十一英里

你说你是个小包，那就表现得像个小包！作为印度歌手高尔赫帕，摇滚明星一样的长发，胡须和态度似乎与他的神圣音乐不符，记得被惩罚。在加尔各答的电影制作人和作家Ruchir Joshi的散文片中，我们探讨了孟加拉神秘主义吟游诗人Bauls的传统和当代实践。 鲍尔音乐，根植于印度教和苏菲派的元素，爱的歌唱，欲望和努力寻找-并坚持-启蒙之路。除了传承19世纪圣拉伦的古典诗句，鲍尔斯的胡椒歌词还提到了现代生活，如电力。上世纪80年代末，当乔希开始拍摄这部电影时，西方对鲍尔音乐的兴趣与日俱增，这不可避免地影响了文化的发展。 乔希为自己的电影制作过程做了铺垫，并借鉴了西方思想家福柯（Foucault），他追随了高尔（Gaur）、老兵苏伯特（Subot）、新秀卡提克（Kartik）和米拉马汉塔（Mira Mahanta），这是一个罕见的强大女性形象。他捕捉到迷人的表演，日常生活和家庭悲剧。这部电影通常会暂停时间，同时加强感知和批判性思考，也许相当于鲍尔音乐努力唤起的状态。 “You say you're a Baul, then behave like a Baul!“ as Indian singer Gaur Khepa, rockstar-like long hair, beard and attitude seemingly at odds with his sacred music, remembers being chastised. Tradition and contemporary practice of Bauls, Bengali mystic minstrels, are explored in Calcutta filmmaker and author Ruchir Joshi's essay film. Baul music, rooted in Hinduism with elements of Sufism, sings of love, desire and the struggle to find – and stay on – the path to enlightenment. In addition to passing on classical verses of 19th century saint Lalon, Bauls pepper lyrics are with references to modern life such as electricity. In the late 1980s, when Joshi began the film, the West showed increased interested in Baul music, which inevitably impacted the culture, for better or worse. Joshi foregrounds his filmmaking process and draws upon Western thinkers such as Foucault as he follows Gaur, veteran Subot, new talent Kartik and Mira Mahanta, a rare strong female presence. He captures mesmerizing performances, everyday life and family tragedy. The film often suspends time while heightening perception and critical reflection, perhaps an equivalent to the state Baul music strives to evoke.