing waters, whistling winds, galloping horses and birdsong. Find out
how the Tuvan’s belief in spirits is reflected in their musical practices and learn how natural
sounds are mimetically transformed into music representations
About Huun-Huur-Tu
Huun-Huur-Tu come from the former Soviet Autonomous Republic of Tuva, a sparsely settled
region of grasslands, boreal forests, and mountain ridges that lies 2,500 miles east of Moscow,
Page 22 of 25Russia, situated at the centre of Asia, just north of Mongolia. The indigenous music highlights
rare instruments and preserves what is arguably some of the world's oldest forms of music-
making. The best-known genre of Tuvan music, xöömei (throat-singing), comprises what one
might call a lexicon of musical onomatopoeia in which natural sounds are mimetically
transformed into musical representations. Their past collaborations range from Ry Cooder to
The Kronos Quartet. The current album Eternal is a collaboration with electronic musician and
record producer Carmen Rizzo (Niyaz, Ryuichi Sakamoto, Paul Oakenfold, Seal) to form a
unique blend of ambient electronic and sonic textures compared to the style of Brian Eno. The
album takes you through a lush cinematic journey of almost dream like sequences of deep
happiness. Forty minutes of a thrilling ride from start to finish.
More details: http://www.hhtmusic.com/band.html
Kaigal-ool Khovalyg: vocals (khoomei, sygyt and kargyraa), igil (two-string bowed instrument)
Sayan Bapa: vocals (kargyraa and khoomei), toschpulur (lute with two strings), igil, guitar
Alexei Saryglar: vocals (sygyt), tuyug (horse hooves), tungur (shaman-drum), igil
Radik Tyulyush: vocals, igil, shoor (Tuvan flute)
*West African Drumming and Music Workshop
By Djembe Singapore Club and N'Faly Kouyate (Singapore/Guinea)
21 & 22 Apr, Sat & Sun
3.30 – 5pm
Esplanade Recital Studio
Experience the energy and musical magic of African drum rhythms! In this workshop for
beginners, learn centuries-old playing techniques, the various rhythms played for mask
dances and initiation rites, as well as those performed by farmers and medicine men. African
djembe drums will be provided.
About Djembe Singapore Club
Djembe Singapore Club is a community of aficionados who meet up regularly to learn West
African djembe drumming. Weekly classes have been running since 2005 with occasional
workshops which feature guest artists. Classes and performance repertoire include traditional
drumming songs from the highlands and the forest regions of West Africa.
About N’Faly Kouyate
Known as the “Jimi Hendrix” of Kora, N’Faly Kouyaté is a multi-talented artist who comes from
a deeply traditional background. As the son of the famous “Konkoba” Kabinet Kouyaté from
Guinea, he was brought up as a griot (a West African historian, storyteller, worship singer,
poet and/or musician), an ambassador of the Mandingo culture. A griot (which in the Mandinka
language translates to “blood of the society”) is considered to be a living library, a history teller,
counsellor to the king and the population. The Grammy-nominated musician, N’Faly was also
named Ambassador of the Intercultural Dialogue and winner of the Guinée Music Award in
Belgium in 2012.
Ottoman Sufi Music and the Ceremonies of the Whirling Dervishes (Talk)
by Kudsi Erguner (Turkey)
22 Apr, Sun, 1 – 2.15pm
Esplanade Recital Studio
The ceremonies of the Whirling Dervishes of the Mevlevi Sufi Order have captivated viewers
with its mesmerising beauty and solemn music. Through physical active meditation, the
devotees spin in circles wearing robes of pure white, bringing them to a state that allows a
personal experience of the divine. Though sometimes known to the outside world as an iconic
cultural expression of Turkey, little is understood of the significance and symbolisms of the act
of whirling and of the music. In this session, master ney flute player and UNESCO Artist for
Page 23 of 25Peace Kudsi Erguner will give an introduction of the intricacies of the Mevlevi ceremonies and
music.
About Kudsi Erguner
Kudsi Erguner is one of the foremost Ney (Turkish reed-flute) masters of our times. He is also
considered as an authority of traditional Sufi music. Erguner has a restless innovative mind
and he has in a series of internationally acclaimed projects introduced Ottoman and Sufi music
to the world. He lives and works in Paris as a musician, composer, musicologist, teacher and
author.
Erguner was born into a musical family with Sufi tradition stretching back four generations. He
is the only Turkish musician of his generation to have been taught the Ney in the classic aural
tradition by his father, Ulvi Erguner, the last great master of that instrument, and the former
director of Radio İstanbul. In his parents’ house he was fortunate enough to meet many
established musicians from the older generation that held the key to Sufi tradition. Hundreds
of years of musical culture which always strove towards freedom and ecstasy are reflected in
Erguner’s music and playing.
He has performed and collaborated with a wide range of internationally celebrated artists such
as Robert Wilson, Peter Brook, Markus Stockhausen, Nusrat Fateh Ali Khan, and Jordi Savall
amongst others. Erguner is also renowned for his collaboration with Peter Gabriel for the
soundtrack of Martin Scorsese's The Last Temptation of Christ.
Prayer Rugs of the Caucasus (Talk)
by Imran Mir
22 Apr, Sun, 5 – 6pm
library@esplanade
Caucasian rugs have been prized by collectors since their appearance on the western market
in the 19th century. Several books have been devoted to the rugs from this ethnically diverse
region. In this lecture, Imran ABID Mir of Lotto Carpets Gallery will focus exclusively on prayer
rugs which, featuring special purpose weavings with important social and religious significance,
were created by highly skilled weavers using the finest materials. Discover the history of the
traditions, and feast your eyes on examples dating as far back as the 18th century. There will
be a Q&A session at the end of the lecture.
Page 24 of 25Also happening
Blowing in the Wind
1 – 30 Apr
PIP’s PLAYBox
11am – 2pm & 3 – 6pm
Free
This is a self-guided craft activity.
Come make your own Tapestry Flag at PIP’s PLAYBox and draw or colour in your own
symbols of hope, wishes and dreams!
Happening In Conjunction with A Tapestry of Sacred Music
Buddhist Imageries Seal Carving Workshop
by seal engraver Tan Shin Tiong
20 Apr, Fri, 7 – 9pm
Artsembly
Esplanade Mall
$60
Suitable for age 13 and above
In conjunction with Esplanade’s A Tapestry of Sacred Music, Artsembly is proud to bring to
you a special seal carving workshop which focuses on Buddhist imagery. In this workshop,
participants will learn the basic techniques of pictorial seal carving and get hands-on practice
under the guidance of the facilitator. Participants will get to bring home their completed seal,
print, carving knife and ink paste after the session.
Sign up at https://www.esplanade.com/festivals-and-series/a-tapestry-of-sacred-
music/2018/buddhist-imageries-seal-carving-workshop
Page 25 of 25You can also read
