Documents (FR)

 

Presse :

  • The anti-protest song (Ashwin Khan) — Pune Mirror, 9 April 2017
    The Grindmill Songs Project, which has been revived this year, documents much more than music. It is a record of oppression faced by women in rural Maharashtra and Karnataka.
  • Grindmill Songs: Listen to the world’s largest archive of folk songs (Urmi Chanda-Vaz) — Scroll.in, 21 April 2017
    These simple songs sung by rural women are precious because they are songs about all of us.
  • Project revives women’s oral tradition set in stone and verse (Mohua Das) — The Times of India, 28 May 2017
    Given the unyielding face of the Grindmill Project at celebrating unsung women without whom there would be no song, the stones will hopefully not stop grinding.
  • India’s Largest Collection of Rural Folk Music Contains Over 10,000 Songs that Women Sing While Grinding Grain (Sharanya Gopinathan) — The Ladies Finger!, 12 June 2017
    The songs touch upon issues like caste, political movements, mythology and religion, and it’s just a really precious and unique resource.
  • Songs of grit and grist (Shriya Mohan) — The Hindu BusinessLine, 30 June 2017
    The women’s struggle continues, but they have lost this avenue of expression. More women go to school and some even further to colleges. But this collective expression is no longer available to them, whereas the society around them continues to be patriarchal and oppressive.
  • From grindings at dawn, ring songs worth saving (Mohua Das) — The Times of India, Pune edition, 27 August 2017, page 4.
    The act of singing at the grindmill is now a rare phenomenon, usually restricted to haldi ceremonies at local weddings. But given the unyielding face of the Grindmill Project, at celebrating unseen women without whom there would be no song, the stones will hopefully never stop grinding.

Mon commentaire :

Un rêve de Hema Rairkar et Guy Poitevin est en train de se réaliser : le corpus monumental de chants de la mouture collecté par l’équipe d’animateurs de GDS est maintenant en accès public, et même “restitué” aux communautés d’origine à mesure que les technologies de l’information atteignent des zones reculées. Ils auraient surtout apprécié l’engagement de l’équipe de PARI à retourner dans les villages pour faire revivre le souvenir de ces chants, 20 ans après nos séances d’enregistrement… au lieu de se contenter d’un “musée virtuel” réservé aux spécialistes.

Travailler avec PARI est pour moi un grand honneur et une source de plaisir !