MARCHING ON

Habbakathoon- the poetess queen of kashmir

The cultural heritage of Kashmir is as rich as it is varied. This mental child of ‘Kashyapa’ has been the recipient of fondest love and bountiful benevolence from Nature and has consequently enthralled the whole world by its superb physical charm from times immemorial. To crown all, this physical grandeur has been very usefully groomed by Kashmiris in weaving the rainbow. Coloured texture of mental and spiritual attainments. In many respects they have been pioneers in evolving a cult of philosophy in tune with their environment and called it as ‘Shaivism’. A galaxy of rhetoricians have taken pains in prescribing norms and standards for making the literature in general and poetry in particular more acceptable and representative. To say squarely, not a single branch of literature has been left out by these savants without their impress and alchemic touch.

Not only this, Kashmir has been the testing-ground of three universal religions of the world-Hinduism, Buddhism and Islam. The traits of all these religions have fused into the attitude of a Kashmiri like milk and candy; and it is no surprise that though bearing Hindu or Muslim or even Buddhist names, a Kashmiti even to-day in actual practice is a living embodiment of Buddhist compassion, Hindu tolerance and Muslim zest for life. Therefore with such a Catholic background, secularism to a Kashiniri is not a political expedient but an article of faith ingrained in his blood from the hoary times to the present day. ‘Kalhana’ in his monumental History of Kashmir ‘River of Kings’ has not mentioned even one Communal trouble between the Buddhists and the Hindus when a voracious race was in progress between their respective adherents to make theire own tenets popular and thus steal march over other faiths. In contrast to this, Buddhist Kings have donated large sums for the erection of Hindu temples and shrines and vice versa. Religious battles have always been fought here on paper, in a more rational way, or through dialogues which never left bad taste in the mouths. During the Islamic period Sultan Zain-ul-ab-Din Badshah in an admirable way and forsooth like a Kashmiri to his marrow renovated demolished Hindu places of worship and even started ‘Langars’ at Places of pilgrimages for feeding the hungry and the devout. ‘ShriVara’ in his ‘ZainaTarangini’ has mentioned such ‘Satr’ or Langars, one of which was located at the foot of Mahadeva mountain.

In this way, when in the 14th-15th century an alien culture knocked at the mountain-doors of Kashmir for being shown in, the values cherished by Kashmiris all along had already prepared a hospitable ground for its happy welcome. The puritanic prosletyzing tenacity of Islam in the absence of any mentionable reaction on the part of Kashmiris compellingly changed to more logical and rational methods. In this political and religious upheaval, long-cherished secular outlook of the faith of the people would have received a jolt, but at this juncture literature came to our succour.

At the confluence of Hindu and Muslim cultures ‘Laileshwari’ or ‘Lalla- Deda’ stands like a collossus beckoning people to eschew differences of colour, creed or faith and yoke themselves to attain Identity with Him– the All-pervasive Transcendental Force called God as such, Therein all are equal, the worldly appellations drop down like slough from a snake. The pursuit of mundane is an exercise in futility; Therefore the goal should be beyond mundane-materiality; It is no use counting mile-posts of material gains or losses and getting lost in its maze; the eye should be on the destination– the real and permanent.

For reasons obvious, the social fibre of the Kashmiris was also undergoing transformation at that time and the present could not have been in any way palatable to the denizens of Kashmir at large; so like an awake artist ‘Lalla’ dismissed the present as trash and ushered in spirituality in its all shades ‘Being’ was replaced by ‘to be’. By borrowing sweetness from the ‘unknown’ ‘Lalla’ virtually transformed the frustration or people into the hope to live with ever -appetising gusto. ‘Lalla’ could not help striking a happy compromise between Kashmiri shaivism and Islamic sufism. It was in tune with the times. To quote Dr. Sufi ‘Even long before the formal conversion to Islam, Islamic sufism had already entered tho valley.” Cultural conquest is always a pre-requisite to any other kind of conquest. A Kashmiri by nature tolerant and catholic kept his windows open for inhaling the fresh air of sufism. He even assimilated and owned much of it what was good and rejuvenvating.

But, by the time Habba Khatoon’s inebriating imagination began to find words, this climate of spirituality and mental drill had become suffocating and even stale in the context of fast changing economic conditions and human values; emphasis on individnal instead of on the society had become the accepted norm of public relations and thinking. The extrovert attitude yielded place to introspection. So, the poet in these changed environs harnessed his imaginative faculty to interpret his or her own feelings; Hence, Habba at the very outset of her poetic career rebelled against the prevalent standards of poetry-writing. Textbook idealism is not found in the dictionary of her pulsating emotions. She did not also try to bridge the distance between the ideal and the real. Her substantial contribution in this domain is to interpret her life as it was and not what it should be. Total absence of didactic content in her poetry (what ever is available to us) lends support to our belief, that she always believed in translating her feelings without any redundant appendages of ideal, faithfully and with sincerity of purpose. Her poetry consequently is a happy blend of sweetness and pathos. She has preferred to live in the present, past was beyond her reach and future out of her comprehension.

Kashmiri nation at that time was groaning under internal exploitation and external aggression. The last indigenous ruler of Kashmir Yusaf Shah Chak personified in himself levity and depravation in every sense of the word. “His own Subjects being fed up with his way-ward conduct had to invite the mughals to get rid of such an incapable and debauche ruler,” Writes Dr. Sufi in his ‘Kasheer’. His regal writ could not run outside his palace where passion and carnality were reigning supreme. This trait of inviting aliens to redress their troubles is not new to Kashmiri character at all. Kalhana has alluded to this many times when the natives falling foul with their rulers invited the neighboring Kings of Lohara (Lorin) and Parantosa (Poonch) to sit on the throne of Kashmir. The great queen ‘Dida’ herself belonged to Lorin and installed her brother Jayasimha as the king of Kashmir just before her death. So, the Mughals who had vulturous eyes on Kashmir already, but their incursions bad been thwarted by Kashmiri twice before, exploited such a situation to their fill. This was a welcome addition to their diplomatic bag of conquests. Yusuf Shah at last awoke to find his own people arrayed against him. The Mughals arrested him and forced him to live a life of solitary confinement at a remote village in Bihar outside Kashmir, where he ate his heart away in sole distress and breathed his last. It has been contended by some overzealous Kashmiris lately that uprising of Yusuf Shah against the Mughals symbolized the urge of Kashmiris to fight external domination. Unfortunately, the contemporary historical evidence of this period does not, in any way, confirm this view, however laudable it may seem to be.

Moreover, the famine of 1576 A.D. due to the untimely snowfall multiplied the miseries of the people. The devastating effects of this unprecedented famine persisted for full three years and Kashmiris passed their days on starvation level more or less. To this injury insult in the shape of ‘Shia-Sunni’ troubles was added. Sectarianism became pronounced and it let loose all the evils which nurture and sustain it. In such a disappoioting state of affairs, the poet naturally has to close his eyes against all that is happening around and in self-deceit revels in the fanciful panorama of his heart. Habba could not afford to be an exception to this Universal truth. Hence her love-poems do breathe an atmosphere of total self-absorption being blind and deaf to the environmental vissicitudes. These may well be labelled as throbbing vibrations of self-immersion but not self forgetfulness. Her ego is always pronounced in each line of her verse.

Unfortunately for us we are actually at sea about the life of this Nightingale of Kashmir. No authoritative contemporary record has been unearthed so far to test the veracity of the popular tradition which associates Habba with Yusuf Shah Chak. Moreover, we have no hesitation in doubting the credence of the contemporary records as the History writing even to-day is not free from strings of pressures and pulls. During the rule of the English the events of 1857 have been mentioned as Mutiny, and those very events under the Indian rule have been treated as war of Independence; A dispassionate account of historical events devoid of personal projections is rare even to-day when every man proclaims that he is free and has been given every opportunity for independent thinking and expression of opinion thereof. In those hoary days, when history was compiled at the behest of the king, perhaps in proportion to the munificence the ruler lavished on such mercenaries, distortion of historical facts has always come in handy for the rating clique and its sycophants. In the same way, there is a thin line between aggression and liberation; In such a dilemma the verdict of people should have been the guiding principle for us all, but wherefrom it is to be made available?

Moreover, the evidence of the historical data which is still in manuscript form and has not undergone the acid test of public opinion cannot be relied upon. In Kashmir even to-day people who enjoy leisure and have aptitude are given to record their own experiences in which casual references to rulers have also been made in Sanskrit, Persian or Urdu; but for reasons obvious these cannot be termed as histories as such. Perhaps every Kashmiri house-hold having mentionable literary background of any order can boast of such perional record. By no stretch of imagination these can be treated as historical evidence worth quoting. Therefore, the chronicles written to order or as a product of personal caprice have no place in literary or purely historical criticism, Kalhana has not mentioned the great Shaiva philosopher Abhinavagupta even once. Does it follow from it that Abhinavagupta was not a historical personality at all?

In the face of such scanty historical material at our disposal, we have perforee to fall back upon the popular tradition which in unequivocal and unambiguous terms has all long associated Habba with Yusuf Shah. In the reconstruction of histories of literature the tradition has played no mean part. This kind of unbroken evidence casnot be dismissed as cheap and unreliable altogether. The tradition passes from generation to generation by word of mouth. If in literary criticism this had not been taken cognizance of, then the religious lore of entire humanity would pass on as forged; Actually the case is reverse of it. Tradition has all along held the vedas, the Bible and the Koran as the most respected and the most genuine of all the available literature that has come down to us by the word of mouth. Tradition embraces in its ambit the force of public opinion which cannot be disregarded at any cost. Public opinion in its turn breeds sentimental attachment, and this sort of living testimony is far superior to other media of evidence. Perhaps this irresistible public opinion forced the later Persian chroniclers to make a mention of Habba though two centuries or more after her death. The reasons for maintaining Sphinx-like silence regarding ‘Habba’ by the contemporary chronilcers may be attributed to the aversion Sunni scholars bad for the wayward behaviour of a sunni girl in consenting to become a ‘Keep” to Shia Yusuf Shah. The Shias on the contrary did not like to tarnish the image of the shia king Yusuf by making a mention of his licentious disposition towards Habba. The Hindu Historian could not afford to offend these both sects hence sat on the fence. Therefore, instead of adopting an iconoclastic attitude a critic should own a positive outlook and respect the tradition and the sentiments of people from which he cannot alienate himself. Later skt chroniclers i.e JonaRaja or Shrivara have not mentioned ‘Lalla’ at all though being her contemporaries, yet the popular tradition has had her day in as much as ‘Lalla’ lives before our mental eyes even to-day. Historicity in ordinary and unsophisticated parlance connotes systematisation of facts, values, tradition and outlook. Therefore, the role of tradition can in no way be under estimated.

When the dust of such controvercy had settled down, Birbal Kachru and Hassan Khohyami, the first chroniclers in this field, thought it fit to mention her by name. Both these historians have given an account of ‘Habba’ though in a slip-shod manner; but piecing the incidents together we can build her personality without any fear of contradiction or historical irrelevance. According to them “Habba” was the scion of a well-to-do peasant family living at Chandrahara, a village near the famous Saffron fields of Pampur. She had been married to Aziz Lone one of her collaterals. The proverbial animosity between the mother-in-law and the daughter-in-law dampened the marital relations between Habba and her spouse. She was forced to live with her parents. ‘Habba’ at such a tender and impressionably age could not recover from the rebuff she received at the very threshold of her conjugal life. Her despondency flowed out in the form of poetry pulsating with unartificial fusion of sound and sense. He fame reached the amorous ears of Yusuf Shah, who admitted her to his harem as a ‘Keep’, and did not allow her the status of a queen. Both the chroniclers are punctillious about using the phrase “sharing the same bed,” about her.

Further, Mohammed Din ‘Fauq’ and Abdul Ahad Azad have provided us with her actual name ‘Zoon’, as faultless as the moon. Mahjoor has also accepted this name without a murmur. ‘Habba Khatoon’ presumably a more respectable mode of address than ‘Zoon’ must have been bestowed upon her when she joined the harem of Yusuf Sbab in keeping with the royal ettiquette. There should be no surprise, or eybrows need not be raised when a Kashmiri lady is supposed to have two names. In olden days, Kashmiri girls after their wedlock earned a new name in their inlaw’s house. This custom has persisted with Kashmiri Pandits even now.

A section of popular belief ascribes her home to Gurez where a contiguous mountain and a spring are named after her.

Internal evidence as culled from her verses confirms the first view:-

<verses>

“My parental home is situated at the tableland of Chandra Hara.”

Her another name can be inferred from this:-

<verses>

“I am bemoaning my lot in Plaintive cries, the Moon (Kashmiri Zoon) has been devoured by an eclipse.”

Shri Amin Kamil’s well-edited booklet containing only twenty songs is the only authentic source material available to us for commenting upon Habba- Khatoon’s poetry; however, in addition to these, Kashmiris ascribe many more poems to her and these have been printed. As long as an anthology of all her available songs is not compiled and given the seal of an authoritative edition, we have to confine our comments to these twenty songs only. Interpolations will be there, more essentially so, her extraordinary popularity has been a bane for the original texts composed by her. The more popular a poet, the more danger is there of interpolations creeping into his compositions and after the mischief has been done it seems very dificult to distinguish gold from dross, and often dross passes on for gold.

‘Habba’ is very proud of her lineage:-

<verses>

“My parents brought me up with fondest possible care; A host of maid- servants was at my beck and call. I could not fore-see that the dreams nourished by me would be shattered to the ground. No body’s youth with childlike innocence should go unrewarded like that of mine.”

‘Habba’ testifies to her being very well-read:-

<verses>

“My parents sent me to a distant school for receiving tuition. The teacher there beat me with a tender stick mercilessly and ignited a fire within me; No body’s youth with child- like innocence should go unrewarded like that of mine.”

She did not ignore the religious education also:-

<verses>

“I committed thirty ‘Siparas’ of the Holy Quran to memory in a single sitting, faithfully adhering to the diacritical intonations; yet the valentine punctuated with love could not be read with such facile speed. What will you gain by my passing away.”

She has woven the scene of her marriage in these words:

<verses>

“My parents blessed me as a fortunate daughter, and beckoned to me that the in law’s were waiting in the compound for taking me away. My silver- studded palanquin had golden ear-rings hangingdown on all sides. Alas ! innocent youth of any body, with child-like innocence should not go unrewarded as that of mine.”

But all this pomp and splendour could not pacify the wrath of her mother-in-law :-

<verses>

“The mother-in law grabbed me by my hair, which stung me more than the pangs of death. I fell asleep on the supporting plank of the spinning wheel, and in this way, the circular wheel got damaged. I cannot reconcile myself with the atrocities of the inlaws, O! my parents, please come to my rescue.”

Habba unfolds her love for her husband like this:-

<verses>

“I have been waiting for long with extreme patience for you – O! my love (or Aziz) do not be cross with your moon (zoon)! I have adorned myself lusciously from top to toe; so enjoy my youth as lively and inviting as a pomegranate flower.”

But Aziz did not relent and Habba bad to experience the pangs of forced widowbood:-

<verses>

“I am on pin-pricks for want of an avid response to my love; my bubbling youth is on its ebb. My awake parents, do read in to the hint I have dropped.”

The stings of separation from her husband in her prime-youth can better be imagined than described. Perhaps her beiog on the brink of human patience can justify her consenting to give company to Yusuf Shah Chak. She could not wait for legal or other formalities involved in sharing his bed. This might seem not very laudable, yet it is true of every maiden who is a slave to her senses and whose warmth of love has all along remained unrequitted, moreso, it is all the more pronounced in the case of a lady who would like to wreak venegance on tbe callous society not reciprocating her sentiments, no matter if she loses ber identity in this bargain.

For the span of years in which Habba lived, no cogent authority is available. Mohd Din ‘Fauq’ and in his foot- steps Abdul Ahad Azad have given her life span from 1641 to 1552 A.D. on the authority of ‘Tarikh Baharistan Shahi.’ But on close examination Shri Amin Kamil refutes this and says that these dates are nowhere found in this chronicle. However, her association with Yusuf Shah can give us a clue as to the years in which she was still alive. The reign of Yusuf Shah has been determined as 1579-1585 A.D.; so we can safely assume that during these years at least Habba was living. Akbar annexed Kashmir in 1585 A.D. imprisoned Yusuf Shah and externed him to Bihar; so, when her paramour Yusuf tell on bad stars, Habba must have eaten her heart away in disgust and dismay. This was the second rebuff she received at the bands of the Destiny, and this impulsive Lady unresponsive in love, unaccepted by the society still did not own defeat. She created an exuberant world of her own, punctuated it with her emotions resonant with the dirge of what she had got and what she lost. She lived in her thoughts, so to say.

Such a state of mind is a fertile ground for the induction of Romanticism. Habba deliberately ignoring the less pleasant side of her life indulged in dreamy habit of mind. Romanticism is the acme of poet’s independence of feelings; under its spell he refuses to be bound by conventional restraints. A romantic poet has either the nerve to rebel nor the will to compromise with his environment. Unmindful of what is happening around him, he delves deep into the inner most recesses of his heart and without fear or malice pours out his felings as they ooze forth. Such a poet is incapable of clothing his emotions with artificial adorations. Romanticism may thus he called the highest water-mark of poet’s individual thinking.

Habba may be called the harbinger of such kind of poetry in Kashmiri. She is the originator of popular love-lyrics in Kashmiri literature. However, her love is earthly; she could not rise above it; Her passionate love has its source in the enjoyment or senses and not their denial in any case. She does not feel fed-up with sensual pleasures, but at times would like to revert to these with ever-increasing appetite. She cannot reconcile herself with the sour-truth of being a widow who has perforce to abjure sensuality. She would not like to show herself off as a pious lady either, under the cover of so-called piety myriad sins do thrive when a woman is not mentally ready to own a salutary course of life for herself. Her poetry, therefore, is a candid expression of her feelings which has immenseley contributed to her popularity. She does not like to play hide and seek. Her appeal is straight and unsophisticated.

Habba’s forte is love-in-separation. She has not sung even a single verse eulogizing the munificence of Yusuf Shah when she was in her company. In the words of Kalidasa ‘Separation chastenes love,’ Hence, Habba like a born-poet selected ‘separation’ for her treatment of love. Her verses throughout waft an air of restlessness and not contentment; Calm Composure and resignation to be in turmoil to fate are absent in her poetry. She seems sit cross-legged, She believes in winning love by bodily excellence alone:-

<verses>

“I will apply on my body of spotless silvery sheen, the greasy whiteness of milky creams; I am imnmensely enamoured of thee; I will anoint myself with scented sandal-water. MY love! I will relish to be your slave.”

Even though Habba has repeatedly and even lustily made a call to flesh only, yet her songs reverberate an aroma of lasting flavour; though these songs may sound as sensual to a moralist, yet ‘Habba’ has made no secret of her sensuous attitude to life. She has all along wanted to drink deep at the fountain of life without any saintly pretensions. Therein her moral-courage shines the best. Her voracious hunger in this respect seems unsatiated. To her present holds the mirror to what she lost and what she had gained. Her songs are a lament in every sense of the term. She is firm-footed in her convictions and does not vacillate. This is perhaps the most glaring trait of her poetry. She has no concern for morality or ethics in the sense that she would not elect to be a preacher: She revels in being always loud. She revels in being immersed in her imagination only, yet her ego is always loud. She is not shy of parading her beauty and is rather conscious of it also. Even though she has paid a heavy price for it, still she has no regrets in this behalf.

Habba’s refrain is love wedded to pathos; consequently she has kept the windows of her mind shut and her heart is only wide-awake in emitting and receiving images from her fancied dreams. The pathetic content of her poetery is all the more aggravated by the elusive nature of her ideal which has consequently earned for her the epithet ‘Nightingale’ of Kashmir most squarely. She does not subscribe to the view that “It is better to have loved and lost than never to have loved at all.” In the absence of any appropriate and meaningful response to her simmering emotions, she has opted for self- suffering, telling beads of her tear-drops. Be it Heemal, Arnimaal or Habba Khatoon, it is the Kashmiri woman bemoaning her lot in pathetic plaintives, the common subject with all these, the victims of the conspiracy of circumstances. Habba Khatoon essentially is a typical example of such a woman who cannot make any kind of compromise with life. In this predicament she could have turned a rebel, but, she instead of it, becomes a martyr by consent. This is exactly the most salient feature of Kashmiri womanhood. Towards the closing years of her life, Habba does express her remorse for not compromising with the life as it is, but fashioning it according to her imagination; none the less in the same breath she admits that missed opportunities need not be recalled. She does indicate the ‘Achilles Heel’ of her personality-to rule only and not to get ruled:-

<verses>

“I, Habba Khatoon, is definitely sorry for not adapting myself submissively to the moonish caprices or my lover. I do recapitulate those missed opportunities, but it is now too late to atone for these; therefore, You, my lover! should not be cross with me.”

A sense of guilt seems to haunt this love-lorn lady, but at the same time her self-willed nature dismisses this weight on her heart by taking refuge under the excuse that race is already run. This subdued expression of penitence does portray her loud thinking in unguarded moments, but like a wakeful artist, she cancels it in the second breath. She does not flop, as the idiom goes.

Habba’s songs are musical in essence and pathetic in spirit. She has also been acclaimed as a melody-queen of Kashmiri poetry. Her popularity is also due to the fact that her songs are not only a replica of Kashmiri sentiments but also a potent vehicle of Kashmiri music. Her originality in this sphere is undisputed. Even though she has appropriated a sizable chunk of Persian words and Persian similes, yet she has refrained from owning Persian code on metres. She has in their place introduced home-spun Kashmiri melodies pertaining to rhyme and rhythm in her quatrains.

Therefore, her songs self-contained in each quartrain can be more profitably compared with the ‘Vaks’ of Lalleshwari or ‘Shruks’ of Nund- Reshi from the style-point of view only. These cannot be classed under ‘Gazal’ or ‘Nazam’ of Persian metrics, despite the fact that Habba has a tendency to repeat refrains.

Therefore, it is not without reason that ‘Mahjoor’- the doyen of Kashmiri romantic poets, has dealt a dig at one of his celebrated predecessors- Rasul Mir in this pregnent verse, for not paying well-deserved compliment to Habba Khatoon:-

<verses>

“Rasul Mir of Shahabad has profusely alluded to the moon of Qandhar; Why has he been averse to the moon (Zoon, Kashmiri) of Chandrahar?”

 

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Yale Precision Marching Band $81.25 High Quality Content by WIKIPEDIA articles The Yale Precision Marching Band (affectionately known as the YPMB) is the official marching band of Yale University. It is a scatter band (what some peers might call a scramble band ), as distinct from university marching bands that emphasize precise movements and geometric field formations. Band members refer to themselves as The Members of, which is derived from their introduction at Yale events. The repertoire of the YPMB is constantly evolving, driven by student arrangers and pop music trends. Besides standard types of band instruments, the YPMB includes violins, bagpipes, accordions, keyboards and air guitars, and was the first scatter band to incorporate electric guitars. The YPMBs Squids section creates large cardboard props for halftime shows. The Squids evolved from the Appoges (pronounced p od z, after appoggiatura, a grace note) of the 1980s and 1990s, who handled props but also carried their own instruments (frisbees, stuffed giraffes, lounge chairs). Author: Surhone, Lambert M./ Timpledon, Miriam T./ Marseken, Susan F. Binding Type: Paperback Number of Pages: 114 Publication Date: 2010/07/31 Language: English Dimensions: 6.00 x 9.02 x 0.27 inches

University of Pittsburgh Varsity Marching Band $93.99 High Quality Content by WIKIPEDIA articles High Quality Content by WIKIPEDIA articles The University of Pittsburgh Varsity Marching Band, or Pitt Band, is the college marching band at the University of Pittsburgh. The band includes over 200 instrumentalists, a majorette squad known as the Golden Girls, a color guard, and the University of Pittsburgh drumline. The band was founded in 1911 and has won numerous awards over the years. All members of the band must pass an audition in order to join. The band is currently housed in Trees Hall, however Pitt is in the process of building a new marching band facility. Author: Surhone, Lambert M./ Tennoe, Mariam T./ Henssonow, Susan F. Binding Type: Paperback Number of Pages: 132 Publication Date: 2010/12/09 Language: English Dimensions: 6.00 x 9.02 x 0.31 inches

Cornell Big Red Marching Band $60.54 High Quality Content by WIKIPEDIA articles The Cornell Big Red Marching Band is the only traditional marching band (as opposed to a scatter band) in the Ivy League. It performs at all home, and most away, Cornell Football Games. In addition, the band has performed at half time for numerous National Football League and Canadian Football League games, and began a tradition of an annual Spring Concert in 2006. Author: Miller, Frederic P./ Vandome, Agnes F./ McBrewster, John Binding Type: Paperback Number of Pages: 64 Publication Date: 2010/12/22 Language: English Dimensions: 6.00 x 9.02 x 0.15 inches

University of Massachusetts Minuteman Marching Band $82.85 High Quality Content by WIKIPEDIA articles High Quality Content by WIKIPEDIA articles The University of Massachusetts Minuteman Marching Band (UMMB) is the marching band for the University of Massachusetts Amherst. The band currently has about 352 members and was directed by George N. Parks from 1977 until his sudden death in September 2010. Assistant Thomas Hannum has been named interim director, assisted by Michael Klesch and Frederick Omega Pye. The Minuteman Band plays halftime and postgame shows at all home football games and frequently travels to away games. The band has also performed at Bands of America in 1993, 2001, 2004 and 2007. In 1998, the Minuteman Marching Band was awarded the prestigious Sudler Trophy, the highest honor that can be bestowed upon a collegiate marching band. Author: Surhone, Lambert M./ Tennoe, Mariam T./ Henssonow, Susan F. Binding Type: Paperback Number of Pages: 108 Publication Date: 2010/12/07 Language: English Dimensions: 6.00 x 9.02 x 0.26 inches

Alfred Publishing 0026524 Marching Fundamentals $38.12 Geared for incoming freshmen this DVD explains and demonstrates marching basics and familiarizes the student with all standard marching commands and positions. Can be used as a selfstudy aid.Contributors: By Greg MartinInstrument: Marching BandFormat: DVDCategory: Marching Band DVD

University of Montana Grizzly Marching Band $78.07 Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. The University of Montana Grizzly Marching Band is a select, fun and closeknit group of hardworking, dedicated students. The band is open to everyone on the UM campus regardless of year or major. In fact, it has members of the band from virtually every major and discipline on campus and from almost every corner of the United States and around the world. Author: Surhone, Lambert M./ Tennoe, Mariam T./ Henssonow, Susan F. Binding Type: Paperback Number of Pages: 84 Publication Date: 2011/05/19 Language: English Dimensions: 9.02 x 5.98 x 0.20 inches

Rhythm Band Instruments RB911 Marching Drum $33.08 The Rhythm Band marching drum delivers percussive sound that children will find enchanting. Rhythm Band includes rubber safety springs a pair of drum sticks and a head of durable Melinex plastic with the kidsized drum.

Alfred Publishing 0027040 Fundamental Techniques for Marching Percussion $38.12 Instant help for the marching band percussion section. Teaches tuning position of carry plus warmup and technique readiness. Demonstrations given at all levels for all instruments.Contributors: By Thom HannumInstrument: Marching BandFormat: DVDCategory: Marching Band DVD

The Dynamic Marching Band $62.66 No Synopsis Available