The International lournal on Music & Dance VOL. VII ISSUE. 3 August 2004 Piaramparaa a model theatre dedicated to the cultural field Prabhavathi Dharam Singh, wife of Dharam Singh, the CM of Karnataka unveiling the name board The spacious stage A full view of the auditorium A *1 J1PARAA «JL.*SI1I DHARAM SINGH Ouef Minster of Karnataka n the august presence of Dr. A.H. Rama Rao & Sudha Rao, Principle Patrons of GUNAGRAHI celebrated their daughter Prathima Rama Rao s marriage in a grand manner with Deepak Rao Bobbarjung son of Uma Rao & B. Jagannatha Rao. The Raos are seen with the bride, bridegroom and Vidya R Rao. Aug. Sun. 6.00pm: Sri Rama Lalitha Kaia Mandir (R.) arid Dept, of Kannada & Culture presents Independence day Cultural Evening Programme at Sri Devagiri : Sangeetha Sabhangana. BSK II Stage. 15th Aug. Sun. 5.00pm: SriThyagaraja Gana Sabha Trust (R.) and Sri Mukambika lalavadva Sangeetha Kalashale present Vocal recital by R.A. Ramamani with Nalina Mohan (Violin), N. Vasudev (Mridanga), Sukanya Ramagopal (Ghata) at Sri Vani Vidya Kendra. 1 246, 4th Main, 2nd Stage, Rajajinagar. 20th Aug. F ri. 6.30pm : Nadajyothi Sri Thyagarajaswamy Bhajana Sabha (R) presents Vocal Recital by Jumbey S. Vidyarani & party at Sri Kannyakaparameswari Temple Premises, 8th Cross, Malleswaram. 21st Aug. Sat. 5.30 pm: B I'M Cultural Academy (R) presents Vocal Recital by Abhishek Raghunun (Chennai), accompanied by Mysore Srikanth (Violin), Palghat Raghu (Mridanga), Giridhar Udupa (Ghata) at Sri. Ramana Maharshi Academy for the Blind, 3rd Cross, 3rd Phase, J.P. Nagar. 2 1st Aug. Sat. 6.30pm : M.E.S. Kalavedi presents Vocal Recital by Sriram Gangadharan & party at New Conference I Iall, M.E.S. College, 1 5th Cross, Malleswaram. 22nd Aug. Sun. 6.00pm : Sri Vinayaka Sangeetha Sabha presents Voeal Recital by Sringcri M. S. Nagaraj with J.K.Sridhar (Violin), C. Cheluvaraju (Mridanga), Srishyla (Ghata) at Sri Vinayaka Sangeetha Sabha, Sir M. V. Nagar, A.E.C.S Layout. 26th Aug. rhu.6.00pm : Sri Guru Raghavendra Swamy Trust (R.) presents Elute Recital by Raj Kamal with A. V. Satyanarayana (Violin) and K.U. Jayaehandra Rao. Felicitation by Prof. A Padmanabhan. Presided by V. Gopala Rao, Prize distribution by . Bhavi Kattee, fol- lowed by Harmonium solo by C. Ramadass accompanied by Dr. S. Nataraja Murthy (Violin), C . C heluvaraj (Mridanga), M.A. Krishnamurthy (Ghata) at BEL Sri Ganapathy Temple pre- mises, BEL Colony, Jalahalli. 30th Aug. Mon. 6.00pm: Sri Guru Raghavendra Swamy Trust (R.) presents (Mridanga) at Magadi Road, Behd. Prasanna Theatre. 29th Aug., Sun. 6.30pm : Raaga Sudhaalaya Charitable Trust (R.) celebrates 4th anni- versary by felicitating and presenting Raagasudhalaya Puraskarto Malladi Jayashree I larikatha by Bhadragiri Sarvothama Das. 31st Aug. lue. 6.00pm: VeenaduetbyGecthaRamanandand Revathi Munhy with A. Renuka Prasad (Mridanga), S.N. Narayana Murlhv (Ghata). 1 st Sept. Wed. 6.00pm: Bharatanatya by Harini Chandramouli and party. SCHOLARSHIPS: Candidates under the age ot 25 years as on 1st July who wish to^ persue proficiency grade in Karnatak music (vocal/instrumental) are hereby requested to submit their applications in their own handwriting, furnishing their updated bio-data, for schol- arships to Hie Managing Trustee, Sri D. Subbaramaiah Fine Arts Trust, 75, 7th cross, \1H Lay out, I phase, J.P. Nagar, Bangalore-560078 on or before 25th August 2004. J 2 Karnataka \ only English International Journal on music and dance GUNAGRAHI /AUGUST— 2004 | Editor General Karnataka Kala Sri Dr. M. Surya Prasad Phone : 22253975 Associate Editors : Usha Kamath Ph : 25598886 K Ramamurthy Rao, Mysore Ph : 0821-2371899 B. L. Manjula, Ph : 25519227 Chief Patrons S.K. Lakshminarayana (Babu) Mysore. Ph : 0821-2513414 V. Krishnan, Ph : 23345665 Dr. A H Ramarao. Ph : 26691175 M Bharadwaj, Ph:081 82-222051 H K. Ganesh, Ph ; 56702763 H. Kamalanath, Ph : 26612244 Principal Advisers Dr R Sathyanarayana. Mysore 0821-2567891 TS. Parthasarathy, Chennai, 044-2459005 Guru Maya Rao, Ph : 22261816 Mattur Krishnamurthy Ph:23346404 Shyamala G. Bhave. Ph : 23443900 Admn. Executive : Dr. H.N. Shivaprakash. Ph : 26672189 Advisory Council Dr. Manjunath Bhat Ph . 26647654 Durga C. Avarthi, Ph : 25298954 T.A.S. Mani, Ph : 23441515 K. Balasubramanyam. Chennai, Ph : 04424992474 H.N. Suresh, Ph : 23347918 C. Cheluvaraj, Ph : 23328361 Prof.K E.Radhakrishna, Ph. 23321641 Guru H R Keshavamurthy Ph: 23320903 Pt Parameshwar Hegde, Ph : 23310039 Pt. Vinayaka Torvi, Ph . 23305701 Dr. Vasundara Doreswamy, Mysore, Ph : 0821-2542814, Ranjani Ganeshan, Ph :26615127 Legal Adviser C.N.Salyanarayana Shastri, Ph. 26620138 EDITORIALOFFICE: "M U N I K 0 T I’ NO. 8, S E C O N D CROSS OPP. SRINIVASA M A N D I R A M , BALEPET B A N G A L ORE - 560 053. PH : 080- 222 53975 e-mail : gunagrahi(a)yahoo.com, drmsury aprasad®yahoo.com Vol. VII Issue 3 August — 2004 INSIDE: ICalendar of Events Understanding Hindustani music From the Editor General Reviews Music Trinity & Patriotism St>Ai eocfo fortes’ .3 -fj -» v 6 Leisure 2 4 5 7 12 13 15 Correspondents: INLAND : Bangalore - N. Ananthapadmanabharao, Ph : 25532658. Kusuma Rao, Ph : 23222593 Katte Sathyanarayana Rao, Ph : 23604663 Mysore - Dr. V. Nagaraj, Ph : 0821-511133 Mumbai-B Nagabhushan, Ph: 0251-2472475 FOREIGN : California : Malathi Iyengar Ph: 818 788 6860.Nacheketa Sharma - Ph : 001- 650-960-6906 Lavanya Dinesh Ph : 717-576- 8295 * We Welcome all unsolicited material but do not take responsibility for the same. If these are to be returned postage should be included * Letters are welcome All rights reserved. Nothing may be printed in whole or in part without the written per- mission of the publisher. The editors and publishers of Gunagrahi do their best to verify the information pub- lished but do not take responsibility for the absolute accuracy of the information. The opinions/views expressed by individual au- thors in articles published are not necessar- ily those of Gunagrahi Articles, Photos, Write-ups, reports may also be sent to the following address : Editor General, 446, Jaraganaltalli P.O. J.P. Nagar, Kunakapura Main Road, BANGALORE - 560 078. 3 GUNAGRAHI /AUGUST— 2004 | Understanding Hindusthani music Difference between Raga andaThaat 1. Thaats or scales are produced from 12 swars-Shuddha, Komal, Teevra. Ragas belong to the thaats 2. There must be seven notes in a thaat The raga must have mini- mum five notes. 3. In the thaat the seven notes have to be in order but in the raga the notes can be in any order. 4. Thaat has only Aaroha (Ascend- ing notes). The raga must have Aaroha (ascending notes) as well as the Avaroha (descending notes) 5. It is not necessary for a thaat to be melodious as the thaats are not sung but the raga has to be melo- dious. 6. Thaats do not express a senti- ment. A raga must express a mood. 7. Thaats do not have a Vaadi or Samvaadi. A raga has to have a Vaadi and a Samvaadi. 8. Thaats are named after a popu- lar raga belonging to that Thaat. Musical terms related to ornamental melodic presentation To make the raga rendering more beautiful and varied following or- namental patterns are used. Alankara : Alankara literally means ornaments or adoration. Specific melodic presentation in succes- sion in which a pattern is followed is called Alankara. For example : “SaReGa, ReGa Ma, GaMaPa, MaPaDha, PaDhaNi This phrase is a part of an alankara in which three notes in succession are used at each time. (Part III) Gamak: These are many ways of ornamenting the notes. In the an- cient books fifteen types of gamaks are found. They are Kampita - shake, Andolita - swing, Aaghaat- strike, Valit - vipple, Tribhinna - threefold, Gumphita - threaded, Plavitaa - flowing, Mishrit - mixed, Kurula - spiral , Sphurita- pulsating, Tirip - flurry, Leen - absorbing, Mudrita - imprint, Ullhasit - happy, Naamita - obei- sance. Many of these gamaks are still in use in Kamatak music under dif- ferent names. In the North Indian music of today vibrating the notes with force is now called Gamaka. This is an important technique in Dhrupad and often in Bada Khayal singing. Many of the gamaks are used in Hindustani Classical mu- sic under different names and iden- tities. Kan or Sparsh Swar: The grace notes make the main notes sound sweeter. Grace notes are written slightly above the main note. Murki : It’s a short taan of three or four notes. It’s sung very fast. Khatkaa: Two or more notes sung with a jerk. Meend : Stretching or lengthening the sound from one note to an- other. This technique maintains the continuity of the sound. Meend brings continuos flow, softness and continuity. Raga and Rasa (emotion) Each raga invokes a certain mood. For instance the raga Darbaari 4 Kanada is regal and dignified and majestic in it’s appearance.. The melodies of this raga tend to be sung in the lower register, tempo is slow and the melodic phrases are complex. All these effects can be explained by the ancient theory of Rasa and Bhava. The Rasa can be said as the experience and the Bhava the expression. In Bharata’s Natya Shastra eight sentiments are mentioned. Shringaar (romantic/erotic), Veer (heroic), Hassya (comic), Karuna (pathos), Roudra (wrathful), Bhayanak (terrifying), Bibhatsa (odious ), Adbhut (wondrous). Later on, another rasa Shant (peaceful, calm)was added It also mentions the different notes to produce different moods such as Ma -humorous, Pa-Erotic, Sa - He- roic, Re - wrathful and so on. The rules regarding formation of a Raga 1 . The raga must belong to a thaat 2. It must be melodic in nature. 3. It comprises of a minimum five note. 4. A raga must have Aaroha as well as Avaroh. 5. Each raga has the note Sa present in it. 6. Each raga has either Ma and/or Pa. Both these notes together can not be absent from a raga. 7. Two forms of the same note such as Shuddha Ga and Komal Ga cannot follow each other in Continued on Page no.6 X • J t The Song before string I There are certain controversies which seem to crop up periodi- : cally in the world of classical music. One such that surfaces more regularly than others is over the term ‘gayaki ang\ It all started in- forming listeners that he was playing in the ‘gayaki ang’. Later, to I drive home his claim, he began to devote a section of his recitals to I I j | sing-and-play sessions. In these the late Ustad Vilayat Khan would sing a slow or fast passage and then reproduce it almost exactly on the sitar. He would also sing khayal compositions and then play them as ‘gats' to show ! that what he was playing was the instrumental equivalent of the khayal. Now the term ‘gayaki ang’ means ‘vocal style’ as opposed to I ! ‘trantrakari’ which means the style of plectrum-struck string instru- i | ments. Some people are of .the opinion that such terms are meaning- less since all music (at least in India) is based on vocal music. While it is true that all classical music in this country is based on vocal music, it is important to realise that the music traditionally played on the Been (the North-lndian Veena), the rabab, the sursringar and | later the surbahar, the sitar and the sarod, did not try to reproduce : the alap, dhrupad, dhamar or later the khayal and thumri of vocal music. With the advancement of technology, that is, sitars allowing de- flections of a larger number of notes in meends or glissandos and sarods capable of sustained note extensions, artistes accordingly started playing longer meends and some tried to reproduce the fig- ! ures of the vocal from khayal. Notable among them were the sitar and surbahar player Ustad Imdad Khan and his son Ustad Inayat Khan, the grandfather and father, respectively of Ustad Vilayath Khan. The reproduction of meends and murkis of khayal reached its peak in the music of Ustad Vilayat Khan: This artiste, utilising his extraordinary left-hand skill also started playing tans built on fast deflections which sound like the silky tans of khayal. Karnataka Kala Sri Dr/M. Surya Prasad. (Continued from Page..4) • succession. (But there are excep- tions to this rule. For example Raga Lai it takes Shuddha Ma and Teevra Ma one after the other. The sources of similarity and dis- similarity between the raga: Some times some ragas sound al- most similar but still there exists a little difference in them. These differences can be seen to be as follows : 1 Similar Thaat (scale) and me- lodic configuration : Some times a raga is only separated from the other by means of stress- ing a particular note in one of them. For example the only difference between raga Hanieer and raga Hameer Kalyaan is there is empha- sis on shuddha Ni in Hamir Kalyan. 2 Similar melodic configuration but different Thaat In some ragas the melodic struc- ture the mood they present is al- most the same but one or two notes vary in their format i.e. are Komal or shuddha or teevra. For example in Aasaavari and Komal Rishabh Aasaavari only difference is the later uses Komal Re instead of Shuddha re. Hence the ragas are considered totally different. 3 Identical Thaat (scale) but dif- ferent melodic configuration These ragas are a challenge to the performer. As the scale remains the same and they are separated on the basis of the melodic configuration only. There are subtle differences made in the form of a meend, use of a certain musical phrase, empha- sis on certain notes, etc. For ex- ample Raga Goud Saarang and Raga Chaya Nat. GUNAGRAHI /AUGUST--2004 | 4. Partial similarity: Here the chances of confusion are almost nil. This is the case of those ragas that are derived from two dif- ferent ragas. Where one tetra chord is derived from one raga and the next from some other major raga. For example raga Ahir Bhairav is derived from Bhairav a major raga and Kafi . The resem- blance to Kafi is limited to the lower tetrachord (poorvanga) only. Alpatva (Insignificance) and Bahutva (Predominance) Bahutva : This is shown in two ways 1 By singing the note repeatedly which is termed as abbhyaas, and 2 By singing the note for a longer time. This is called Aalanghan (lit. grasping) Bahutva is related to Vaadi and Samvaadi of a raga as well as other notes of the raga which are promi- nent in the presentation of that raga. Alpatva : This is again done in two ways. 1 Anabbhyaas : lack of repetition. 2: Langhan : Only briefly touch- ing the note. For example in raga Bihaag The notes Ga and Ni are treated with alpatva as they are less empha- sized. Avirbhaav and Tirobhaav As the musician employs different note combination in the develop- ment of a raga, there is an ever present danger that the audience may feel snatches of another raga which uses similar note combina- tions. When the raga being presented is clearly defined it’s called as 6 A avirbhaav. On the other hand when the raga is deliberately and cleverly con- cealed it's called as Tirobhav This prevarication is used as an artis- tic devise. This process of Avirbhaav and Tirobhaav, an almost sensual game of creating confusion and resolving it by clear statement of the raga makes the raga stand out more luminously. TheJod Raga (Compound raga) The basic principles in combin- ing two ragas arc the constituent ragas should complement each other. The emotional effect of com- bining them should be pleasing and not emotionally disturbing, and not only for intellectual curi- osity. There are at least two forms of Jod ragas. 1 One raga is given predominance than the other. For example in raga Basant Bahaar Basant is consid- ered the main raga to which raga Bahaar is combined. 2 Another way of combining is to use the notes of one raga and Chalan (melodic movement) of the other. For instance in raga Megli Malhar, the notes belonging to Raga Saarang are used and the - raga is sung in the manner em- ployed by the Malhaar group. There are three ways these ragas are created 1. Combining the Aaroha of one raga and the avaroha of another. 2. To have each tetrachord com- posed of notes of different raga (either shuddha or Vikrit) 3. Use phrases from two or more ragas and alternate them between. (To beContinued in the next issue) ■■■■ GUNAGRAHI /AUGUST-2004 | Dr.A.H.Ramarao & Sudha Rao page ■ “Swami ninnc koriyunnaanu The more than 45-minutes' ra" were equally fluent and a rendition of this krithi had a vibrant virothkhanditha nayika profusion of sangathees. The ppptvas available before phrasing was firm and each i l i ffl us. As usual K.R.V. modal passage was quavering Radiant Raslimi Veteran Guru Radha Sridhar of Sri Venkatcsha Nalya Mandira presented yet another talented dancer Rashmi Iyengar trained by her at ADA Rangamandira. There was crispness with del i - cacy in Rashmi’s treatment of lay. The movments and Pulikeshi (nattuvanga) led an able orchestral support. Sri Sharada Sangeetha Sabha, Chamarajpet and Ganagruha held an interesting three-day music festival in the premises of the Sabha. It is a good idea that two Sabhas came together and projected the talents scattered over the with life, rolled, rushed and fluttered about with ease. Also the swaras with different take- off points testified to his firm control of rhythm. However, studding it with the rendition of some instrumental tunes and Vedic mantras yielded mixed results. The Sri raga pancha rathna krithi could have been adavus, in her case, looked like spectacular ornate patterns incessantly appearing on a smoothly passing stream of laya. This was evident in the khanda alarippu and the de- lineation of Swati Tirunal's keerthane “Parama Purusha" on Lord Vishnu in Vasantha raga. She was at home in the portrayal of the episodes of Bh&kta Prahlada and Gajendra moksha establishing an artistic rapport with the au- dience. She showed a capac- ity to briskly execute finely sculptured postures one after another. The nritta, nrithya and abhinaya in the Ponnaiah Pillai's ragamalika varna different parts of the city. Prakash pleases Young veena vidwan R.K. Prakash who has a strong tradition behind him, was fully in command with his presentations. Very inspiringly and effectively accompanied by C.Cheluvaraju on mridanga and R.Ramesh on ghata, Prakash' s long phrasing stuck a sympathetic chord in the lis- teners. In some, he looped far- llung notes and released a cas- cade of lovely glides. There was artistry in his delineation and expertise in the execution. The initial ‘ Vatapi Ganapatim bhaje' carried many features testifying to his scholarship. replaced with some other vilamba kala krithi. Maand (Brahmanda valaye), Hindola (Samajavaragamana) and other ragas were given a bril- liant airing. Charming Chiguru Sanje The young and tiny tots of Vasundhara Performing Arts Centre led by noted dancer-Guru Dr. Vasundhara Doras wamy gave a promising performance under the banner of ‘Chiguru Sanje' at J.M. Palace auditorium. This is one of the three festivals that are hosted by the Centre dedi- cated entirely for the projec- tion of blossoming talents. More than 50 students per- formed. The young children did even the compering. Vet- eran dance-Guru K. M. Raman of Tumkur and Gamaka vidushi Vilas Kumari were felicitated for their yeo- man service to their respective fields. Notwithstanding a couple of misses here and there, the Alarippu, Ganesha stuti (in different gathis), Brahma sandhi kauvthuvam (in khanda nadai) and other items were rendered in groups with practiced precision. Dr. Vasundhara Doraswamy led an useful orchestral support with her vibrant nattuvanga. Emblematic M.S.Sheela In an admirable ges- ture, Hamsadhwani Creations led by reputed Kamatak vo- calist M. S. Sheela and her husband H. K. Ramaswamy presented an innovative fusion music programme ‘Sa ri ga ma Sourabha’ at the Bangalore Gayana Samaja auditorium. It was also marked by the release of a cassette with the same title by K. N. Venkatanarayana and B.N.V.Subramanya, the secretary and president of the Akhila Karnataka Brahmana Maha Sabha respectively. The proceeds of this cassette are GUNAGRAHI /AUGUST-2004 | to be donated to the unique scheme of medical aid to the ailing musicians under the ban- ner of ‘Arogyadhara’ of Ananya led by Dr. R.V. Raghavendra. A cheque for' ten thousand rupees was handed over to Dr. Ragha- vendra on the occasion. The ‘Sa ri ga ma Sourabha’ was directed by talented percussionist Anur Anathakrishna Sharma. Sheela sang to the rich and resonant ensemble comprising Shivu (dolu and mridanga), Shab- beer Ahmed (key boards), Pranesh and Praveen God- kindi (flutes), Charulatha Ramanujam (violin), Arun kumar (rhythm pads) and Venugopal (tabla). In an artis- tic climax the disciples of Sheela also joined her in the rendition of the Sumanasa ranjini tillana. The presentation began with “Mahagana pathim" (Nata). The solfa pas- • sages of Kadanakutoohala raga were manipulated in dif- ferent gathis and combinations. Shahana in khanda nadai by Pranesh and Keeravani by Praveen Godkindi was en- thralling. The way Sheela filled up the sequences spoke of her uncanny art, craft and skills. 8 Deepa delights “Ankura” the annual four-day dance festival under the aegis of the Karnataka Nritha Kala Parishath held at Yavanika focussed some of the young talented dancers who are making progress af- ter their Rangapraveshas. Deepa Srinath. has already proved her worth on various platforms. Trained by veteran Guru Radha Sridhar. Deepa packed her short recital of Bharatanatya with all the nu- ances of the dance form. The famous Todi vama “Roopamu joochi” was portrayed in all its splendor. She could reach the import of the lyrics with her neat satwikaabhinaya. Her nrittawas commendable. But the melkaala jathis uttered by the nattuvanar KRV Pulikeshi were translated into dance in almost a madhyama kala. However the aduvus and teermanas caught the attention of the rasikas. Deepa scored well in the abhinaya for a Purandaradasa pada “Maneyolagaado Govinda”. The pranks of chi Id Krishna and the traits of a loving mother were successfully cap- tured by the dancer. KRV Pulikeshi (nattuvanga). ■ GUNAGRAHI /AUGUST-2004 IHHHHHHHHI Ramcsh Chadaga (vocal), Jayaram (flute) and Chandra sekhar (mridanga) imparted lively support. Lively duet This was followed by a lively Bharatanatya duet by Madhavi and Suneetha of Davanagere. Their mentor Dharani Kashyap's hard work seemed to fetch rich dividends. The dancers-duo performed with full confidence and concentration. Facing the knowledgeable audience of Bangalore was no problem for them. They went through the varna (Sriranjini) and Kadanakutoohala li liana in such a manner as to evoke spontaneous appreciation from the dance lovers. With tine understanding and coor- dination they covered the nritta. nrithya and abhinaya phases of the varna “Simhavahini Sri Rajeshwari" in adi tala ad- dressed to the Goddess. The benevolent acts of the Devi and Her fearsome forms w ere also depicted. The nritta inter- ludes were w'ell held. Sport- ing the almost perfect ardhamandalis. Madhavi and Suneetha enjoyed their pre- sentations. Dharani Kashyap (nattuvanga), Mohan (vocal). Madhusudan, Ashwatha narayana ( flute) and Chandra sekhar (mridanga) provided the befitting accompaniment. Imaginative Indrani The Krishna-theme seems to be a favorite of all the dancers. This blue God’s enchantment is never ending and ever fresh. I le has been liked and loved by not only the Gopikas but continues to hold the animals, birds and even the litterateurs under His spell. The ref reshing example for this was “Neela Madhava”, a dance feature directed, choreo- graphed and presented by Indrani Parthasarathy, the ar- tistic director of Abhinaya kala Shaale, Texas. Naturally, Indrani, the daughter-disciple of veteran exponent of Bharatanatya Guru Radha Sridhar could strike the right chord in the lovers of dance. Guru Radha Sridhar ’s prominent disciples Deepa Srinath, Ishwarya Nithyanand. Rashmi Iyengar and Manasa also gave a good account of themselves as dancers of merit in unfolding the theme. The dance feature presented at the ADA auditorium was sup- ported by a befitting recorded orchestral support. 9 The Divine Cowherd was praised in an impressive dance vocabulary on the ba- sis of a shloka (“Peetham- baram kara virajita”) followed bv the delineation of an w Annamacharya krithi “Bhava yami Gopala baalam mana sevitham”. All the dancers en- dearingly sketched the glory of child Krishna. I was particu- larly enthralled with the tagging of a traditional ‘Muralidhara Kavitha”. It consolidated the content of the theme and the jathis interspersed in between provided the dancers to streteh out a nritta of high order. The ardhamandalis of the dancers, composition of aduvus and korvais. the varieties of jathis used et al caught the attention of the rasikas. The portrayal of the episode of Sri Krishna's birth on the lvrical basis of an- other Annamacharya krithi “Cheriya kodaku" by Indrani was commendable. The abhi naya for a Purandaradasa pada “Aadisidalcshode’' was upto the mark. Krishna as the Sweetheart of one and all and the depiction of the entire uni- verse in tJie mouth (Brahmaan- da darshana) by the child Krishna left behind some nice memories. Gopikas long for Krishna and they want His in- timacy. ITiis is achieved under the pretext of complaining against him to his mother Yashoda. Indrani showed this with the help of Uttukkadu’s “Taaye Yashoda” (Todi). Deepa. Ishwaiya, Rash mi and Manasa excelled in rendering “Marakatha man imay a” ( Ara- bhi)and Kuvempu's“Brinda vanakehaalanu maaralu”. Accepted Sweekrut Hie audience at the studios of Abhinava Arts Center ac- cepted young and handsome Kathak dancer Sweekrut's talent and artistry with great joy. Sweekrut is the prize dis- ciple of a very famous dancer- couple Nirupama Rajendra and T.D. Rajendra. In a short Kathak recital he could pack all his dance-capabilities. The versatile dancer N irupama led the orchestral ensemble with her padhanth. Everything was in good shape and form. The recital began with a Ganapathi and Krishna vandana. Hindi poet Biharilal’s doha “Mor makuta kati” was successfully converted into dance imagery. The Ganesh Kavith (“Gam gam Ganapathe”) with tatkar, natwari tukudas, tatkar ke tukude, pharans, chakkars etc glowed forth. The 2 1 -chakkar in particular was spectacular. Sweekrut's manipulation of Jaipur and Lucknow gharana's aamads were a delight. He was at the top of his form in unfolding ‘Chadurang' a com- position comprising sahitya (on Lord Shiva and Parvathi), sargams. bols and taans. The dancer was at home in all the above aspects. The tarana in Pooriya provided a fitting fi- nale to his dance. at Sri Shivabalayogi Kalyana Mantapa with their Bharata natva duct. It was noteworthv j * that the NR1 sisters-duo had Artistic Mrudula and Unialakshmi Mrudula Rao and Umalakshmi are trained in Bharatanatya by Nirupama. They did proud to her in the delineation ofChatushloki in praise of various deities. The nritta, karanas and freezings were both aesthetic and artis- tic. Uttukkadu Venkata subbaiyer’s “Raara Radha Madhava” brought out the grandeur of Shringara rasa. Mrudula and l Jma's profound portrayal left nothing wanting. The gay and abandon with which the concluding Vasantha tillana was rendered was cherishable. NRI duo regale Akhila and Adithi Ananth, trained under Guru Viji Pra- kash regaled their audience 10 imbibed not only the Indian culture but also the intricacies of the dance form. Though brought up in an alien atmo- sphere in the US. their mood and movement seemed to be Indian. The duo eulogised the Lord of Obstacles on the ba- sis of a Sanskrit shloka “Mudaakaratta modakam" (Hamsadhwani). Accompa- nied by a recorded music they enlivened their performance by displaying correct artistry and technique. Though the basic araimandis missed the Shastric-prescription here and there, the Ananth-sistcrs were always on the winning side. Todaya mangalam was an essay in shuddha nritta. “Maathc Malayadhwaja'* (Khamach), the well known daru was given an airing with G fine nritta, nrithya and abhinaya. The demandingjathis could easily be translated and the traits of the Devi reached the rasikas. In their solo turns, Akhila and Adithi held lot ol promise in reenacting the at- tributes of Lord Vishnu (‘Shanthaakaaram”, with Vishnu Kautuvam, Kalyani), a Tagore composition (‘Momo chittae’) and a Kali kautuvam, Shankara). They reached the climax of their artistry in ex- ploring the Dhanasri tillana. Nayana does proud to Padniakka Veteran danseuse Guru Padma Subramanyam, popularly known as “Padniakka” is very well known for her individualistic approach to classical dance. She has rightly too, re-christened the now popular Bharatanatya as Bharata- nrithya. It is evident her that the researcher Padma has anchored her Bharata nrithya to the conclusions of her research on the great Indian treatise “Natya Shastra” on dramaturgy. In Bharatanrithya the entire body moves as de- scribed in the treatise. Among other specialties, without sac- rificing the Margi, the Deshi element is profusely used. The nritta is in tune with the sthayi bhava. The ornamentation of nritta is intrinsic. The rechikas, which can be compared to the gamakas of the Indian classi- cal music, are fully explored. Sundari Santhanam is one of Padma's prominent and prize-disciples who have taken mantle from her. Sundari not only performs Bharata nrithya but also teaches it. Sundari’s highly talented petite pupil Nayana R. Somayaji held lot of I was delighted to see Nayana in her early teens, negotiating the varna with grace, gaiety and confidence. There were beau- tiful charis. The Karanas used had variety and became part and parcel of abhinaya. The rechikas added grandeur to the movements. It was marvelous to see her leg movements forming various mandalas. The cyclic character of Bharata nrithya was time and again well emphasised. The other num- bers too upheld the features of the significant contribution of Padniakka. There was every reason for noted scholar Dr.Shatavadhani R. Ganesh's emotional outburst in his speech as a chief guest on the occa- sion of Nayana’s dance perfor- mance. The Yaksha Nrithya was another noteworthy item which highlighted the affinity between Yakshagana and Bharatanrithya. Famous Chandabhama krithi of Yaksha gana in Madhyama vathi raga was presented in Bharata nrithya by Nayana winning the accolades from the audience. Ganapathi Bliat (vocal) and A.P.Pathak(maddale) provided the Yakshagana music support. The bhramaris and nritta ori- ented jathis caught my special attention. Guru Sundari Santhanam (nattuvanga), Manasiprasad (vocal), Jaya ram (flute), Mysore Rajesh (violin) and Tulasiram (mridan ga) lent impressive support from the wings. mmmm ironnse in the turtnerance o his great dance form as was evident from her performance it Ravindra Kalakshetra. Opening with Poorvanga, Pushpanjali, she stuck to her form in the rendition of all the compositions (jatiswara in Nalinakanthi, varna in Lathangi, a patriotic song in Valachi and tillana in Sindhubhairavi) by flautist Dwaraki Kirshna swamy. The varna in particu- lar had the theme of Andal. The story line was developed on the basis of various sources. I 1 | GUNAGRAHI /AUGUST— 2004 IHHI Music Trinity and Patriotism By * Garland * N. Rajagopalan The question arises how the 1 8/ 1 9th Cen- tury Vaggeyakaras of eminence came to omit the patriotic element in their songs ofever-green beauty, fragrance and grandeur. Of the Trinity, Muthuswami Dikshitar was the kshetrajna who had trekked the corners of the country like Sri Adi Sankara, Vinobaji and Sri Chandrasekarendra Saraswati of Kanchi as his songs clearly indicate: Pasupatiswaram (Sivapantuvarali), wherein he says ‘paschima Kashmiri raja vinutam’ - patronised by the kings of Western Kashmir which indicates the concern of the distant Kashmiri rajas for the deity now in Nepal; Kalabhairavam (Bharavi), Kasi Visalakshim (Gamakakriya) and Ehi Annapume (Punnagavarali) on deities at Banaras where he had sojourned for long and the influence of which finds deep imprint and reflection in his songs. Kalavati Kamalasana Yuvati (Kalavati) on Saraswati in Sharada Peetha in Kashmir. Sri Satyanarayana Upasmahe (Sivapantuvarali) on the deity at holy Badrinath, a place of pilgrimage of undying charm. Ramachandram Bhavayami (Vasantha) wherein he records habitation of Rama at Saketanagar (Ayodhya). Gokarneswara Pahi (Sourashtram) at Rameswaram and scores of songs on the Sthala murti, teertha etc, of pil- grim centres like Tirupati, Kalahasti etc. But there is no specific song on the na- tion, patriotism, freedom, etc, as in the case of the 20th other Century Vaggeyakaras. Why has it been so? Were they less patriotic or were they unaware of the slavery they had been reduced to? No, definitely not. The torch of the freedom struggle had to wait till 1857 and 1875 to be lighted and to inspire overt action. The Hindus were the predominant segment of the society, one of the ancient, living, historical religious entity. Sir Alfred C. Lyall clinchingly observes and records. “The word “HINDU” is not exclusively a religious denomination; it denotes also a coun- try, and to a certain degree a race. When we speak ot a Christian, Mohemedan or a Bud- dhist, we mean a particular religious community, in the widest sense, without distinction of race or place When we talk of a Rus- sian or a Persian, we indicate country or parentage without distinction of creed. But when a man tells me that he is a Hindu, I know that he means all three things together, viz.. Religion, Parentage and Coun- try. This triple meaning or connotation of the term Hindu shows the complexity of its origin, shows how Hinduism is twisted deep among the roots of Indian Society, how it is a matter of birthright and inherit- ance, signifies that it means civil community, quite as much as a re- ligious association that man does not become a Hindu, but is born into Hinduism.” This is part of a lecture at Cambridge in 1 89 1 by Sir Lyall (1835 -1911) who was a distinguished member of the Indian Civil Service. The awareness of being a Hindu and thus an Indian was fundamental characteristic naturally of every intellectual and the learned but the hour to beat the drum had not come then to sing so eloquently as Bharati, Tagore or Bankim Chandra had done. If those early eminent composers were not aware of being a Bharatiya, how could they travel uninhibited from Himalayas to the Cape and from Sindh to Bengal and perhaps beyond too? Bhakti to Lord does ipso facto connote and imply Bhakti to one’s own country as well and with- out the latter, the former is meaningless. The Trinity and other Vaggeyakaras of old were positively con- scious of their nation and its splendorous heritage. VARIOUS MUSIC COMPETITIONS will be held under the auspices of Raga Sudhalaya, Gokula, Mathikere, on Sunday the 22nd August 2004 at Gnanatheju English School, Mathikere in connection with the 4th anniversary of the Sabha and Puraskara distribution. 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What is a concert flute? •frOOZ l! jd V mz. 'Z pun 9361 ^nnuKf qi S > • \ 9. What is a concert piece? 10. Give the opposite of concert piece? LUTION TO QUIZ OF FINE ARTS...23 eue§ nsnXqqv jo ojoi|ds oip oi Suopq pun saaojd aajiaujd 3.i e ipjijM sr.ir>|ub|b pun snqpar) •S1J33U03 UJ Suns snqiiniunSnj pun siipi.iq 3qi| suojusodiuoj) '3jSnill |R3JSSB|D a'uj.\n|d joj posn pirn pua paso|3 3ip jbou 3|0lj l|]nOlU 3l|J l|l|A\ 3 JUp UA\O|q-0p!S 3ljl 'SJJ33U03 uj pasn 3jn qajtjw 3)3 [iaui ‘>|B|op 'njjfunqq ‘uSuepij^m s3iioqdouBjqui3iA| y jnuBAnueN L’Aapeqnpj 'jbubaiuibm BA3pBi)nj/\j 33imp pun njjs3i|3JO sa3>) t|]j,w p3pj AOjd sj pun 3dnqs UJ |BD{jpu;|X3 Sj ]| ]U3lUnJlSUJ p33J3|uUIS n sj pun saABpo c/I f .1° ssBduma n snq j| UBSdojIK] pujA\ pOOyW ' ANNOUNCEMENT ♦ Artistes, Authors and publishers are wel-| :ome to send two copies of their books/cas settes/CDs on Indian music (Karnatak, Hindustani, Sugama Sangcetha, folk music etc and Indian dance (classical and folk) t GUNAGRAHI for review. While every effo will be made to acknowledge receipt of th same under “New Arrivals”, the decision to re view a book/cassette/CD rests entirely with the journal. ♦ The Sabhas, Organisations, Institution and organisers are hereby requested to send th details of their forthcoming activities programmes as also the events held to get them enlisted in the current issue of GUNAGRAH. by post and/or through e-mail on or before 8th of every month. SUBSCRIBE TO ‘ GUNAGRAHI ’ 15 GUNAGRAHI Monthly Journal RNIREGN.NO. 69149/98 Regn. No. CPMG/KA/BGS-92/2003-05 TOEdi £?33E"li£ ZVZFGzS d.foji. h d Zk& £03dCd„.Od 3jw32 . / n .1 - f : — — u . w CO V U x£:d:d ru£x?rD Eduod:. ra£c?rd> tsddok z£jzz> edo&rtvdcd £ d, 3ed:, trcJjx ert. * J O U 'XT O 3d:d: &£rs> EdJJcdirVvi £52rdcd £jd?sd e?3 , sdxi: and 2~2re xiddu: ^ ^fstrtv'CsJ ycd:'j£ -3 iA Ci (p -4 CA O ^ * z£vzj u rl V oij w rWaU.w. ^ H CJ o. xfcS^Dd: ddssdsdcto z&rz&Xidzzj dd^crracb ddonsic?d& d.dort d?£d£> SSOu Oo^Gl;^ o.. V. 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