世界音樂文化影音入口♠ World Music Portal

Baul Sangit
Songs of the real transcendental Madman
by Shri Chand Baul Shrila Bhaktivinoda Thakura
1893
Translation and Notes by Dasaratha-suta dasa
Please buy this books at nectarbooks.com
to support the author

Introduction


Baul Sangit (Songs of the Madman), an obscure work composed by Shrila Bhaktivinoda Thakura in 1893, is a collection of 12 songs in Bengali verse. Bhaktivinoda saw that the Indian society at that time had become
overrun with many different types of pretentious so-called Vaishnavas. He identified thirteen deviant sects-Aul, Baul, Kartta-bhaja, Neda, Dara-vesa, Sani, Sahajiya, Sakhi-bheki, Smarta, Jata-gosani, Ativadi, Cuda-dhari, and Gauranga-nagari. Since ordinary village people are not sufficiently educated or philosphically-inclined to distinguish between these various apasampradaya groups, most of these deviants simply came to be known collectively as "Baul" (transcendental madmen). The title Baul comes from the Bengali batula-mad, crazy, insane-and originates in the Sanskrit vatula, an adjective indicating one affected by "wind-disease," or a disturbance of the element vata within the head. As used in the Gaudiya Vaishnava scriptures, this term indicates the exalted state of a pure devotee who has gone mad whle experiencing vipralambha, or separation from their beloved Lord Krishna.

The usual habit of members of these Baul groups is to wander around the countryside as folk minstrels, singing bogus songs about so-called love of Godhead (bhava) while begging alms. The Thakura recognized them as false devotees, and he wrote these 12 songs styled Baul Sangit so that the public could learn to distinguish between false Bauls and real Bauls. The language and dialect of these songs is just like the common street talk of the period, and Bhaktivinoda even signed the songs "Chand Baul"-he assumed a Baul name so people would accept his preaching! These pieces describe the various forms of cheating Bauls, exposing their deceptive hypocrisy, and finally proposing the correct way for devotees to become purified from the deviations of materialistic tendencies. Thus he ultimately recommends the faithful chanting of Hari-nama and worshiping Lord Krishna according to authorized devotional principles.

Baul Sangit contains very useful spiritual advice, the many corrupted spellings of various words being accurate portrayals of the down-to-earth language of the time. The Thakura has written these songs in the voice and style of popular street songs, thus proving attractive for simple village workers, farmers, shopkeepers, boatmen, ordinary illiterate people, and even for the benefit of aristocratic and educated people who were learned in the ways of the West. Although the contemporary Baul songs that were heard sung in the marketplace superficially spoke of devotional service (bhakti) and transcendental madness caused by ecstatic love of God (batulata), they were in actuality covered over by the philosophy of
material enjoyment (sambhoga-vada) as well as various shades of impersonalism (nirvisesa-vada). The mentality of the Bauls was pervaded by Sufi influences and also the popular ancient songs of Kabir and Dadu. Thus even the literary scholars became bewildered by the illusion created by this perverted philsophical covering, and they also subscribed to the sense-gratifying sambhoga-vada. For this reason Shrila Bhaktivinoda Thakur was inspired to expose the pretentious and hypocritical nature of the Bauls by attracting the masses with the songs of his own composition, which utilized the contemporary style, mood, vocabulary and tune of the mundane Baul sangit.

In the concluding verse of each song, Bhaktivinoda has identified himself as "Chand Baul," for amongst the Bauls the name Chand is very popular. Within the text of the songs Bhaktivinoda is also seen to use various Baul philosophical terms, such as deha-tattva (the principle of the entire universe supposedly being present in the material body), guru-satya (the spiritual master is the only supreme truth), marka (spiritually
emblazoned), maner mala (the japa strand within the mind), manusa bhajan (worship of human bodies as God), sahaja bhajan (natural worship), and so forth. The Thakura repeated all these words in order to appeal to those whose minds were absorbed in ordinary village activities, and thereby enlighten them in regard to the transcendental spiritual world. Bhaktivinoda was genuinely batula (maddened) by the suddha-bhakti-rasa of devotion to the moonlike Shri Nitai-chand or Shri Gorachand; for this reason he signed his writings with the name Shri Chand Baul.

The word baul is seen often in the text of the Shri Chaitanya-charitamrita, referring to a personality afflicted with transcendental madness. Shri Gauranga Mahaprabhu even admits in Antya 19.9 that He has indeed become a Baul. A few verses later (19.20-21), the most famous appearance of the word baul occurs in the following enigmatic riddle sent from Shri Advaita Acarya in Bengal to the increasingly ecstatic and delirious Shri Chaitanya Mahaprabhu in Jagannatha Puri:

baulake kahiho,-loka hoilo baul
baulake kahiho,-hate na bikay caul

"Tell the Madman that all the people have now become mad like Him. Tell the Madman that rice is no longer available in the marketplace.

baulake kahiho,-kaye nahiko aul
baulake kahiho,-iha kohiyache baul

Tell the Madman that those who are mad in ecstatic love no longer do business. Tell the Madman that another Madman has spoken these words."

Dasaratha-suta dasa



Baul Sangit Song 1


Text 1)

ami tomar duhkher duhkhi sukher sukhi,
tai tomare boli bhai re
nitai-er hate giye Text ore o bhai)
nam enechi tomar tore

1) I am your ever well-wisher-I become sad when you are sad, and I become happy when you are happy. This I sincerely proclaim to you, dear brothers! Having gone shopping at Lord Nityananda's Marketplace, O brothers, I have brought back the holy names of the Lord just for your benefit.

Text 2)

gaura-candra-marka kora, e hari-nam rase bhora inama cintamani krishnas
chaitanya-rasa-vigrahah (Bhakti-Rasamrta-Sindhu 1.1.108).*,

name namiii name nami - from the same verse, abhinnatvan nama-naminoh.**
padche dhora, lao yadi vadana bhore'

2) Being marked with the symbol of Lord Gaura-chandra, this Hari-nama is succulent with divine mellows. If you would please take the holy name and always fill your mouths with it, then you shall realize that the name fully contains the Lord who is named.

Text 3)

papa tapa saba dure ja'be, sara-moy samsara ha'be,
ar kono bhoy nahi rabe, dubbe sukher pathare

3) By chanting the holy name all your sinful reactions and material miseries will be cast far away. This world will become full of wonderful meaning for you, there will be no more fear, and you will be immersed in the ocean of pure joy.iii sara-moy - the material world of samsara will be pervaded with your own personal experience of deep inner significance, or the very real substance of the eternally true spiritual world.*

Text 4)

ami kangal artha-hina, nam enechi kore' rna,
dekhe amaya ati dina, sraddha-mulye deo dhore'

4) I myself am now quite wretched and indeed destitute, for by arranging to bring the Lord's holy name here I have have fallen into great debt. Seeing me as a soul stricken with extreme poverty, please hand over to me the price of your faith.

Text 5)

mulya lo'ye tomar thai, maha-janake dibo, bhai,
je kichu tay labha pai, rakhbo nijer bhandare

5) Taking your payment, O brothers, I will pass it along to the Mahajana (the proprietor, Lord Nityananda.) Whatever small commission I may earn by conducting this transaction will be kept in my own storeroom.

Text 6)

nadiya-godrume thaki, canda-baul boliche daki',
nam vina ar sakala phanki, chayabaji e samsare"

6) Living on the island of Godrum in the district of Nadiya, this person named Chand Baul shouts and exclaims, "Other than the holy name of the Lord, all else in this world is simply false, like the illusions of a
shadow-theater!"

Song 2

Text 1)

dharma-pathe thaki' koro jivana japana, bhai
hari-nam koro sada Text ore o bhai) hari vina bandhu nai

1) O my dear brothers! Just pass your lives by adhering to the proper path of religiosity. Constantly chant Hari-nama, O brothers, for other than Lord Hari you have no friend.

Text 2)

je kono vyavasa dhori', jivana nirvaha kori',
bolo mukhe hari hari, ei matra bhiksa cai

2) Accepting whatever livelihood that suits you, just live your life honestly. Fill your mouths with the constant chanting of "Hari! Hari!"-this is the only alms I beg of you.

Text 3)

gauranga-carane majo, anya abhilasa-tyajo,
brajendra-nandane bhajo, tabe bodo sukha pai

3) Remain absorbed in the lotus feet of Lord Gauranga, renounce all other ambitions, and worship Vrajendra-Nandan.iv anyabhilasa (other desires) - this includes all aspirations for bhukti (material enjoyment) and mukti (liberation), which are centered on satisfying one's own senses instead of Shri Krishna's senses. Anyabhilasita-sunyam (Bhakti-Rasamrta-Sindhu 1.1.9).* If you would do this much, then I will experience great pleasure.

Text 4)

ami canda-baul-das, kori tava krpa asa,
janaiya abhilasa, nityananda-ajna gai

4) I am Chand Baul Das, and I wish only to receive your mercy. I have informed you of my desires, for I sing as I have been personally ordered by Lord Nityananda.

Song 3

Text 1)

asalo katha bolte ki
tomar kentha-dhora, kapni-anta-saba phanki

1) O you have so much to say about being genuine! You are seen to be wrapped in an old tattered blanket and wearing a simple loincloth, just like a renounced ascetic-but in actuality all of this is simply pretentious.

Text 2)

dharma-patni tyaji' ghare, para-nari-sanga kore,

artha-lobhe dvare dvare phire, rakhle ki baki

2) Leaving your legally married wife at home, you go off and keep the
company of the wives of others. In your greed for acquiring more and more
wealth, you wander like a poor beggar from door to door, and you secretly
keep so much surplus stored away.

Text 3)

tumi guru bolcho vate, sadhu-guru niskapate,
krishna-nam deno karna-pute, se ki emon hoy meki?

3) You are quite confident in presenting yourself as a saintly spiritual master, and thus you are busily engaged in initiating innocent people by reciting Krishna-nama into their ear-is this behavior not a great charade?

Text 4)

jeba anya siksa dey, ta'ke ki `guru' bolte hoy?
dudher phal to' ghole noy, bheve' citte dekho dekhi

4) Can anyone be called a "guru" simply because he gives advice to others? A cook can never use whey in a recipe that calls for milk. Now think about this and just see what I see.

Text 5)

sama-dama-titiksa-bale, uparati, sraddha ho'le,
tabe bheko canda-baul, bole, encade peke habe ki?

5) On the strength of the true qualities of peacefulness, sense control, and tolerance, one's mundane desires are renounced as true spiritual faith arises. That being the case, the renunciant Chand Baul says, "What will become of your premature imitation of spiritual perfection?"

Song 4

Text 1)

`baul baul' bolche sabe, hocche baul kon jana
dadi-cuda dekhiye (o bhai) korche jivake vancana

1) Everyone keeps using the word "Baul, Baul" as a cheap label, but who has actually become a Baul (a pure devotee gone mad in genuine ecstatic love of God)? By merely exhibiting a long beard and a topknot upon your head, O brothers, you thus cheat many people.

Text 2)

deha-tattva-jader tattva,
ta'te ki chaday mayar gartta,
cidananda paramartha, jante to tay parbe na

2) Your philosophy of deha-tattvavdeha-tattva - the mundane Baul sampradaya propounds the concocted theory that the temporary material body contains all the transcendental truth of the eternally spiritual Shri Vrndavana Dhama.*-that the material body is supposedly divine-is simply a philosophy of dull matter (jada-tattva). By maintaining such a doctrine is it possible to become freed from the womb of Maya? The supreme goal of life is the attainment of eternally conscious bliss (chidananda)-although you understand this well you will still be unable to enter transcendence.

Text 3)

jadi baul cao re ho'te, tabe calo dharma-pathe,
yosit-sanga sarva-mate chado re maner vasana

3) O! If you really want to become a genuine Baul (a transcendental madman), then please proceed on the path of religiosity. O! Just abandon in all ways the mind's craving for the inappropriate company of women.

Text 4)

vesa-bhusa-ranga jata, chadi' name hao re rata,
nitai-cander anugata, hao chadi' sab durvasana

4) O! Abandoning the performance of adorning yourself with dramatic clothing and ornaments in imitation of Lord Krishna, may you become attached to chanting His pure holy names. May you become the loyal
follower of Nitai Chanda, thereby renouncing all evil obsessions.

Text 5)

mukhe `hare krishna' bolo, chado re bhai kathar chala,
nam vina to' su-sambala, canda-baul ar dekhe na

5) O my dear brothers! Completely giving up your clever manipulative speech, just fill your mouths with the chanting of "Hare Krishna!" Chand Baul sees no means of support other than the abundant resource of the
Lord's holy name.

Song 5

Text 1)

manusa-bhajan korcho, o bhai, bhaver gan dhore'
gupta kore' rakhcho bhalo vyakta ha'be yamer ghare

1) O my dear brothers! You devotedly engage in the worship of the material bodies of human beings, and yet you dare to sing songs about ecstatic spiritual emotions (bhava). You expertly conceal your own secret
activities, but all of them will be fully exposed in Yamaraja's court.

Text 2)

meye hijde, purusa khoja, tabe to' hoy kartta-bhaja,
ei chale korcho maja, maner prati cokha there'

2) Considering women to be hermaphrodites and men to be eunuchs makes one a member of the Kartta-bhaja sect. On the pretext of this deviant thinking you engage in mundane sense gratification, thus deluding even your own minds.

Text 3)

`guru satya' bolcho mukhe, acho to, bhai, jader sukhe,
sanga tomar bahirmukhe, suddha ha'be kemon kore?

3) Although your mouths proclaim "the guru is reality," O brothers, you revel in mundane sense pleasures.vi guru satya-one of the main theories of the Karttabhaja sect is that the spiritual master is the only worshipable form of God Himself, and that his material body made of flesh and blood is verily transcendental substance (satya). Preaching such ideas, they indulge in material sense gratification.* You freely associate
with envious non-devotees-how then will you ever become purified?

Text 4)

yosit-sanga-artha-lobhe, maje to' jiva citta-ksobhe,
baule ki se-sab sobhe, aguna dekhe' phadim mare

4) The heart of the jiva becomes greatly agitated by absorption in the association of materialistic women as well as greed for wealth-does a true Baul become attracted by the glitter of these worldly things?viisobhe (by these shining attractions) - a genuine Baul is rendered mad by experiencing the divine mellows of vipralambha (feelings of separation from the Lord); as such there is absolutely no attraction for the enjoying
spirit of the bogus Bauls' sambhoga-vada, which abounds with the accumulation of material wealth, women, and prestige.* A cricket is attracted by a flame and jumps straight into it, thereby meeting death.

Text 5)

canda-baul minati kori' bole,-o-sab parihari',
suddha-bhave bolo `hari', ja'be bhava-sagara-pare

5) Chand Baul very humbly suggests, "Giving up all these degrading things, please chant the name of Hari in a purified manner. Then you will surely cross beyond the ocean of material suffering."

Song 6

Text 1)

eo to' eka kalir cela
matha neda kapni para, tilak nake, galay mala

1) Here is just another disciple of Kali-yuga. He keeps his head shaved, wears a loincloth, tilak on his nose and tulasi beads around his neck.

Text 2)

dekhte vaisnaver mata, asalo sakta kajer bela
sahaja-bhajan korchena mamu,
sange lo'ye parer bala

2) By looks he appears to be a Vaishnava, but in actuality his conduct is that of a sakta, one who worships the principle of material energy in order to enjoy her. He engages in sahaja-bhajan (so-called "natural
worship"), but does so by posing as "uncle" to the children of others, and then stealthily taking the illicit association of their daughters.

Text 3)

sakhi-bhave bhajchena ta're, nije ho'ye nanda-lala
krishna-daser kathar chale maha-janake dicchena sala

3) Accepting these young girls as sakhis (Radha's gopi friends), he fancies himself to be the Son of Nanda. By the deceptive lecturing about how everyone should become Krishna-dasa (the servant of himself as "Krishna"), this disciple of Kali-yuga thus hurls a sharp spear at the true devotees of the Lord.viiiMahajanas - this bogus behavior is an offense to the great souls who had come before and shown the proper path of devotion. These rascals fond of imitating Krishna also maintain hostility toward the presently living devotees who are chaste to the regulative principles.*

Text 4)

nava-rasika apane mani' khacchena abar mana-kola
baul bole dohai, o bhai, dura koro e lila-khela

4) Giving artificial recognition to nava-rasika (the nine relishers), he thus eats and enjoys the bananas of his own mental fabrications. Chand Baul says, "O my dear brothers! Desist from this bogus imitation of the
Lord's amorous sports."ixnava-rasika-one branch of the deviant sahajiya sampradaya has concocted a fanciful philosophy of honoring nine previous acaryas, such as Shri Chandidasa, Shri Vidyapati, Shri Bilvamangala, Shri Ramananda Raya, Shri Rupa Goswami and so forth, identifying each acarya with one of nine different prakrtis. Calling themselves rasika bhaktas, these deviants show great aversion to the pure devotees who maintain and protect the actual conclusions of the scriptures.

mana-kola-literally 'mental bananas;' namely, some concocted object of enjoyment that has no substance in reality.*

Song 7

Text 1)

mana amar) hunsa'r theko, bhulo' nako,
suddha sahaja tattva-dhane
noile mayar vase, avasese, kandte ha'be ciro-dine

1) O my dear mind! Please be alert and cautious-do not forget the treasure that is the principle of suddha sahaja tattva (pure natural truth as opposed to bogus sahajiya tendency). Otherwise ultimately in the grip of Maya you will perpetually weep.

(2)

suddha-jive jada nai bhai, thika bujho tai,
nije sakhi (se) vrndavane
se jakhan krishna-candre bhaje, sukhete maje,
madhura-rase anuksane

2) The pure spirit soul is not material, O brother-understand this correctly-but is actually a female sakhi living in Vrndavana. When the soul worships her Lord Krishna-candra in this mood, then she becomes
immersed in pure happin ess, incessantly tasting the sweetness of the madhura-rasa.

(3)

jada-dehe ta'r sadhana-bhakti, jnana-virakti,
deher yatra dharma-bhave
se grhe thake, bane ba thake, majiye dake,

(`krishna') bole' eka-mane

3) While still living within the material body, she engages in sadhana-bhakti (regulated devotional service), developing detachment through the cultivation of jnana (transcendental knowledge), and thus passes life in accordance with religious principles. Such a devotee lives either at home or in the forest, and remains engrossed in calling out the name "Krishna!" with single-minded diligence.

(4)

eke-i to' boli sahaja-bhajan, suddha-mana,
krishna pa'bar eka upaya
iha chadi' je aropa kore, sei to' mare,
ta'r to' nahi bhajan hoy

4) Verily this is called sahaja-bhajan, or natural worship. It is conducted with a purified mind, and is the one and only means for attaining Krishna. Whoever deviates from this process by imposing their own concocted
philosophy indeed perishes; their activities are not bhajan.

(5)

canda-bauler e visvas, chota haridas,
ekatu kevala vipathe cale'
saci-suter krpay, dura ho'ye, hay,
na pay ar gaura-carane

5) This is the conviction of Chand Baul. The devotee of Lord Chaitanya named Chota Haridasa somehow embarked on an improper path; by the mercy of the Son of mother Saci, he was cast away, alas, and did not again attain the lotus feet of Gauranga.xaitanya-charitamrita, Antya-lila, Chapter Two).*

Song 8

(1)

maner mala japbi jakhan, mana,
keno korbi bahya visarjana
mane mane bhajan jakhan hoy,
prema uthle pade' bahya-dehe vyapta ho'ye roy;
abar dehe care, japay kore, dharay mala anuksana

1) My dear mind, when you chant japa on the mala within your mind, why do you cease the actions of chanting japa externally? When one performs bhajan within the mind, and prema factually arises internally, then the external body also becomes pervaded by those symptoms. Therefore the body rocks and sways, while one incessantly turns their beads in chanting japa.

(2)

je vyata bhanda-tapasa hoy,
baka-bidala dekha'ye bahya ninde atisoy;
nije juta pe'le kamini-kanaka kore sada samghatana

2) This improper form of mental chanting is the tendency of the pretentious so-called renunciants. As displayed in the fables of the crane and cat, such renunciation is extremely contemptible.xisadhu or false renunciant. There are many stories of various birds and cats among the animal fables found in the Hitopadesa and the Panca-Tantra. Typically the crane or heron is fond of eating fish, and the cat usually poses as a sadhu in order to ultimately devour his unwary host.* Although such a trait is shown externally, whenever one gains an opportunity to enjoy women and wealth he continually indulges.

(3)

se vyatar bhitora phakkakar,
bahya-sadhana-ninda boi ar ache kiba ta'r;
(nijer) mana bhalo dekha-te giye ninde sadhu-acarana

3) Inside such a man is merely an empty cavity of deceit. What does he have to express other than direct blasphemy of the process of executing external sadhana-bhakti? He thus makes a show of his own mental
concoctions as being supposedly "superior" while he openly condemns the activities of the true sadhus.

(4)

suddha kori' bhitora bahira, bhai,
hari-nam korte thako, tarke kaj nai,
(suska) tomar tarka korte jivana ja'be
canda-baul tay duhkhi ho'no

4) O dear brother! Purify yourself both internally and externally. Stay engaged in chanting Hari-nama, instead of simply babbling stubbornly with controversial attitudes. When you pass your life consumed with dry arguments, then Chand Baul becomes very sad.

Song 9

(1)

ghare bose' baul hao re mana,
keno korbi dusta acarana

1) O my dear mind! May you become a transcendentally maddened Baul while remaining at home. Why do you engage in wicked activities?

(2)

mane mane rakhbi baul-bhava,
sanga chadi' dharma-bhave korbi visaya labha;

jivana japana korbi, hari-namanande sarva-ksana

2) You may keep the mood of a Baul within your mind, and giving up improper association you will automatically obtain sense pleasures in accordance with religious principles. Thus you will pass your life while every moment experiencing the bliss of Hari-nama.

(3)

jata-dina hrdoy-sodhana noy,
ghara chadle pare `markata-vairagi' ta're koy;
hrdoy-dose ripur bose, pade pade ta'r patana

3) One who renounces his home while his heart is not yet purified is called a markata-vairagi ("monkey-like renunciant").xii markata-vairagi-a monkey externally appears to be a very great renunciant, for he is detached from living in a home, subsists on mere fruits and roots in the forest, and has even renounced wearing clothes. But internally he is full of the spirit of materialistic sense enjoyment, ready to indulge at each and every opportunity. Similarly, a human being who makes a show of external renunciation but who internally subscribes to the enjoying spirit is known as a phalgu-vairagi (cheap imitation ascetic) or markata-vairagi (monkey-renunciant).* By the heart being full of offenses, acting under the control of the enemy, one sinks lower and lower at every step.

(4)

encade-paka vairagi je hoy,
parer nari lo'ye paler goda ho'ye roy;
(abar) artha-lobhe dvare dvare kore nicer aradhana

4) A renunciant immature in renunciation is one who swindles the wives of others and thus remains just like a fat monkey in charge of a harem of female monkeys. Furthermore, such a person goes from door to door out of greed to receive monetary donations. Thus he engages in the so-called worship of even fallen and degraded souls.

(5)

ghare bose' pakao nijer mana,
ar sakala-dina koro harir nam-sankirtana;
tabe cand bauler sange sese korbi samsara visarjana

5) May your own mind become ripened with maturity while remaining at home. And just perform Hari-nama sankirtan each and every day. Then, in Chand Baul's company, you shall utterly renounce the material world.

Song 10

(1)

balavan vairagi thakur, kintu grhir madhye bahadur
abar kapni pore', mala dhore',
bahena seva-dasir dhur

1) You call yourself a very great and venerable renunciant, but factually you are even more of a sense-gratifier than those who are still householders. Furthermore, you wear a loincloth for show, and carry tulasi
beads in your hand-but like a beast of burden, you bear the load of trying to seduce various women into rendering your own service as seva-dasis.xiiidhura - literally a yoke, with which animals are hitched to
wagons and so forth for pulling heavy loads. Here the bogus Baul must shoulder the overpowering burden of trying to satisfy his own desires while attempting to attract the wives of others and engaging them in
servicing his own mundane sense gratification.*

(2)

acyuta-gotra-abhimane, bhiksa korena sarva-sthane,
taka-payasa gani' dhyane dharana pracur
kori' cutki bhiksa, korena siksa, vanig-vrtti pindisur

2) You beg alms everywhere you go, proudly advertising yourself as belonging to the disciplic lineage of the infallible Lord Krishna (acyuta-gotra)xiv acyuta-gotra-the lowborn members of deviant apasampradaya sects are unable to state a respectable lineage of their family origin upon being questioned, and therefore they present themselves as belonging to the transcendental acyuta-gotra, or descendants of the infallible Lord Acyuta (Krishna). See Shrimad-Bhagavatam 4.21.12, verse and purport, for more on this divine lineage.*-but in your show of deep meditation you simply concentrate on repeatedly calculating the total amount of your acquired rupees and milk. You are expert at begging on behalf of your belly, and you make a hoax of giving spiritual instructions to others, ultimately exhibiting the behavior of a businessman. You are a voracious glutton, accustomed to consuming huge quantities of food.

(3)

bole ta're baul-canda, eta tomar galar phanda,
jiver ei aparadha sighra koro dur
yaji' grhir dharma, su-svadharma,
suddha koro antahpur

3) Unto those of such nature, Chand Baul advises-this is the noose about your neck. Quickly cast afar these offenses unto other souls. Worship the Lord in the honest role of a householder, executing your proper
occupational duty according to your own ability, and thus purify yourself internally.

(4)

nyasi-mana-asa tyaji', dina-bhave krishna bhaji',
svabhava-gata dharma yaji', nas' dosankur;
tabe krishna pa'be, duhkha ja'be ha'be tumi su-catur

4) Giving up your desire for being honored as a sannyasi, just worship Krishna in a humble state of mind. By performing your religious occupational duties according to your own natural propensity, the seedlings of your vices will be destroyed. Then you will attain Krishna, your unhappiness will go away, and you will become very intelligent.

Song 11

(1)

keno bheker prayas?
hoy akala-bheke sarva-nas
ho'le citta-suddhi, tattva-buddhi,
bheka apani ese' hoy prakas

1) Why do you have so much desire for changing clothes? By prematurely changing clothes from those of a householder to those of a renunciant, all is destroyed.xv akala bheka (untimely renunciation)-this is when one puts on the dress of a renunciant and leaves home before having attained actual renunciation within the heart. The word vesa (dress) in the corrupted form of street dialect becomes bheka.* Only when one's
consciousness is first purified, then the intelligence perceives transcendental truth, and finally the change of clothes will automatically come and be manifest in its time.

(2)

bheka dhori' cesta kore, bheker jvalaya sese mare,
nedanedi chadachadi, akhada bendhe' vas;
akala-kusmanda, jata bhanda, korche jiver sarva-nas

2) But when one makes an artificial endeavor to put on the clothes of an ascetic, then ultimately one perishes in the fever of that improper dress. Thus one becomes known as a member of the sect called Neda-Nedi, going about the town begging alms, and living at the meeting place called akhara.xvi, but they accept the illicit company of seva-dasis as well as engage in various despicable mundane activities, eating fish, and so forth. There is hearsay that 1,200 Nedas and 1,300 Nedis became followers of Shri Virabhadra Prabhu (son of Lord Nityananda and Jahnavi Mata), but factually Virabhadra had no connection with them. This group is perpetually rejected from the society of suddha-vaishnavas.* Such a worthless person, just like a pumpkin grown uselessly at an unsuitable time of year, finally destroys everything that would be good for their own soul.xvii akala-kusmanda-`unripe pumpkin'; literally a gourd grown at an unusual or inauspicious time. These are never usable for sacrifices, cooking and so forth. The saing is figurative for a useless or stupid person. Some are of the opinion that this figure of speech originated with the story of Gandhari giving premature birth to a lump of flesh shaped like a gourd. From that lump was born the evil Duryodhana and others, who were to destroy the dynasty of Kuru. From this story, certain groups have
coined the phrase akala-kusmanda to refer to a treacherous or harmful activity.**

(3)

suka, narada, catuhsana, bheker adhikari ha'na,
tan'der saman parle ho'te bheke korbe as;
bolo temana buddhi, citta-suddhi
ka'jana dharaya korche vas?

3) The great sages Sukadeva Goswami, Narada Muni, and the four Kumaras are truly qualified to wear the dress of renunciants. One may desire to wear a dress similar to theirs as soon as one becomes as renounced as they are. Tell me-who can develop the intelligence and purified heart of these great sages merely by wearing a particular garment?

(4)

atmanatma-suviveke, prema-lataya citta-bheke,
bhajana-sadhana-variseke koroha ullas;
canda-baul bole, emana ho'le, ho'te parbe krishna-das

4) In full knowledge of what is the soul and what is not of the soul, wearing the dress of a renunciant within your heart, just make your creeper of prema bloom by sprinkling it with the rainfall of bhajan-sadhana. Chand Baul says, when this occurs, then you will actually become Lord Krishna's servant.

Song 12

(1)

ho'ye visaye avesa, pe'le, mana, jatana asesa
chadi' radha-syame braja-dhame,
bhugcho hetha nana-klesa

1) My dear mind, you have brought unending trouble upon yourself under the sway of material sense gratification. Leaving the company of Radha-Syama in Vraja-dhama, you have come to this material world and suffered a host of painful miseries.

(2)

maya-devir karagare, nijer karma-anusare,
bhuter vegara khat-te khat-te jivana korcho sesa;
kori' `ami-amar', dehe abar, korcho jada raga-dvesa

2) Trapped within the prison-house of Maya-Devi, and tossed helplessly according to the urges of your past karma, your life has come to an end after slaving and slaving away at very difficult and mundane labor.
Absorbed in the material body, thinki ng in terms of "I" and "mine," you experience only attraction and repulsion for dull material things.

(3)

tumi suddha cidananda, krishna-seva ta'r ananda,
panca-bhuter hate pode' hay, acho ekati mesa;
ekhona sadhu-sange, cit-prasange,
tomar upaya avasesa

3) You are actually composed of spiritually conscious bliss, whose only happiness is found in Krishna-seva. Alas, you have fallen into the hands of the five material elements (earth, water, fire, air, and ether), and have thus become just like an ignorant sheep who is helpless within their firm grip. But now your ultimate means of deliverance is to be found in the company of sadhus, discussing topics of the eternally conscious nature.

(4)

kanaka-kamini-sanga, chadi' o bhai miche ranga,
grahana koro baul cander suddha upadesa
tyaji' lukocuri, baul-giri, suddha-rase koro pravesa

4) The association of materialistic women, as well as endeavors for accumulating wealth for the purpose of sense gratification-O my dear brother! Give up such insignificant play! Please accept the pure advice of Chand Baul: Rejecting all deceptive tendencies that are associated with the sects of impure Bauls, just enter the flow of pure, spiritual mellows of devotion.

Thus ends Baul Sangit by Shrila Bhaktivinoda Thakura.

Loreena McKennitt他的歌讓人想起念天地悠悠的唐詩，淒美、清純，昨世今生的哀怨！

印度拉佳斯坦的吉普賽人，從印度一路上，邊唱邊跳，被波斯人聘為音樂家，和布拉姆斯奏期羅馬尼亞狂想曲，從巴爾幹半島、南斯拉夫、匈牙利、亞美尼亞、北非都有吉普賽的足跡。一直走到了西班牙的安達魯西亞，才逐漸安家落戶。吉普賽人和在地民族音樂交融，成為佛朗明哥最重要的元素。猶太人遠在索羅門時代，2千餘年前從耶路撒冷，顛顛巔達流離到了伊比利亞半島Iberian Peninsula，在8世紀和伊斯蘭統治者和平共處的黄金年代，發展出來Cantos Judeo-Espanoles的融合音樂。成為安達魯西亞獨特的音樂。參雜了吉普賽人的歌謠、阿拉伯的古曲、古調，這些歌曲，除了唱西班牙語、葡萄牙語、也用土耳其、阿拉伯或混合了希伯萊語等等。

西班牙中世紀，被信伊斯蘭教的摩爾人統治，直到1492年才被天主教徒光復，直到今天，安達魯西亞歌謠，仍然完整保留安達魯西亞。並播散到北非的摩洛哥等地。最傳統安達魯西亞歌謠(Grnati)仍然流傳在北非的猶太社群，是人類非物質文明的奇蹟。

...繼續閱讀

Migration Music Festival 30" CF



流浪之歌音樂節

世界各不同的民族音樂，其形成從聚落發展到一個區域、逐建成為具有整個民族特色，其進程，淵遠流長，如印度音樂、猶太音樂、居爾特音樂。如果你要深究其根源，是永遠不會有精準的統一答案。
至於只有百年歷的爵士音樂是怎麼開啟的？理論上是應簡單多了，但也沒有標準答案。眾所皆知爵士音樂是源自來自被葡萄牙、西班牙强行從非洲押解到美洲的奴隸，離鄉背井，又受到主人的壓柞剝削，故鄉的音樂舞蹈、儀式，成為族人的借慰。但由於這些來自歐洲的英法西葡的基督徒，對來自非洲的音樂舞蹈，特別是對非洲的慶典，視為怪力亂神，都給予禁止，最後這非洲奴隸為了能延續他們的信仰，只好以接受基督的信仰，在天主教的節典活動中，夾帶非洲的鼓樂和儀式，在18世紀的黑人牧師在讀經禮拜開始以非洲的節奏來吟誦，成為靈魂音樂的前身，這種以非洲奴隸的勞動哀歌，抑揚頓挫的音樂性加入歐洲音樂(合聲)，對識字的黑奴有很大的誘惑力，這款朗誦佳句的宣教，尉然成風，成為非洲音樂和西歐音樂融合的先河，非洲五音階的音樂，重節奏，西方的七音階的音樂重和聲。這兩種原本兩個格格不入的非洲和歐洲音樂，姻緣聚會的在美洲的基督教會中交會，走到19世紀，在浪漫的法國人殖民地紐奧良路易斯安那州，逐漸成為今日爵士音樂的發芽的土壤。這種交流歷史，同樣發生在南美的玻利維亞印地安神和基督聖信仰結合音樂舞蹈的歐魯羅嘉年華 (The Oruro Carnival)，2001年己被聯合國UNESCO指定為非物質文化遺產。
20世紀初美國的收音機流聲機，電影電視工業的發達，力爭上游的前輩大師如從Louis Armstrong、Duke Ellington、Oscar Perterson、Sarah Vaughan、Elia Fitzgerald、Miles Davis、John Coltrane...借由傳播的力量，如魚得水，將爵士樂發揮了淋漓盡致，近幾十年來，爵士樂在美國不僅摧化了流行音樂和搖滾樂，在美國雄厚的國力和高唱全球化下，各地區的民族音樂都受到爵士樂和搖滾樂的侵蝕(基於此舉可能逐建消弭地方音樂的特色，我個人對此堪憂，不樂見)天時、地利、人和為爵士樂開創了更寬廣的領域。身為世界音樂中最年青的樂種，爵士樂成為全世界最多人聆聽和歡迎的音樂，堪稱前所未有的瑰麗奇葩。

黑與白 Jazz Era

雅樂據考證是在1400年左右，由中國和朝鮮傳到日本，雅樂再和日本本土的音樂結合而成，平安時代集之大成，流傳之今，為日本皇室慶典不可少的音樂。由於日本自仍延續千餘年前建立的皇朝，稱之為萬世一系的天皇，因此雅樂在日本得到相當完整的保留，而中國人要學或研究雅樂，反倒要禮失求諸野，非要研究日本雅樂不可，而國人相當熟知的日本國歌，也是充滿了雅樂風格的。
雅樂的旋律，充滿了極簡主義和習慣聽到的和樂 (日本傳統音樂)大不相同。
雅樂可分為三種型態，舞樂、弦樂、歌謠；樂器有笙、橫笛(龍笛、高麗笛、神樂笛)、笙、篳篥、琵琶，箏、和琴、還有打擊樂如太鼓、鉦鼓、羯鼓、雙面鼓、芴拍子等。
日本雅樂和印度古典音樂堪稱世界上最純的古樂。

日本音樂文化舘

古老的民族猶太人，公元前五八六年猶太為巴比倫所滅，於是猶太人亡國開始流浪世界各地，北到西伯利亞，南到北非、伊利亞半島的西班牙、葡萄牙，西歐藷國，中國的開封早年仍有猶太人的記錄、至今印度喀拉拉的猶太街，仍有完好的猶太教堂。20世記40年代，到了希特勒從破壞到屠殺，二戰戰前、戰後迫害餘生的猶太人，大量的移民美洲，猶太人成為”日不落”民族。
堅定不移的信仰猶太人、重視傳統文化，由此，即便歷經數千年的歷史變遷，將猶太人音樂、舞蹈、西伯萊文、礼教等文化資產，仍然代代相傳傳承止。
猶太人流亡歷史久遠，文化傳統勢必受在地的文化融合，因此，猶太歌謠，可區分成發源於西班牙的東猶（Sephardim）與西猶（Yiddish、Klezmer）兩大風格。東猶除了西班牙外、北非摩洛哥 Morocco, Argentina, 土耳其Turkey, 希臘Greece、中東伊斯蘭等的地方。
猶太歌謠中最正宗的，以西猶的意第緒歌謠為主。是居住東歐的猶太人，將當地語言融合猶太的希伯來語，而成為特有的”意第緒語”（Yiddish），成為獨特的意第緒歌謠和意第緒和文化。亦稱之為Klezmer。風格以猶太歌謠為主，還加上創新在地風的歌曲。意第緒音樂歌謠，是猶太人慶典宴會的核心，特別在結婚宴中，一定少不了它。
音樂中充份將猶太人的鄉愁、憐憫、歡樂、冥思與狂喜等各種情緒表露無遺。常用猶太樂器有小提琴、大提琴和木管和齊特琴zither或豎琴等樂器。
全世界着名的藝術家多如星星，小提琴家彼爾曼、Yehudi Menuhin、鋼琴大師魯賓斯坦、音樂家伯恩斯坦…等等，有名的電影”屋上提琴手”是猶太電影的經典之作。

猶太音樂文化舘

摩洛哥的居民主要是阿拉伯人和山區柏柏族原住民及一些少數民族。所以主流音樂當然以阿拉伯音樂為主。但安達魯西亞的音樂對摩洛哥音樂影響很大。和摩洛哥的音樂更是密不可分，形成摩洛哥和更早伊斯蘭的根原有所不同。
安達魯西亞音樂
摩洛哥成為北非安達魯西亞音樂重鎮，可追述到8世班在西班牙阿拉伯的伊斯蘭統治者，摩爾人的黃金時代。當時在首都Cordoba工商繁盛、人文藝術得到很大的發展。當時，來至波斯的音樂家Ziryab i為安達魯西亞音樂創新和制定了基礎。如安達魯西亞音樂中的al-âla,的Nubah的風格唱腔，今天仍然在摩洛哥和阿亞及利亞的Gharnati (格拉納達)和 阿拉伯的詩歌的Malhun.傳唱不止。
Nuba近似阿拉伯各地音樂中的木卡姆，原本有24種，好像一天24小時一樣。但如今僅存四個完整Nuba而已。但有七個殘缺的Nubah。Nubah的演唱非常自由，即興，一場表演可持續6~7小時。每一個nuba區格5個部份，稱mizan。每一個Nuba皆伴隨著節拍，由手鼓伴奏。表演開始，先器樂演奏，歌唱才適時加入，有20種的歌可加入Nuba表演。
自從15世記，西班牙天主教徒打敗了摩爾人光復了西後班牙後，猶太人隨摩爾人移居北非摩洛哥、阿爾及利亞，因此，安達魯西亞音樂學校遍及摩洛哥各地。當然，還有西班牙的瓦倫西亞柯多巴Valencia, Córdoba。
安達魯西亞音樂之所以傳至今，摩洛哥的猶太社區供獻最大。學習方法仍尋古制之口傳心授法，在摩洛哥首都卡薩布蘭卡仍有猶太和阿拉伯的音樂家，堅守al-Ala.的傳統教學法。
摩洛哥其地音樂，如伊斯蘭教蘇菲（Sufi）音樂、Jajouka大樂隊（Master Musicians of Jajouka）此外，還包括大亞特拉斯山區柏柏族（Berber）慶典音樂等等。
摩洛哥音樂

2005 人類重要口傳與無形文化資產代表
名稱： 印度羅摩衍那傳統戲劇 和節慶場域
Ramlila : the Traditional Performance of the Ramayana
類別： 表演藝術 / 社會習俗
國家： 印度 (India)
拉姆里拉Ramlila,，文學的解釋為“拉瑪戲劇”，是一種羅摩衍那敘事詩的表演形式。它由包括歌曲、敘述、朗誦和對話組成的一系列場域組成。
這傳統戲劇表演，在整個北印度都瑟拉（Dussehra）節慶裡進行。節慶於每年的印度農民曆舉行，約等於西曆10月或11月，阿由大亞Ayodhya、拉姆奈格Ramnagar和瓦那拉西Benares，烏林德萬Vrindavan、阿莫拉Almora,、薩特那Sattna和馬都巴尼Madhubani等地區，其中以拉姆里拉最具代表性。
《羅摩衍那》的演出，基於 “拉瑪克裡瑪那斯”（Ramacharitmanas），一種印度北部流行的說唱形式，《羅摩衍那英雄傳》讚美羅摩，其文本是杜帕妲在16世紀採用一種接近北印度語的方言創作的，以別於深奧的梵語敘事詩，容易被普羅大眾接受。拉姆里拉的表演，通常可持續10-12天的表演，劇本之敘述來自“拉瑪克裡瑪那斯”的章節。如要演出完整的《羅摩衍那傳》，將持續一整月。
在慶祝羅摩從流放地歸來的“都瑟拉節Dussehra”期間，數以千計的慶典在每一社區、城市到鄉村莊，全都動員起來。
拉姆里拉，的表演的精華在羅摩和拉瓦那之間的戰爭，還包含一系列天神、聖賢和信眾之間的對話。表演者和觀眾打成一遍，經常被邀請參與吟唱。當都瑟拉節Dussehra打敗了拉瓦那，通常以炮大炸毁了惡魔肖像，家家戶戶點燈，迎接拉瑪和息妲回家，象徵正義戰勝了邪惡。全民歡慶，這一天，也等於印度的新年。
這一系列的活動，從製作面具、服裝、肖像、點燈等等，全民自發性參與並扮演故事中的角色，歷經千餘年不曾中斷，是印度寶貴的文化資產。
♣ 聯合國非物質文化遺產

名稱： 不丹王國面具舞
The Mask Dance of the Drums from Drametse
類別： 表演藝術 / 社會習俗 / 儀式
國家： 不丹 (Bhutan)
不丹曾與尼泊爾、錫金為喜馬拉雅山的隱士國，在9世紀興起始獨立部落，12世紀藏傳佛教噶舉派逐漸掌權，政教終於合一。16世紀，西藏喇嘛拿旺，翻山越嶺來不丹，成為不丹法王，以輪迴轉世方式傳承王位。19世紀初不丹內亂不斷，曾為英國保護國，1907年巴羅省總督UgyenWangchuck平亂後成為第一任國王，從此開始君主世襲。
不丹王國面具舞， 位於東不丹的蒙戈爾區德拉邁茨村，藏傳佛教之著名的南卓爾確林(Namdroel Choeling)寺院。每年於不丹歷的五月和十月，在德拉邁茨分別有兩次大的節慶活動,紀念藏傳佛教之領袖蓮花生大士(Padmasambhava)。包括德拉邁茨村的村民，和附近村莊和地區的人，全都参加這慶典，聚集一堂，期望這活動中的舞蹈、祭典中得到祝福。
節慶中最重要的舞蹈Drametse Gacham,一種宗教面具舞，可追述到公元16世紀，直至今日仍然表演如昔。每年節慶持續三天的節慶，藏傳佛教歷法而定。面具舞起源於一種宗教祭祀，內容以勸人向善、驅鬼、祈福、警世為主，舞者全為喇嘛，會戴上各種神祇面具，並穿上顏色鮮豔的服飾，然後在大小皮鼓、鑼鈸和長長的法器葛雷當的吹奏下起舞。各寺廟裡均有專門舞師傳授面具舞，舞步皆沿襲中世紀流傳下來的動作。而樂器服飾也都屬於寺廟所有，只能在慶典時才拿出來使用，尤其是面具節。
祭典中的舞蹈表演，充份展現大乘藏傳佛的教義，並被尊為精神力量和不丹民族身份的象徵。
更多上Jeffery 網站：http://blog.yam.com/indiaunesco

法國音樂文化，延續法蘭西在十字軍東征，希臘化之貴族、騎士的古典主義的特質，和路易十四時代，法國結合了中世紀文藝復興後，古典主義所追求的理性、均衡、完美、永恆的美學極致，不僅成就了今日法國音樂文化在歐洲的崇高地位和影響力，歷經二次大革命後，巴黎聖母院為起源的巴黎大學，知識份子的参予，法國的古典藝術，古典音樂，不僅建立了多樣性的藝術，為今日豐富了法國文化奠下了基礎。
至於平民音樂，始於1889年的紅磨坊，位於法國巴黎十八區蒙馬特，以上演其著名的法國康康舞，聞名世界。逐漸發展出酒館Cabaret音樂，從法國到德國，戰後影響到英國、美國的舞台劇，由舞台劇搬上影幕，成為英美歌舞片電影及今日法流行文化中的音樂劇歌曲的濫觴。
1954年，法國歌后Edith Piaf (意指小鳥，1915年出生於巴黎)的玫瑰人生(La Vie En Rose)和枯葉(Autumn Leaves)，以她小鳥般曼妙的歌聲，不僅在兩次大戰間，征服法國，成為世人熟知的法國香頌的功臣。充滿了故事性的法國童謠，法國非洲殖民地阿爾吉利亞的非洲和及Andalo-Arabic安達魯西亞阿拉伯音樂，柏柏人的Amazigh 歌謠，南法的受安達魯西亞及猶太的Sephardi音樂及1969年的法國前衛搖滾的瑪格馬 Magma ，法國音樂和法國引以為傲的法文般，值得國人多認識他無比的魅力。
法國香頌音樂 咖啡館

居爾特民族一般人的印象中，只以為是愛爾蘭、蘇格蘭。事實上居爾特民族的範圍頗廣，包括英倫三島，英國、愛爾蘭、蘇格蘭、英格蘭、威爾斯、及法國的布列塔尼半島、西班牙的加利西亞、阿斯塔里亞等地。
數百年來，被英國人迫害和飢饉荒年，蘇格蘭、愛爾蘭，大舉移民美國，成為美國白人最大的族群(約4千萬人)，19世紀，居爾特音樂就已是美國音樂的主幹，特別是美國民謠和鄉村歌曲，到了20世紀 60年代，抗議歌后瓊 拜爾(Joan Baez)，和今天的康妮 朶彿(Connie Dover)的歌曲，仍充滿愛爾蘭、蘇格蘭風，旋律優美，充滿了鄉愁和自然風的居爾特(Celtic)音樂，成為全世界喜歡大自然及世界音樂人士的最愛。
細數近半世紀以來，走紅歐美的流行歌壇中，居爾特人幾乎佔了半邊天，居爾特音樂人的天份和居爾特音樂的魅力，處處展現。
居爾特音樂非常寬廣，從中世紀到古典、民謠、流行、跨界、電影配樂、民族舞曲、新世紀音樂、以及音樂劇等等，都有很傑出的表現，值得世人分享。
居爾特音樂 Celtic Music 網站

Paradise road Song of Survival
1997年的電影。眞實故事，發生在1942年，日本入侵新加坡時，當時有一舟滿載逃離新加坡的澳洲立即發佈緊急命令撤僑船，以澳洲及英國歐洲的婦女和兒童為主，海上航行遭日軍的戰鬥機轟炸，被日軍擊沈後，又被救起，生環者，被日軍送到蘇門達臘的日本集中營，在非人的待遇的集中營裡，環境差，很多人感染上了疾病。婦女和兒童經常挨餓，還要像奴隸一樣的工作，而無法和外界的聯繫。痛苦生活，對未來沒有希望，有許多人不堪凌辱而死。
此刻，在英國皇家音樂學院受過訓練的愛德麗亞(東尼獎得主Pauline Collins飾)，看到為了生存，人心逐漸墮落，心中萌生了成立合唱隊的想法，在她的努力下，爭取日軍給予成立。不僅給痛苦枯燥的生活解憂，平添了樂趣。
這批婦女以有限的時間團練，破銅爛鐵充當樂器，唱德沃扎克的念故鄉，居然開成了一次"集中營音樂會"，不僅分散了苦日子，也博得日人的默許，渡過漫長痛苦的歲月。也終於渡過了日軍敗亡，重返故鄉之路。這 Song of Survival 重生之歌，是澳洲電影，站主在澳洲時偶然撞見的好片。生命永遠有出入，在惡劣的環境也可找到天堂之路。
本片被認為是一部傑出女性版的《桂河大撟》。澳洲導演Bruce Beresford，1982年執導的Tender Mercies獲奧斯卡最佳編劇獎提名，1989年執導的Driving Miss Daisy，獲4項奧斯卡獎。
世界電影分享舘

Elena's Culture Symphony New Zealand
來自紐西蘭惠靈頓的愛琳娜交響樂團Elena's Culture Symphony，創辦人愛琳娜是一個酷酷的鬼才，留了一個前衛的龐克頭，小提琴邊跳邊拉(居爾特的風格)，將傳統的玻里尼西亞 ( Polynesia)文化中毛利人、科克群島、薩摩亞人的音樂舞蹈，結合了居爾特、搖滾和西方的古典交響樂團融合，從新包裝。以世人很容易接受的現代舞台、音樂廳的表演形式呈現，廣受紐西蘭和海外愛樂人的歡迎，成為紐西蘭新文化的代表，愛琳娜交響樂團被惠靈頓市長譽為“文化標誌。2006年愛琳娜交響樂團受邀到上海表演和在地交響樂團合作演出，大受歡迎，是一場成功的文化交流。
Jeffery的
♠ 玻里尼西亞音樂文化舘 ♫ Music of Polynesia

1992 出品的The Last of the Mohicans (最後的莫希干人)，Mohican是在美國 Hudson Valley 的印地安原住民，17世紀，英法兩國的殖民爭奪戰中，被犧牲的少數民族。台灣翻為"大地英豪"，站主在電影上市不久就從美國買了LD，在家中在120吋大影幕播放，立刻被那超水準的錄音及配樂震撼力感動不己。從此一連幾年，大地英豪成為我招待朋友的大戲。果真，不久大地英豪的電影原聲帶在台灣發行，以發燒片來行銷，至今發燒友仍愛不釋手，價格仍居高不下。
雖然我不再和從前那麼瘋音响，(Cello也賣了，如今只留下Mcintosh)但片中盪氣迴腸的旋律，仍令人感動。這大地英豪是在1757年法國和印地安及英國爭戰的史詩片，根據James Fenimore Cooper's 古典小說改編的。事實上在1920及1936年就被拍過黑白電影，英國BBC也有拍過電視影集、卡通片....是美國家喻戶曉的故事。
本片作曲家是來自Trevor Jones 南非，歌唱家則是來自愛爾蘭得過葛來美獎的Clannad，主題曲是蘇格蘭的作曲家Dougie MacLean.在"The Gael"的主調 ，整體音樂可是蘇格蘭和印地安融合，充滿了英國在美洲的古典懷舊風。
電影中女主角Madeleine Stowe 美得令任何人都動容，演反派的印地安人馬瓜(RussellCharles Means)酷到不行，其他各角色，如英國男主角Daniel Day-Lewis，都有很傑出的表現，印地安人和英法戰爭，都有殘暴的撕殺鏡頭，特別對印地安人的打鬥令人慘不忍睹，但又不會令人反感。在法國人用拿破崙大炮轟城，音响如果傳神非常振憾。
最後一幕追殺，從山下一路追上山的風景，非常壯麗，很像在台北汐止瀑布前那一段坡路，過去我常帶朋友去，朋友說大地英豪簡直就像在這拍的，有機會可去見證。

♣ World Bset Movie Trailer

時間過的很快，回顧約40年前，剛當完兵後，立刻辦生平第一本護照出國，因為當年出國必需要當過兵，同時是公司的經理人，還要有存款證明，購好機票，頗費周章。
好不容易拿到護照，還得辦簽證，辦簽證又是大工程，光港簽要30~40天。記得又隔了幾十年(約在1978年)後，台灣終於開放出國觀光了，但台北的大使舘己走了差不多了，所有簽證又得用快遞送香港。記得，當年出歐洲團為主力的 X X 運通的朋友告訴我的痛苦經驗，一個週遊歐洲列國的團體，拿到英國簽證、送義大利去簽尚未簽回，預定的出發的時晨眼看就要到了，仍然有瑞士、法國沒有簽證，機票訂好了，不可能改期，硬著頭皮出發，得靠領隊到外站，見機行事。領隊一路膽戰心驚，過關斬將，新世代的旅遊朋友，實很難想像當年的困境。
Jeffery托當年因業務的需要，經常出國洽公、参展，從北歐、中歐、南歐到後來的東歐。從北美到南美，近鄰的韓、日、東南亞，印度，非洲到澳洲、紐西蘭。最後去的地方，反而是後來開放的中國大陸，走遍 5 大洋 3 大洲，超過100個城市，眞不負此生。因此，我常對老外說：you call the world I call Home 。
由於當年旅遊資料很有限，第一套的世界之旅中文版還是從日文版翻譯的，在歐洲出差，只有到了當地找資料，有瑞典文、法文、德文，英文也不是很流通，在巴黎，想到凡爾賽宮，不知英文、法文怎麼併，座火車還迷了路，轉了幾轉才找到。想到了裴冷翠看米開朗基羅，在羅馬訂房，記得里拉很小，搞不清，少了一個0吧！Chick-in 後才知道一個晚上要200美金，當時是小職員近一個月的薪水，火車到了已晚了，只好認了，不過，那古色古香的飯店是開了眼界。記得當時也不知道Tuscany就在裴冷翠附近，回程才曉得，直到今天仍無法圓Tuscany的夢。如果當年有今天的網站資料，可能玩得更細緻。更遺憾的是出差時也沒帶相機，更別說數位相機，在瑞典前後近十年，達拉斯及休斯頓3年，沒留下什麼相片，很多去過的地方印象也逐漸褪色，幸好有Youtube 的影相，可重溫舊夢，不亦快哉！
本站所提到的城市或國家，只針對我曾去過的才予以介紹，期望建構我一生的旅遊記憶。

傑佛瑞的地球村 Travel map of Jeffery

享譽全球的-西班牙生火腿，已有500年的歷史，西文是Jamon，西班牙生火腿中的超級巨星則是Jamon Iberico，(有分三個等級Bellota、Recebo、Cebo)。以塞維利亞Sevilla西北方一百多公里外的Jabugo的生火腿最著名，使用野放的伊比利亞黑豬肉(指黑色的豬蹄)為原料，紅色火腿顏色深淺不同。站主2001年第三次去安達魯西亞渡假，住在馬拉加飯店每天自助早餐有近10種不同口味的西班生火腿，各有不同的香度、鮮度、鹹度，咬勁，口感各有不同，但都很有嚼勁，充滿了野味，吃完後和口齒頰留香一整天，和金華火腿完全不同。
原本回來也要一腿，老婆嫌麻煩，說要那麼硬，回來如何切片？只好作罷，末料及那天回台灣，馬拉加機場，旅客幾乎人手一腿，大嘆，失之交"腿"。
台灣目前可以買到的是義大利Prosciutto，在美國也是義大利Prosciutto火腿，因為西班生火腿堅持古法(完全沒有烹煮，以豬後腿，連蹄帶腳，整支以海鹽醃漬60天，再自然風乾，兩年左右) ，因此，多年來始終通不過進口檢驗，因此，黑市每一西班生火腿要價幾百美金呢！

第一次去巴賽隆那約20年前，主要是拜訪二個客戶，記得客戶召待到一個很棒的西班牙餐吃完午餐後，大夥西裝畢挻女士著洋裝仍然到當地一個古堡参觀，一直到了3~4點，怱怱忙忙回旅館換便服，逛巴賽隆那的林陰大道(La rambla)，一路上有各種街頭表演，戶外咖啡廳，充滿了南歐風情。記得那天，走到林陰大道的盡頭就是海洋el Portal de la Pau哥倫布紀念碑旁和哥倫布出海的記念船。
回程天色已晚，我們走到一條人聲鼎沸的夜市解决晚餐。餐後看到當地年輕藝術家看到一幅120吋的夢幻騎士的油画，夾着不輪轉的西班牙話(當地人是講加泰隆尼亞話Catalonia)從500美金殺到200美金，至今這幅画仍安在我家。
第二天，我們参觀了舉世聞名高地(1852~1962)未完成的聖家贖罪堂，又名神聖家族大教堂(Sagrada Familia )這座建築群，無論你身處巴賽隆納的你何角度，都能看到它。這座教堂高地從 1882 年動工，不間斷的建造，直到高地過逝亦未完成，如今已100多年了，仍未完工。教堂高高的塔頂上仍是佈滿了鷹架。 高地這座歌德式現代主義建築，分為三部主題，分別為東方的基督誕生、基督受難及西方的死亡，南方則象徵上帝的榮耀；它的四座尖塔代表了十二位基督聖徒；圓頂覆蓋的後半部則象徵聖母瑪利亞。建築的牆面，以當地的動植物形象作為裝飾，正面的三道門以高地獨特的前衛彩色馬賽克裝點而成。整個建築華美不失典雅，令人歎為觀止，被譽為建築史上的奇跡。如今已被世界上唯一一個，還未完工就被列為世界遺產，當年我去参觀時，可全然不知世界遺產是什麼東東！
隨後再到和高地公園(Gaudí's "Park Güell") 参觀高地博物館，館中陳列著高地的生平介紹。及在他建在市區仍使用中的公寓Casa Milà。傍晚搭機到Malaka。

大衛·連爵士Sir David Lean，生於西元1908年3月25日，於1991年去逝。
是英國舉世聞名電影導演、電影以氣勢磅礡，劇情動人著稱。其中以《阿拉伯的勞倫斯》和《桂河大橋》《齊瓦哥醫生》《印度之旅》》《雷恩的女兒》等為大衛·連代表作。而這五部電影是大衛·連後期的巨片，這五部電影具有共同的主題和視野，如殖民政府和在地的衝突的《印度之旅》，如日本法西斯軍國主義的《桂河大橋》，共產集權下的《齊瓦哥醫生》，英國和愛爾蘭的歷史情仇的《雷恩的女兒》，帝國主義的野心的《阿拉伯的勞倫斯》下層社會的悲歌《孤雛淚》。每一部都是劇力萬鈞的經典名作。
這五部電影可是新生代的導演，學電影的學生，電影迷必看之片。這些片，我平均看了5次，收藏有LD及DVD。大衛·連爵士是最受世人敬重的大師。1970年他拍完了《雷恩的女兒後，一直到1984年《印度之旅》中間隔了14年時間，也是他畢生最後一部作品。可見大衛連寧缺無爛的風格。
大衛·連生於倫敦。由於父親Francis William le Blount Lean、母親Helena Tangye，都是貴格會信徒，因此大衛·連少年時曾入讀位於伯克郡雷丁由貴格會創立的雷頓派克學校，。 ...繼續閱讀

阿拉伯風格音樂(Arabesque Music)對全世界音樂的影響是幾乎是無遠弗届，除了世人熟知的阿拉伯各國外，其他如波斯音樂，西班牙安達魯西亞音樂，北非音樂，甚至希臘，土耳其，印度次大陸，中亞、新疆音樂，東南亞及中國的伊斯蘭社群之音樂，莫不受到阿拉伯音樂的影響。
阿拉伯音樂有極强烈的伊斯蘭信仰和可藺經頌讚吟唱，在比較開放的伊斯蘭國度如土耳其及黎巴嫩的流行電影音樂；北非、西班牙有安達魯西亞的猶太和摩爾人的融合歌謠，葉門猶太歌曲，土希(土耳其/希臘)融合歌謠，至於從在從新疆、喬治亞、土耳其木卡姆，伊朗拉笛夫Radif、伊拉克、摩洛哥北非的Nuba，這些木卡姆概念(不斷地出現反復性之固定旋律型如印度的拉格Raga)的起承轉合的自由即興的調性。
阿拉伯風格音樂的語言則更豐富，有喬治亞及亞美尼亞語，黎巴嫩語，阿拉伯語、希伯萊語、印尼、印度、波斯、土耳其語或其中幾種語言的混搭等語。
阿拉伯音樂的旋律優美，充滿了大量的變化音，基本音階和西方七聲音節完全不同，和印度音樂一樣，阿拉伯音樂主要採用的音階是以1/4音為單位的，有更細緻的微分音，所以阿拉伯音樂的是五聲音樂和七聲音樂，甚至於十二音，音樂能量更為寬廣細緻。
阿拉伯音樂因受到頌讃可蘭經的影響，節奏要求特別高，又複雜多變。阿拉伯音樂自由即興的調性和强烈的節拍和節奏，特別受到西方人士的喜愛，阿拉伯音樂成為世界音樂萬花桶中最重要的一支，值得人們分享和探索。

阿拉伯風格音樂