Overview

1. Setting New Quality Standards – Bhava Harmoniums
2. Responsible Harmonium Manufacturing – Craftsmen & Ecology
3. Women in Classical Indian Music (2) – Challenges & Possibilties
4. Brief News: Independence Anniversary, Grammy Winner From Pakistan, Culture Clash in Kerala
5. How to Make (Indian) Music? (29) – Sense of Beauty
6. Workshops – October to February
7. Concerts – October to December

1. Setting New Quality Standards – Bhava Harmoniums

- New in Our Assortment -

Preserving tradition and setting new standards - that is the motto of Bhava, our new harmonium brand. Nic Dillon, founder of Bhava, has been importing harmoniums from Delhi to the USA since 2010. Nic has worked with various manufacturers and is very familiar with the local conditions. Despite many years of effort, he never got the required consistent high quality from the established manufacturers. That's why Nic hired some of the best craftsmen and started his own harmonium production in Delhi in 2020. Since then he is getting high quality harmoniums in Delhi style made according to his own ideas under the brand name Bhava. They are characterised by:

* evenly grown and well seasoned wood
* cleanly sprayed and particularly durable lacquer finish
* silk matt surfaces
* stainless steel screws and specially manufactured fittings
* extra soft bellows springs for long sustain and smooth fade-out
* high quality reeds for easy response and harmonious sound
* tasteful, noble design
* flawless exterior without scratches, dents or stains

No other harmonium maker in the Delhi region matches the impressive quality of Bhava Harmoniums. They meet Western standards and can only be compared to the quality of the Paloma harmoniums from Mumbai.

We now offer the following two Bhava models:

- Bhava Studio Standard Edition - 899 €
High-quality stand-up harmonium for regular use - full range, round sound and especially long sustain. Perfect for accompanying mantra singing, chanting, yoga and relaxation. Delhi style construction with simple stick keys and pine case. Without delicate octave coupler and superfluous lid - thus relatively light, robust and well transportable. The wood is only slightly coloured and retains a natural appearance with individual grain. Sound, feel and look convey lightness and joy. Well suited for beginners - but also great for professionals.
Further info, pictures & video.

- Bhava Classic Standard Edition - 899 €
High-quality foldable harmonium for regular use - full range, round sound, long sustain and wide dynamic range. Perfect for accompanying mantra singing, chanting, yoga and relaxation. The Delhi-style construction with fold-down bellows, pine case, double reeds and simple stick keys is a classic in the western kirtan scene. It makes the Bhava Classic SE relatively light, robust and easy to carry. The wood is only slightly coloured and thus retains a natural appearance with individual grain. Without delicate octave coupler. Sound, feel and look convey lightness and joy. Well suited for beginners - but also great for professionals.
Further info, pictures & video.

Other Bhava models can be ordered on request.

2. Responsible Harmonium Manufacturing – Craftsmen & Ecology

- Background Info-

Handicrafts have a highly developed tradition in India, going back thousands of years. Most manual work takes place in the informal sector, without state registration and regulation. In the best case, people who work informally can develop a lot of initiative and creativity, but they have no legal or social security, are often poorly paid and usually have a low social status. Traditional harmonium manufacturers in India are mostly informally organized as small family businesses with very few permanent employees. Unskilled workers and specialists for jobs like surface treatment and tuning are brought in as day labourers as required. As a rule, they are paid according to the number of pieces and are therefore constantly under time pressure. They often work in cramped, dark and poorly ventilated rooms, can be replaced at any time, lose their income if they become ill, have neither legal protection nor access to social benefits and are sometimes in debt to their clients. The quality of the manufactured instruments inevitably suffers under these poor conditions.

Nic Dillon, founder of the harmonium brand Bhava (see above), wants to change this situation from the ground up. Nic has not only set new quality standards with his harmonium workshop in Delhi, but has also created a role model in terms of social responsibility. All craftsmen work without time pressure until the desired quality is achieved. The workshop rooms are clean, air-conditioned and well-lit. At work, modern high-quality tools are used, thus reducing the physical strain. And the workers are permanently employed and get fair wages. Permanent employment gives them and their families access to government health, education and retirement benefits. All of this ensures a high level of satisfaction and motivation among the craftsmen and the entire team. They give their very best and are proud of the joint achievement. Here are some of their voices:

“I can say with pride I am part of a team who makes the best harmonium. Here, I am getting a chance to be part of an innovation team. We are the pioneer in dovetail joints for cabinets in the harmonium industry in India. This gives me job satisfaction. I have found a healthy working culture that keeps me energetic and innovative.” - Manoj Sharma, Senior Technician & Cabinet Maker.

“I always work with care and affection, keeping in my mind the feeling of the end user of a Bhava harmonium. This job is like dreams come true. I will never leave this shop because it helps us to stabilize our life financially as well as socially. I am very thankful to the management who supported me and my other family members during difficult COVID times.” - Rakesh Shah, Quality Assurance Technician & Tuner.

“It was the turning point of my life when I joined here. Before that, we never used mechanical tools; most of the things were being done by hands only. It saves my energy, and that energy I am using to make the best harmoniums. Here we are focused on quality rather than quantity. [There is a] great working culture and good team work that we have seen here only.” - Vijender Kumar,
Sr. Technician & Assembly, 35 years experience in the harmonium industry.

Ecological issues also play a role for Bhava. The high quality of the manufactured instruments ensures a particularly long service life. All wood is purchased on official, state-controlled markets. Protected woods are generally not used. Waste in production is avoided or recycled as much as possible. The instruments are preferably sent overseas by sea freight.

Further infos on Bhava harmoniums.

3. Women in Classical Indian Music (2) – Challenges & Possibilties

- Feature by Yogendra -

For Hindus, the god of Indian classical music is a woman: Saraswati is the goddess of music, language, knowledge, learning and science. Nevertheless, the publicly visible professional scene for Indian classical music is dominated by men - in India as well as in the diaspora.The previous newsletter gave a historical overview up to the end of the 20th century. This time we look at the current situation.

Sitarist Anoushka Shankar released her first solo record with classical Indian ragas in 1998, at the age of 17. This was initially made possible by her father, the legendary sitar virtuoso and world music pioneer Ravi Shankar. Anoushka had received her musical training from him and, as his student, assistant and designated successor, she had privileged access to his global network of musicians, promoters and record labels. After initial successes with classical Indian music, Anoushka Shankar increasingly went her own artistic way from 2005 onwards. She explored electronic sounds with musicians from the South Asian diaspora in England such as Karsh Kale and Nitin Sawhney, played with flamenco musicians (Traveller), composed, gave concerts, made recordings, processed the refugee crisis in Europe (Land of Gold) and addressed biographical experiences as a woman with an all-female band (Love Letters). In addition to her artistic work, she campaigned for animal rights and against sexual abuse and posed for the Indian editions of Cosmopolitan and Vogue. Anoushka Shankar's skilful play with different roles - as classical raga performer, creative composer, celebrity and activist - demonstrated in an exemplary way that traditional restrictions no longer had to have power over women of her generation. She became a pioneer and an iconic role model at the same time.

Today, in the globalised and digitised world of the 21st century, in which gender roles and identities are being renegotiated, women have gained a broader presence in Indian classical music than ever before. In the 20th century it was common for women in wealthy, traditional milieus to play the sitar, sarod or saraswati veena - but mainly in private. In the meantime, however, a number of women have established themselves publicly on classical concert stages. Some, like Anoushkar Shankar, were able to continue the family tradition as daughters of musicians - e.g. sitarists Mita Nag, Reshma Srivastava and Sahana Banerjee, sarodist Debasmita Bhattacharya and saraswati veena virtuoso Jayanthi Kumaresh. Others made their way without a traditional family network - including sitarists Roopa Panesar and Anupama Bhagwat and sarodists Moisilee & Troilee Dutta, Chandrima Majumdar and Rajrupa Chowdhury. Perhaps even more exciting than the emergence of female sitarists and sarodists is the fact that women today also play instruments for which there are practically no female traditions. Examples are bansuri players Debopriya & Suchismita Chatterjee and Rasika Shekar, sarangi player Manonmani, rudra vina players Jyoti Hegde and Madhuvanti Pal, and tabla players Rimpa Siva, Mukta Raste and Reshma Pandit. And of course there are still many wonderful female singers.

Despite great progress and successes, women in classical Indian music are still facing great difficulties today. Some affect women and men equally. The economic situation of most classical musicians in India is precarious. There are hardly any permanent jobs or other regular income opportunities. And there are no social security systems in the event of illness, unemployment or old age. The meager income from gigs and private lessons may be enough for a single life, but it can hardly support a family. This basic problem is exacerbated by the gradual marginalisation of Indian classical music as a result of the progressive westernisation, commercialisation and digitisation of cultural life in India. This problem is presented in the film "The Disciple" – which has been reviewed in our newsletter April - August 2021.

But women in Indian classical music also face problems directly related to being female. Music education is still heavily male-dominated; and in the intimacy of the traditional guru-shishya relationship, women have little protection from sexual harassment and assault. We have discussed this subject in the newsletter July – December 2020. The management positions of concert organisers, cultural sponsors and the media are still largely occupied by men who operate in men's networks. As far as I know, there are no special support programmes for women that could counteract this. A small ray of hope in this context are social networks and other new media. They increasingly enable women to become audible and visible in public outside of the male domain of established institutions.

Another point: The economic insecurity and the constant mobility necessary for a concert career are hardly compatible with a traditional family life. But most Indian parents and relatives still expect motherhood and family care from their daughters. The role of politics is contradictory in this context. The Hindu-nationalist BJP under Prime Minister Modi, which has governed India since 2014, appears modern and business-friendly on the one hand, but on the other hand propagates conservative values based on religion. Classical Indian music and yoga, for example, are seen as Hindu traditions and are therefore encouraged, but at the same time Muslim musicians are increasingly marginalised, yoga is misused for national propaganda, and women are primarily seen as mothers and housekeepers. Clear impulses for the advancement of women in classical Indian music come more from the South Asian diaspora in Great Britain or the USA. One example is the Darbar Festival in London, which has been presenting a striking number of women for many years. In Hamburg the Reflector Anoushka Shankar festival made a strong statement in 2021 - discussed in our newsletter September 2021 - January 2022. The mountain has started to move, and even if the mills grind slowly, at least the direction seems clear: Indian classical music is becoming more feminine.

4. Brief News: Independence Anniversary, Grammy Winner From Pakistan, Culture Clash in Kerala

- Scene Info -

Grammy for Arooj Aftab – New Ghazal Sound

In 1997, legendary Qawwali singer Nusrat Fateh Ali Khan was the first Pakistani musician to be nominated for a Grammy. He came away empty-handed at the time. At the Grammy Awards 2022, the relatively unknown Pakistani singer Arooj Aftab (*1985) has now achieved the sensation: Her new interpretation of the ghazal classic Mohabbat won the Grammy in the category Best Global Music Performance. Ghazals are poetic love songs in Urdu and are enormously popular in Pakistan and northern India. Arooj Aftab grew up listening to ghazals in a family with interest in traditional art in Lahore. As a teenager, she suffered from the feeling of being different. In 2005, she emigrated to the USA, studied music at the renowned Berklee College in Boston, and has been working as a singer, composer and producer ever since. Arooj Aftab's speciality are new interpretations of well-known ghazals with an innovative musical approach. This gives the poetry an unexpected freshness. The idiosyncratic instrumentation (with several stringed instruments such as violin, harp, guitar or double bass, but without percussion) creates a haunting, subtly hypnotic atmosphere. Thus, her music defies classification as Pakistani or Western. Instead, she dissolves the apparent opposition of the two worlds and creates a place of freedom beyond traditional categories.

Background info Telegraph India.
Arooj Aftabs Mohabbat (from her 3rd album Vulture Prince).

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75 Years of Indian Independance – Culture: Key to Understanding

On August 15th India celebrated the 75th anniversary of its independence. India's history, current situation and future perspectives have been discussed by numerous media worldwide. It became clear: India was and remains a political player with its own interests, opportunities and problems, who will not allow to be dominated by anyone else. Those who want to understand India better would do well to study its culture – which does not stop at the national borders (which were arbitrarily defined in 1947), but is also deeply rooted in the neighbouring countries of Pakistan (75th anniversary of independence on August 14), Nepal, Bangladesh and some parts of Sri Lanka. A good opportunity for this is provided by the film and series collection "Hooray for India", which the TV channel Arte put together to mark the anniversary of independence. A special treat for friends of Indian classical music is "The Music Room" by Academy Award-winning master director Satyajit Ray - definitely worth watching! Of course, numerous cultural events took place to celebrate the anniversary. And the diaspora also splashed out and produced their own contributions. Raag Darshan from the Hindu University of America is particularly original for music lovers: A 20-minute homage to the beauty of India in atmospheric pictures and texts - and at the same time a musical trip through 75 north and south Indian ragas (whose names are kindly displayed). Astonishing listening!

Arte Collection India– available for free until October 13, 2022
The Music Room – available for free on Arte until October 13, 2022
Raag Darshan with 75 ragas.

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Kerala Kalamandalam – Women Admitted for Kathakali Training

Kerala Kalamandalam, founded in 1927, is the most important training centre for Kathakali, one of the classical dance theatre styles from the southern Indian state of Kerala. Kathakali incorporates elements of traditional martial arts and requires students to spend years of rigorous training, beginning at a young age and incorporating high impact massage to sculpt the growing body. That is why the Kathakali study at Kalamandalam was previously reserved exclusively for men. Since the 1970s, however, more and more women have completed private training in Kathakali and have also found recognition in public performances. While other Kathakali institutions gradually opened up to women, the Kalamandalam kept excluding them. That is history now. This summer, the first teenage women were finally allowed to start Kathakali training at Kalamandalam. With this, the last major stronghold of institutional gender discrimination in Indian dance education has fallen.

Short video of the first female Kathakali students at Kalamandalam.
Kathakali documentary from 1959.

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Temple Festival in Kerala – Non-Hindu Artists Cancelled

Heated discussions revolved in April around the annual 10-day festival in the Koodalmanikyam Temple in Kerala with about 800 artists. The temple authorities cancelled the invited Bharatanatyam dancers V.P. Mansiya and Soumya Sukumaran with short notice because there was no proof they are Hindus. In response to that, the dancers Devika Sajeevan, Anju Aravind and Karthik Manikandan publicly declared that they were boycotting the festival out of solidarity with the excluded and also cancelled their performances. "Art has no religion or caste and transcends all barriers," wrote Anju Aravind. The Kerala state government called for talks between all parties involved to resolve the conflict, but temple officials insisted only Hindus could attend. Shashi Tharoor, world-renowned writer and politician from the opposition Congress Party, criticised the decision as damaging to society. B. Gopalakrishnan, vice-president of the Kerala branch of the Hindu nationalist BJP, explained that Hinduism is a comprehensive religion and non-Hindus cannot be excluded like that. And Ramesh Koottala, representative of a sub-group of the radical Hindu organisation RSS, called on the temple authorities to reverse the decision and ensure the participation of all artists. Under pressure from all sides, the temple committee has revised its position, declaring that a change in the old customs is necessary and suggesting that the priesthood supports the new policy. The struggle for the power of definition in Indian cultural life continues.

Hindustan Times background report.
Video impressions of Koodalmanikyam Festival 2019.

5. How to Make (Indian) Music? (29) – Sense of Beauty

- Quote by Carl Safina -

The series "How to Make (Indian) Music?" presents thought-provoking, inspiring or controversial quotes from artists and intellectuals.

Life created love and beauty and then steadily evolved in their direction. These two abilities are the two greatest, most important truths of the living world. If life ever had any goal on its long and arduous journey, it was the progression of love and beauty. The sense of beauty exists as an ingrained ability that has been inherited for an immeasurably long time and is inherent in many beings to varying degrees. It seems to me that the sense of beauty exists so that living beings feel at home here on earth, happy and alive. If there is anything more wonderful than the existence of life, it is the fact that life has created for itself a sense of beauty.

Carl Safina is a marine biologist and one of the most renowned nature writers in the world. His work has received many awards. Quote re-translated from Die Kultur der wilden Tiere, München 2022, German translation of the original Becoming Wild. How Animal Cultures Raise Families, Create Beauty, and Achieve Peace., New York 2020.

6. Workshops – October to February

- Scene Info -

01.10. GÖTTINGEN Harmonium learning seminar with Jürgen Wade
02.10. NL-ROTTERDAM Harmonium learning seminar with Jürgen Wade
07.-09.10. OY-MITTELBERG Harmonium learning seminar with Jürgen Wade
07.-09.10. BAD MEINBERG Indian dance with Anna Grover
14.-16.10. OY-MITTELBERG Harmonium advanced seminar with Jürgen Wade
15.10. MANNHEIM Raga meets Kirtan with Yogendra & Ashis Paul
16.-21.10. BAD MEINBERG Harmonium Intensive with Sarada Drautzburg
27.10. TÜBINGEN Harmonium learning seminar with Jürgen Wade
04.-06.11. BAD MEINBERG Harmonium learning seminar with Jürgen Wade
04.-07.11. CH-MIGLIEGLIA Naad Yoga Retreat with Manish Vyas
05.11. MUNICH South Indian percussion instruments with Ernst Ströer
05.11. BERLIN Naad Yoga with Sundaram
11.-13.11. WANGERLAND Harmonium learning seminar with Jürgen Wade
11.-13.11. OBERLAHR Harmonium learning seminar with Marco Büscher
12.-18.11. CH-BASEL Annual Seminar of the Ali Akbar College of Music - Indian vocal classical, instrumental, sitar & tabla
18.11. CH-LUZERN Naad Yoga with Manish Vyas
25.-27.11. BAD MEINBERG Harmonium advanced seminar with Evelyn Fiedermann
11/26 STUTTGART Harmonium learning seminar with Jürgen Wade
03.12. DARMSTADT Harmonium learning seminar with Jürgen Wade
04.12. MAINZ Harmonium learning seminar with Jürgen Wade
10.12. KASSEL Harmonium learning seminar with Jürgen Wade
11.12. DORTMUND Harmonium learning seminar with Jürgen Wade
12.12. CH-GOSSAU Harmonium Workshop with Manish Vyas
25.-30.12. OBERLAHR Mantras, Kirtans & Bhajans with Sundaram
30.12.-06.01.23 BAD MEINBERG Kirtan & Mantrasingen Instructor training with Narendra & Hagit
01.-04.01.23 OBERLAHR Harmonium learning seminar with Maya Plum
01/27-29/23 BAD MEINBERG Harmonium learning seminar with Jürgen Wade
03.-05.02.23 BAD MEINBERG Harmonium learning seminar with Evelyn Fiedermann
02/17-19/23 OBERLAHR Harmonium learning seminar with Maya Plum

Details of all workshops are available on our workshop calendar.

7. Concerts – October to December

- Scene Info -

01.10. OFFENBACH Deva Premal & Miten with Manose (Mantras)
01.10. KÖLN Shivani Karmarkar (Kathak Dance)
01.10. CH-BADEN IM AARGAU Venya Nair (Bharatanatyam Arangetram)
01.10. GB-LONDON Upahaar School of Dance (Bharatanatyam)
01.10. STUTTGART Ranajit Sengupta (Sarod)
01.10. CH-FREIBURG IM UECHTLAND Rabindra Goswami & K. G. Westman (Sitar)
01.10. BERLIN Madhrui Chattopadhyay (Violine), Roy Sunak (Bansuri)
02.10. GB-LONDON Elemental Goddess (dance performance)
02.10. STUTTGART Ranajit Sengupta (Sarod)
02.10. F-PARIS Deepa Hedge (Bharatanatyam)
03.10. F-PARIS Deva Premal & Miten with Manose (Mantras)
05.10. GB-LIVERPOOL Prabhat Rao (Khyal)
05.10. SE-STOCKHOLM Mayukh Gangopadhyay (Sarod)
06.10. BERLIN Silpi Paul (Khyal)
07.10. CH-BADEN IM AARGAU Renate Streuli (Carnatic Vocal)
07.10. CH-SEON Klaus Falschlunger (Sitar)
07.10. A-WIEN Rina Killmeyer (Bansuri), Swarnendu Mandal (Sarod)
07.10. F-PARIS Ranjan Narendra Lawrence (Sitar)
08.10. RU-MOSCOW Deva Premal & Miten with Manose (Mantras)
08.10. BERLIN Sebastian Dreyer (Sitar)
08.10. ARNSTADT Pulsar Trio (Fusion)
08.10. A-LINZ Rina Killmeyer (Bansuri), Swarnendu Mandal (Sarod)
08.10. PANKETAL Manickam Yogeswaran (Gesang, Mridangam, Kanjira)
08.10. F-PARIS Samrat Pandit (Khyal)
08.10. F-PARIS Deepsankar Bhattacharjee (Sitar)
09.10. CH-BADEN IM AARGAU Vijaya Rao (Bharatanatyam)
09.10. GB-LONDON Maya Dhananjay (Kathak)
09.10. F-PARIS Free Student Performance (Bharatanatyam)
09.10. F-PARIS Isabelle Anna (Kathak)
10.10. MÜNCHEN Deva Premal & Miten with Manose (Mantras)
11.10. NL-ALMERE Deva Premal & Miten with Manose (Mantras)
12.10. NL-ALMERE Deva Premal & Miten with Manose (Mantras)
13.10. GB-LONDON Sabir Khan (Sarangi), Ramana Balachandran (Vina)
14.10. GB-LONDON Sanskrati Wahane (Sitar), Prakrati Wahane (Santur)
14.10. GB-LEICESTER Soumik Datta (Sarod)
14.10. HEIDELBERG Yogendra (Sitar)
14.10. GB-LIVERPOOL Ramana Balachandran (Vina)
15.10. BG-SOFIA Deva Premal & Miten with Manose (Mantras)
15.10. GB-LONDON Uday Bhawalkar (Dhrupad)
15.10. GB-LONDON Eeshar Singh (Santur)
15.10. GB-LONDON Bharathi Prathap (Khyal), Rajrupa Chowdhury (Sarod)
15.10. GB-LONDON Britten Sinfonia, Anoushka Shankar (Sitar)
15.10. GB-LONDON Prabhat Rao (Khyal)
15.10. NEUSTADT WEINSTRASSE Yogendra (Sitar)
15.10. CH-BADEN IM AARGAU Divya (Bharatanatyam dance theater)
15.10. GB-LIVERPOOL J. A. Jayant (Bansuri)
15.10. STUTTGART Shirin Sengupta (Khyal)
15.10. F-PARIS Anwar Khan und Truppe (Rajasthani)
16.10. GB-LONDON Purbayan Chatterjee (Sitar), Rakesh Chaurasia (Bansuri), Shubha Mudgal (Khyal)
16.10. GB-SAFFRON WALDEN Britten Sinfonia, Anoushka Shankar (Sitar)
16.10. KASSEL Yogendra (Sitar)
16.10. CH-WINTERTHUR Divya (Bharatanatyam dance theater)
16.10. GB-LONDON Lakshay Mohan (Sitar), Aayush Mohan (Sarod)
16.10. STUTTGART Shirin Sengupta (Khyal)
16.10. F-PARIS Thomas Vo Van Tao (Mohiniyattam)
18.10. PL-KRAKOW Deva Premal & Miten with Manose (Mantras)
18.10. GB-BRISTOL Soumik Datta (Sarod)
20.10. HANNOVER Yogendra (Sitar)
21.10. GB-LONDON Soumik Datta (Sarod)
21.10. BERLIN Pulsar Trio (Fusion)
21.10. HAMBURG Yogendra (Sitar)
21.10. STUTTGART Mayukh Gangopadhyay (Sarod)
22.10. KLOSTER LEHNIN Matyas Wolter (Sitar)
22.10. NIENBURG Yogendra (Sitar)
22.10. GB-LONDON Alpana Sengupta Dance Company (Kathak)
22.10. STUTTGART Monalisa Ghosh, Rachana Kar, Reshmi Saha (Odissi)
22.10. F-PARIS Jyotika Rao und Truppe (Bharatanatyam)
23.10. CH-ZÜRICH Divya (Bharatanatyam dance theater)
23.10. GB-LONDON J. A. Jayant (Bansuri)
23.10. STUTTGART Monalisa Ghosh, Rachana Kar, Reshmi Saha (Odissi)
23.10. F-PARIS Fanny Florentin (Bharatanatyam)
23.10. F-PARIS Lilanoor Ensemble
25.10. GB-SOUTHAMPTON Soumik Datta (Sarod)
29.10. GB-BURY Soumik Datta (Sarod)
29.10. MALSCH Deepsankar Bhattacharjee (Sitar)
29.10. POTSDAM Sebastian Dreyer (Sitar)
30.10. GB-NORWICH Anoushka Shankar (Sitar), Britten Sinfonia
30.10. GB-COVENTRY Soumik Datta (Sarod)
30.10. F-PARIS Niladri Kumar (Sitar)
30.10. BERLIN Sebastian Dreyer (Sitar)
30.10. GB-LONDON Charity Concert (Khyal)
31.10. F-PARIS Niladri Kumar (Sitar)
31.10. STUTTGART Kushal Das (Sitar)
01.11. STUTTGART Kushal Das (Sitar)
02.11. CH-GENF Dattatreya Velankar (Khyal)
04.11. BERLIN Dave Stringer & Band (Kirtan)
04.11. BERLIN Matyas Wolter (Sitar)
04.11. STUTTGART Silpi Paul (Khyal)
05.11. GB-LONDON Pratap Pawar (Kathak)
05.11. BAD SCHANDAU Matyas Wolter (Surbahar)
05.11. STUTTGART Dipak Sharma (Bansuri)
06.11. SE-STOCKHOLM Niladri Kumar (Sitar)
06.11. GB-LONDON Gaurav Mazumdar (Sitar)
06.11. STUTTGART Dipak Sharma (Bansuri)
08.11. GB-COLCHESTER Soumik Datta (Sarod)
10.11. GB-GLOUCESTER Soumik Datta (Sarod)
13.11. CH-BASEL Kushal Das (Sitar), Ken Zuckerman (Sarod)
15.11. GB-NORWICH Soumik Datta (Sarod)
17.11. F-PARIS J.A.Jayant (Bansuri), Sumanth Manjunath (Violine)
18.11. F-PARIS Kengo Saito (Surbahar)
20.11. CH-ZÜRICH Ken Zuckerman (Sarod)
20.11. F-PARIS Brigitte Chataignier (Mohiniyattam)
24.11. HAMBURG Anim Ensemble (afghani Music)
25.11. HAMBURG AnimM Ensemble (afghani Music)
26.11. HAMBURG Naghma-e-Israfil (Music from Kashmir)
26.11. STUTTGART Debasish Ganguly (Sitar)
27.11. HAMBURG Saami Brothers (Qawwali)
27.11. STUTTGART Debasish Ganguly (Sitar)
03.12. F-PARIS Nishat Khan (Sitar)
04.12. A-WIEN Rina Killmeyer (Bansuri), Elnaz Mohammadzadeh (Santur)
09.12. WIESENBURG Indigo Masala (Fusion & Kathak)
09.12. KÖLN Satyaa & Pari (Mantras)

Details of all concerts are available on our concert calendar.