22nd Klnklni Nrithyotsava succesfully
old: Veteran Bharatanatya Gurus Ohananjayan
and Shantha Dhananjayan inaugurating the
festival in the presence of Yamuna Gopinath
and Sugganahalli Shadakshari.

filver jubilee celebrations of Nrithya Kala Mandira
led byGuru B.Bhanumathi being launched
by H.E.T.N.Chaturvedi, Governor of Karnataka
with (from left) Bhanumathi.Guru Maya Rao,
P.A. Nazareth, SNC and flautist-engineer
Rajnarain on the stage.

Scenes from dance-dramas
"Malavika-Agnlmithra”
(KIRANS, Shlvaranjani
literally led the show),
“Kannagiya kaalanduge"
(Guru Revathl Narasimhan).

A polyglot, polymath erudite scholar
Vidyalankara Prof. S.K.Ramachandra Rao
passes away. GUNAGRAHI pays Its
humble tributes to one of its great
friend, philosopher and guide.

Dr. Mattur Krishnamurthy being conferred the title of
"Lalitha Kalaashraya" during the Ragesree
Sammelanotsava hosted by D.Subbaramaiah
Fine Arts Trust led by senior vocalist
Vasantha Madhavi. Dr.A.H.Ramarao, A.Subbaramalah,
Guru Narmada and others were also present.

immmmmmmmnm

iiiiiiiii

Sri R^ma Lalitha Kala Mandira (R.) in association witli
Bangalore Gayana Samaja presents Spring Music Festival. 11th Feb.: Vocal recital by S.
Shankar, Mysore M.Nagaraj (violin). Mannargudi A. Eswaran (mridanga), G.S. Ramanujan
(ghata).

12th Feb.: Vocal recital by Abhishek Raghuram, Dr. M. Manjunalh (violin). Palghat Raghu
(mridanga), U.N.Giridhar Udupa (ghata). 13th Feb.: Hindustani Classical music by Pi. Para-
mesh war Hegde and parly. 14th Feb.: Vocal duel by Priya Sisters and party. 15th Feb. :
Vocal duet by Ranjani - Gayathri and party at Bangalore Gayana Samaja Hall.

Aradhana Sangeetha Shale, Kanugodu, Sagara, Sat. 18th Feb. 06. 5.30 pm. Vocal
recital by R.A. Ramamani, C.N. Chandrashekar ( violin), T.N. Ramesh (mridanga), Karihik
(Ghata) at Gandhi Mandira, Sagara.

The Indian Institute of World Culture, Sun. I9th Feb. 06, 5.30pm. Carnatic Vocal
Music Concert by Amrutha Venkatesh accd. by B. Lakshmi (violin), B.S. Anand (mridanga),
G. Omkar (ghata) at #6. B.P. Wadia Road, Basavanagudi

Ruga Sudbalaya Charitable 'l'rust,Sun. 19th Feb. 06, 8.00am onwards Sadguru Sri
I'hygaraja <V Adiguru Sri Purandaradasara Aradhananotsava. Sam : Pooja; 9am: Music by
Guest Artistes ; 12 noon : Gosthi gayana of Pancharathna Ki i t is; 1.30pm : Mahamangal-
arathi ; Prasada viniyoga at BEL Sri GanapatliyTemple.BELColonyJalahalli.

BTM Cultural Academy, Sat. 25th Feb, 5.30 pm Tarangini Veena by Suma Slid hind ra and
party at Sri Ramana Maharshi Academy for the Blind. 3rd Cross, 3rd Phase. J.P. Nagar.

Sri Tyagaraja Gana Sabba Trust and Sri Mukumbika Talavadva Sangeetha Kala shale,
Sun. 26th Feb. 06,5.00pm, Flute by L.V. Mukund. J.K. Sridhar (violin). C. Chelu- varaji
(mridanga), Sukanya Ramgopal (ghata) at Sri Vani Vidya Kendra, 1246. 2nd Stage.

Raja j inagar.

Malleswaram Sangeetha Sabba, Sunday, 12th Feb., 6.00pm, Veena Duet by Geetlui
Ramanand and Revalhi Murthy with H.S. Sudhindra (mridanga). Sukanya Rama-gopal (ghata)
at Ananya Sabhangana.

Shruthi Sindbura Academy of Music ,46th Monthly Concert: Sunday, March. 5th,
2006. 5.30 pm to 8.30 pm: Venue: Raniakrishna Udyanavana, Next to Vivekananda
Statue, Girinagar Main Road: Vocal duet by Marini & Vid. Sharada with Dr. Nataraj
Murthy (violin), B.C. Manjunalh (mridanga).

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Karnataka's only English International Journal on music and dance

GUNAGRAH1/FEBRUARY-2006

ol. VIII Issue 9 February-

Editor General

Karnataka Kala Sri

Dr. M. Surya Prasad

Phone : 22253975

Associate Editors : Usha Kamath Ph : 25598886
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INSIDE:

Calendar of Events 2

Nrithya Kala Mandiram 4

From the Editor General 5

Mumbai news 6

Khajuraho dance festival 7

Reviews 8

Leisure 15

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GUNA(;RAHI/FEBRUARY-2006

liiiiiiiiiiniiiiiiiiiiiiHiii

Nritya Kala Mandiram : Silver Jubilee Year 2005-06

Nritya Kala Mandiram was established by renowned exponent of Bharatanatya and
Guru B.Bhanumati in 1981 with the objective of propagating Bharatnatya, the great, ancient
classical dance art of India. Over the years .4 KM has been striving to impart training in
Bharatnatya maintaining the pristine purity of the classical tradition handed down to the Mentor
of the Institute (B.Bhanumati) by her illustrious Gurus, namely, Padmashree (the Late)
K.N.Dandayuthapani Pillai and Padmabhushan (the Late) Dr.K.Venkatalakshamma — the doyen
of the Mysore Palace tradition and Padmabhushan Kalanidhi Narayanan.

NKM has followed the path of total honesty, committed professionalism and highest
possible degree of excellence throughout its journey so far and has certainly carved a niche for
itself in its chosen field by sheer hard work and strict adherence to the exacting standards and
moral values.

NKM, under able guidance of its Chief-Mentor B.Bhanwnati and with the staunch
support of dedicated students has successfully trained over 400 students — many of them are
rising / shining stars giving group and solo performances in India and abroad.

NKM has so far conducted 1 1 Rangapraveshas and presented several productions
including Panchali Shapatham, Shivam Shankara, Sambavami Yuge Yuge, Shantim Shantim
etc. to mention only a few. However, their Group Dance Feature “BHARATANJALI” has
been the most popular production making great waves since 1994, thanks to its stunning and
instant impact on the audience ( classes and masses alike) due mainly to its kaleidoscopic
choreography and perfect synchronisation.

NKM announces with great pleasure that it is stepping into the 25th year of its eventful
and useful existence last December. Commencing from that month, NKM has propose^ to
conduct a year long celebrations during 2005-06 comprising various activities throughout the
year including dance programmes, competitions, workshops, seminars etc. to be rounded off
with a Silver Jubilee function /festival to be held in November 2006.

The Hon’ble Governor of Karnataka, His Excellency T.N.Chathurvedi flagged off the
year long celebrations on the 10"’ December 2005 at Ravindra Kalakshetra. The inauguration
of celebrations was marked by a two day programmes entitled “Gum Smrithi Dina” in memory
of great dance Gurus of yesteryears.

Famous Kathak dancer Pt. Ram Mohan Maharaj (s/o) Pt.Shambhu Maharaj) and
renowned Odissi dancers Surupa Sen. Bijoyini and Pavithra Reddy from the Nrithyagram of
Bangalore regaled the audiences of the two consecutive days.

NKM has eminent personalities on its silver jubilee advisory committee comprising
P.A. Nazareth (Retd. Ambassador and former DG of ICCR), Sanskrit scholar Dr. Shatavadhani
R.Ganesh, senior journalist and dance critic S.N.Chandrasekhar, veteran dance Guru Leela

Ramanathan and B. Chandrasekhar, CEO, SULK.

4

(I UN AG RA H I/FpB RU A R Y-20G6

From the Editor General

Thi! importance of Sadhana

In classical music, greatness cannot be reached with-
out achievement. But achievement alone cannot lead to great-
ness. One can train hard and pick up and learn all that is worth
knowing .All that is valuable may come into one's posession by
dint of constant effort. Practice, certainly, counts enormously.

But what is valuable has to be presented as valuable in
terms of artistry. Practice must lead to this ability. Only then
can practice have meaning. If it leads merely to skill without
artistry one Ikis to conclude that there has been a failure. A
vital element is missing. That is why practice has missed the
mark.

When this happens despite all the effort put in a para-
doxical situation is created in which you have achieved and yet
not achieved. In other words, all the skill that signifies achieve-
ment is there but there is no expressiveness. Many are the
vidwans who failed because they stopped with factual skill
without realising it in terms of captivating expression.

This is the reason why the artistic perspective has to
be kept in view constantly right from the start. There should be
nothing mechanical in the learning process of classical music.
It should not be allowed. Even from the saralai sequences, it
should be insisted that the musical aspirant should sing the notes
with the bliava of the raga. If he sings the saralai movements
with feeling, raga gnana starts entering his consciousness from
the beginning stage itself. The foundation for growth is well
laid at the very start.

Actually this is the beginning of Sadhana. It is extremely
significant because much happens in the course of it. When
one feels and sings, love for music springs and as one proceeds
in the lessons and learning, this love grows. The pain of the
effort is forgotten. Pleasure enters it. And as one progresses
further the skill becomes extensive. More important, this skill
docs not remain superficial. It has significance, it acquires depth
— Karnataka Kala Sri Dr. M. Surya Prasad.
5

Mumbai news:

Attractive Aradhana Celebrations

Mysore Saimeetha Vidvalava, Mumbai celebrated Sri Purandaradasa and Sri

Txagaraia Aradhana.

Celebrations were
marked by rendering Sri
Purandaradasa's Navaratna
Malika in Gostigayana under the
leadership of veteran vocalist
Uma Nagabhushan.

Ashwini Satish . r

disciple of Dr.
T.S.Satyavati who had
come from Bangalore
gave an appealing music
concert. She

started with Saveri
Varnam, Sri Malia-
ganapathe in Saurashtra.

K a m a - v a r d h i n i
“Niiinunera"was well ren-
dered. She selected
Sriran jini as the main raga

of her concert. She pre- <

seined “Bhuvana Dasuni" of
Tyagaraja with neat alapana,
nerv al and kalpana swaras to the
satisfaction of the rasikas.

F u r a n d a r a d a s a ' s
“Yemanelli”, “Ragi tandeera”
were rendered with bhava. The
singer concluded her recital with
a Balamuralikrishna tillana in
Brindavana Saranga.

Melodious voice, ren-
dering with good Sahitya Bhava
are her assets. With more of
sadhana and more and more op-
portunities Ashwini can become
one of the great musicians of the
next generation.

Anujan on the violin and

Nambishan on the mrudanga Pavitra Bhat and troupe was
gave good support. ^he ma ' n attraction of the

Nearly 39 tiny lots with « venin g- A few Purandaradasa

age group of 4 to 8 sang Kritis Kritis selecled iuld luned t0 mu ’
of Sri Purandardasa and Sri sic by an accomplished singer
Tyagaraja in their own style. It and the Principal of the Mysore
was an appealing and impres- Sangeetha Vidyalaya, Uma

. Nagabhushan were neatly

c h° re °g ra Pbcd by Guru
I Deepak Muzumdar.

Vocal support by
./^^B Hamsika Balachanderand
^ V^fB Vijayaprakash was of a
} prolTe-ssional stamdard.
t 1 1 Pavitra Bhat excelled
C ' I L as Sri Krishna and Sri
s -j / II Purandaradasa. Non-stop

3 \ i presentation for one hour

V ^ /A with melodious music and
| j* attractive abhinaya of the

«ivp tnninr :inrl <cpninr viiiu artistes enabled audience

?.-£ attractive abhinaya of the

sive scene. Junior and senior stu- artistes enabled audience

dents also rendered samgeeta- to enjoy the ballet to the I idlest
seva. extent. The programe left an

Vidwath students Aruna indelible mark in the mind of the
Duvvuri and Susheela Rao pre- rasikas.
senteda musical concert. Their M.G.Sadanandaiah,

ragalapana, nerval and kalpana Deputy director, Rangayana.
swaras were up to the mark and Department of Kannada and
they left a promising impression culture, Mysore was the chief
of becoming good artistes. He ap p re ciated the

Ev «" slude , nls °, f V '° l ln ' Veena programme and lauded the ef-
and Mandohn also d.d the, r job fons j „ Nagabhushan
well by presentum a pleasing . • ,

Vadyavrinda. couples m running the i music

school tor the past 24 years

SRI KRISHNA LEELA ^^successfully and wished

TARANG1NI the Institution all success.

A ballet presented by — Nagabhushan.

6

GUNAGRAHI/FEBRUARY-2006

Khajuraho Dance Festival from
February 25 to March 3

By Dr. M. SURYA PRASAD

The annual gala of Indian classical dance — the Khajuraho Festival of Dances
— featuring some of the best known dancers and troupes, will he held this year from
February 25 to March 3.

Held against the backdrop of the famous Khajuraho temples in Madhya
Pradesh, the dance festival will begin with a solo performance by noted Odissi danseuse
Sonal Mansingh.

The famous dancing couple of Raja and Radha Reddy along with their group
will take the stage on February 26, and their Kuchipudi performance will be followed
by a solo performance by Chennai-based Bharatnatyam dancer Rukmini Vijay Kumar.

The International Center for Kathakali and Odissi dancer Sujata Mahapatra
are slated to present their performances on February 27, while on the next day, there
will be a Kathak presentation by Sunayana Hajarilal, followed by a dance recital by
famous Manipuri dancers Singhjeet Singh and Charusija Mathur.

Bhoomika Group of Narendra Sliarma w ill make a ballet performance on March
one, followed by Kathak in Sufi style by Manjari Chaturvedi’s troupe on March two.

The closing day of the festival will have a duet Bharatnatyam duet by Manjari
and Chitra Chandrashckhar.

Among the other performers at the festival include Virin Bireshwar Contain
(Kathak), Saroja Vaidhyanthan (Bharatnatyam), Aloka Kanoon go (Odissi), Decpika
Reddy (Kuchipudi) and Bharati Shivaji (Mohiniattam).

Addressing a curtain raiser press conference to announce the schedule for
this year’s dance festival, Pawan Jain, the dynamic Director, Department of Culture,
Madhya Pradesh Government, said the focus would be on attracting a greater num-
ber of domestic tourists.

“It was being noticed that while foreign tourists showed avid interest in the
dance festival, domestic tourists were not showing the same kind of enthusiasm,”
Jain said.

He said, however, last year, as a result of special efforts made to attract do-
mestic tourists, their numbers increased, also forcing the organizers to raise the num-
ber of seats from 700 to 1200.

7

lGUNAGRAHI/FEBRUAkY-2006

•R. E. V. I. E. W. S.

Veterans delight

It was an enthralling evening
at Khimcha auditorium of
Bharatiya Vidya Bhavan. An able
exponent of Bharatanatya and
I linduslhani vocal music
Susheela Mehtha paid her
respects to her Gurus Adyar
Lakshman, Prol'.C. V.
Chandrasekhar. Kalanidhi
Narayanan and LalithJ. Kao —
all colossus in their own field.

Not only she did it in a traditional
manner hut also provided the
rasikas of Bangalore to have a
lull view of those giant's artistry
and equipment on the same
platform.

First it was veteran
vocalist I .alilh J.Rao who swept
the audience w ith her authentic
singing in the very demanding
and delicate Nom-lom style. I ler
expertise was evident in the slow,
serene alap in Yaman Kalyan.
reminding me of the ma jestic
Dhrupad singing, traversing
through the mandra to other
sthavis with characteristic swara
combinations and vocal flour-
ishes. It w as a perfect example for
"Nabhi hruthkhantha rasana".
the sound emanating from the
navel. The bandish “Nilia kaise
laag” (Ralhanjankar, teen tal)
glowed forth in its natural
beauty. Bharathi and Deepa
(vocal support), Vyasamurthy
Katti (harmonium) and Udayaraj
Karpur (labia) were the useful
accompanists.

Classic Bharatanatya

The septuagenarian

titans of Bharatanatya Adyar
Lakshman and Prof. C. V. Chan-
drasekhar belied their age and
presented a classic Bharatanatya
recital. With I .akshman’s authori-
tatively assured nattuvanga and
singing followed by
Anantluikrishnan (violin),
layaram ( flute) and Adyar
( iopinalh (mridanga) forming the
right note of togetherness.
Chandrasekhar rendered the
Ghanaragamalika alarippu with
finesse and taut laya. The
veteran dancer never lost his
cool in the marathon varna
"Manavi chai konarada"
tShankarabharana) which lasted
lords minutes. The racy nrilla
with all the rhythmic nourishes
was perfectly executed. Etched
dance lines and a pliable face of
expressions made him a complete
dancer. The purely exprcssional
part of the varna was notable for
an elegant satwhikaabhinaya.
Kalanidhi captivates

The prima donna of
abhinaya Kalanidhi Narayanan
accompanied by the same
musical ensemble, captivated the
lovers of dance with her excellent
sathwikaabhinaya. Striing wont
form the Madam of Abhinaya
bi ought out the nuances of the
abhinaya. She achieved this by
delineating a Subbaramaiyer’s
Tamil pada (“Netrum varc”,
showing varahothkhantitha and
kalahaantritha nayikas), a
Kshetragna pada “Manchi
dinamu” (Anandabhairavi.

8

saamanya nayika) and “Krishna
nee begane baaro”. Herexpres-
sional range was superb. She
could also stress the importance
of underplaying rather than
exaggerating emotion.

Upcoming vocalist

A upcoming vocalist of
merit Vikas Katie Vasishtha gave
a creditable account of his
artistry at Sri Jayaramaseva
Mandali. Jayanagaron the
second day of the two day
"Nadaroopini Sangeeiotsava"
held under the joint aegis of
Nadaroopini Pratisluhana led by
seasoned singer Balasubramanya
Sharma and the Mandali.

Endowed with a pleasing
voice. Vikas performed with total
sincerity and zeal. He was right
on laya and fine on shruthi. And
hence one could enjoy the
beauty of music which w-as
without unnecessary frills. Well
accompanied by Mysore Rajesh
(violin). Chandrasekhar
(mridanga) and Ravishankar
(ghata). the singer sang with
professional elan. His talent and
artistry bloomed fully in the
expansive treatment of
Simhendra-madhyama
(“Kamakshi" with ncraval and
swaras). Vikas sang with
emotional intensity a
Kanakadasa pada (“Nee
maaycyolago". Saramathi) and
“Venkatachala nilayam”
(Sindhubhairavi ). An audio-
cassette “Rama Raghukula
Rama” of Vikas was released by

GUNAGRAHI/FEBRUARY-2(M)6

Tulasiram Naidu of the Lahari
Recording Company on the
occassion

Successful “Nadanr dance
festival

A popular exponent of Kathak
and Bharatanatya Nandini
Mehiha held her annual two-day
dance festival "Nadam" at the
ADA Rangamandira successfully.
The first programme featured her
in a duet with Murali Mohan. In
the presentation of “Bho
Shamhho" (Revathi) Nandini 's
Mharatanatya-prowcss could he
seen. Murali's Kathak gelled with
Nandini's Bharatanatya. Both of
them demonstrated a praisewor-
thy standard of artistry in etching
the trails of Lord Shiva. Tushar
Bhat and Nandini's disciples
I .eel a. Niveditha. Smithaand
Vaishnavi rendered “Aa ree
hasanth" had both plus and
minus points. Nandini and Murali
exhibited their cleverness and
craft in drafting j hap tal. With
rhythmic aplomb and abundant
grace and vigour the dancers
carried themselves with lightness,
vll the dancers shared the stage
to portray Purandaradasa's
"Pillan govia” enumerating the
leelasof Balakrishna.

Ganesli Desai and
Chandrika (vocal). Srinivas (sitar).
Shivalinga Raj pur ( lute) and
Praveenrao (tabla) were the
accompanists who enriched the
duet.

Flawless movements

The rhythm was fully
under control, the movements
were flawless — perfect ardha

mandali and the finished leg
stretches and hand movements in
the faster passages were attrac-
tive in their exactitude. She was at
home both in the macro frame-
work ol nriita. nrithya and
abhinaya and also in their details.
The opening Ardhanarishwara
stotra and Dikshilar’s krithi
"Ardhanarishwaram aradhayami"

( Kumudakriya)brought to the fore
her grasp lasya and tandava
aspects of Bharatanatya. Sporting
a precise anga shuddhi.

“Shankara Sri Girinatha" had fine
greeva bedhas. She excelled in
her abhinaya for"Oorake pakkaku
rammante vachchuna” rendered
in vilambakala. I ler
satw ikaabhinaya was striking in
the depiction of an excerpt from
the 12"' canto of
kumarasambhava.

Fine "Shankari” dance drama
A highly talented
dancer-couple Sanjay Shantharam
and Shama Shantharam showed
an ease and dramatic verily which
spoke of their feel for choreogra-
phy during the presentation of a
dance-drama “Shankari" at the
Ravindra Kalakshetra. It was held
in connection with the 17"'
anniversary of their Shi vapriya
School of Dance. Addressed to
the Goddess Parvathi and Her
various forms and traits the
subject is hardly new and yet the
dance visualization was not just
an adding up of the usual images.
There was no impoverishment of
thought or imagination in drawing
the picture of the Devi. Shama as
Parvathi and Shantharam as Shiva
9

stole the show. Captivating
recorded music, apt choreogra-
phy. meaningful light-designing
el al. contributed to the success
of the Presentation.

Neat presentation

Reputed dancer-
choreographer- Yoga expert and
Guru Dr. Vasundhra Doraswamv
of Mysore proved her worth as
an able mentor of young talents.
One of her NRI students Young
and lean Samyuktha Kemparaj
Urs did her proud with her crisp
and brilliant Bharatanatya recital
al the JM auditorium. In a neatly
planned programme held under
the guidance of a noted organizer
T.R.Harish. four State awardees —
Rathnakar. Ramamurthy Rao.
Chandramma and Rajasekhar
Kota were honoured.

Samyuktha’s mercurial
movements and good under-
standing of the medium was
rewarding. There was never a dull
moment in her recital. The
traditional Todayam was fol-
lowed by Jayachamaraja
Wodeyar's Athana krithi on "Sri
Malta Ganapthini". Her abhinaya
was profound. In the Vasantha
jathiswara. the dancer could
translate the demanding jathis
into an attractive dance language.
Samyuktha was in top form in the
delination of the Charukeshi
varna.

Guru Vasundhara
Doras wamy (nattuvanga), P.Rama
(vocal), Janardhan (mridanga),
Prasannakumar (khanjira)
provided an impeccable musical
support. £

( ; IN AC ; K A 1 1 1/FKBKUA RY-2006

Kinkini Nrithvotsava inaugural address

The need for art awakening

S. P. Dhanan jayan

Both Shanta and I feel re-
ally honored to be present here
to inaugurate the 22nd Kinkini
Nrutyotsava and offer our
hearty congratulations and fe-
licitations to Sri and Smt.
Gopinath for their dedicated
service to our performing arts
-the naatya.In spile of all fund-
ing problems and onslaught of
various regionalism and com-
plex and adverse situations,
Gopinath has sustained a move
ment of art awakening in
Karnataka. During this last two
decades Karnataka has taken
great stride in bringing back the
past glory of the art activities
and patronage shown by the
great rulers of this country.

Actually the whole of
Dakshina Bhaarata is to be
known as Karnataka
(Karanadu-or surrounded by
kara or shore) and Mysore be-
ing the centre of Dakshina
Bhaarata had a pivotal place in
the art and cultural map of
Bhaarata. So anything undi-
luted and divine was referred
as Karnataka. Even our
Sangeeta was referred as
Karnataka Sangeetha,
Sangeetha being three in one-

gitam nrutyam and vaadyam -
trayam sangeeta muchyate.

By the great efforts of
cultural luminaries of Karnataka
-including poets, musicians and
literary personalities. Bangalore
has become the hub of art ac-
tivities competing with Chennai.
It has been a historically proven
fact that Tamilnaad has uni-
formly patronaged art and
artistes, irrespective of any re-
gionalism, parochialism, lan-
guage or religion from time im-
memorial. Still they maintain
that tradition of encouraging art
& artistes from other states in
spite of the surfeit of artistes
emerged locally. Recently you
must have noticed the influx of
Karnataka performing artistes
into the performing arena of
Tamilnaad, getting high recog-
nition and awards surpassing
the so called high standard of
Chennai cultural coterie.

Kinkini can justifiably
be proud of contributing much
to the awakening. Both Shanta
and myself had the opportunity
of performing for Kinkini 20
years ago. So this Kinkini
nrutyotsava marching towards
its silver jubilee year has a
10

golden letter mark in the history
of Karnataka’s cultural renais-
sance. At this juncture I would
like to point out some impor-
tant factors contributing to the
continuity and upholding of our
lofty art traditions and let our
culture live through art forms.
Our highly sophisticated and
deep-rooted technique of
Bharatanaatyam -in a compre-
hensive term of Bharata-
naatyam- is the quintessence of
Bhaaraleeya samskriti and we
should all remember our nation
is

Bhaarata. we are
Bhaaraleeya and our art forms
are called Bhaaratanaatya. So
our performing art forms are in-
tegrated with our Samskriti or
culture and we are respected
for our beautiful culture and
preserved through our art
forms. In the present context of
globalization of everything
around us, the multimedia and
multinational commercial
houses like our Narayana
murthy’s Infosys and the like
have great responsibilities to
liberally support the cause of
art without which the nation is
nothing but a junk yard.

(;i!NAGRAHI/FEimUARV-2(HI6

Bharatanaatyam and Karna-
taka Sangeetha are pride ofour
nation. The professional
artistes of performing arts
should be very well remuner-
ated and they should be kept
above wants, then only they
can create monumental
Sowdham (mansions) for the
future generations to emulate
and get inspirations. Unfortu-
nately funding is a big problem
in the ail field. Artistes are not
remunerated adequately in our
country, sorry to sav especially
South India. Some how our
organizations feel that artistes
should performance free of cost
and the rasikas also are reluc-
tant to pay entrance fee to see
good artistes’ performances.
We have to revert this situation
and be liberal in remunerating
professional performing
artistes. People in the helm of
affairs failed to understand the
truth of how much classical ails
contribute to the economy of a
nation. There are innumerable
ancillary industries surviving
because of Bharatanaatyam or
classical music. To sight an
example, all our foreign ex-
change earning through south
Indian temple jewllary business
developed due to Bharata
naatyam. Now we earn mil-

lions of dollars from Gungurus
(bells) makeup materials, silk
sarees, costumes, so many
costume-making tailors have
very lucrative career through
Bharatanaatyam and other
dance forms. So our perform-
ing arts contribute a great deal
to the economical development
of our nation, a fact often un-
noticed or deliberately hidden.
There are cultural organizations
with huge money but the people
controlling it have no heart to
part with it. Still they hold on to
the view that all artistes must live
like Saint Thyagaraja doing
unjavritti for livelihood. Forget-
ting that even free darshan of
God in the temple is highly
priced now. Of course there
are people like Sri. Gopinath
who wants to pay aitistes prop-
erly, but he has to carry on such
landmark art festivals on shoe
string budget. Why cannot the
multinational companies come
forward to financially support
organizations like Kinkini and
keep the artistes feel proud of
their profession as artiste by
earning well, live like high sala-
ried Engineers, Doctors and IT
professionals? I must compli-
ment the Karnataka Govern-
ment for their continued support

and patronage to professional
II

performing artistes. But they
have their limitations and we
should not always rely on Gov-
ernment, but true support
should come from the public,
then only art can survive and it
has survived only because of
the genuine art lovers.

As many of you may know,
art and culture are 64th in pri-
ority list of our Constitution,
may be now this must have
pushed to further down -
l(X)th place. Very unfortunate
indeed, we have only political
dealers, but not leaders.

Last but not least I would
like to tell this enlightened au-
dience that Madras Music
academy expert committee has
unequivocally welcomed my
suggestion that Bharatanaatyam
should be referred only as
Bharatanaatyam or Naatya, but
not as just ‘dance’. Because our
Naatya sampradaya (tradition )
is not just physical movement
for entertainment, but a vehicle
to elevate soul to a spiritual
level. A combination of body,
mind and spirituality or
sareerika, maanaseeka and
aatmeeya parivartana.

Anything can be
called dance; Naatya is not only
meaningful communication be-
tween performers and the on-

looker but also communication between the
divine and ordinary.

With these words I once again take great
pride and privilege to inaugurate the Kinkini
nrutyotsava and wish all the participants and
organization success and greater success all
through this week long performances of vari-
ous artistes from all over Bhaarata.

It is Kaalisdas who said “puranamityiva na
saadhu sarvam” (we should not accept any-
thing in the name of old) old is gold, such say-
ings have no relevance. We create new things

and time tested practices are accepted and they
become a tradition. I am sure Kiran and
Sandhya would have put in a lot of new ideas
into their creation “Malavika-Agnimitra’, a
dance-drama which is tofollow now and if they
are within the parameters of aesthetic divinity
certainly it will be accepted and add new di-
mension to the existing tradition. We also wish
them success and bless them for long and use-
ful service to our performing arts.

Jai Bhaarat.!

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With Masters of Melody
(Translation of “Naa Kanda
Kalavidaru” by Mysore K.
Vasudevacharya)

Translated by S. Krishna
murthy, Pages : 92 + xii
Price : Rs. 100/-

Ashesha Padnianabha
Samputa

Life, Achievements &
Compositions of Mysore
Veena Padmanabhiah
by Shreekantham
Nagendra Shastry
Pages : 152, Price : Rs. 150/-

JjC3JtCjSC^: CJ3II tS.lif?. 2 jCj

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13

»

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What do vou know about this

1 . What is Ashtottara Sliatha ragatalamalika

2. It is a composition .

3. Who composed it?

4. What do you know about it?

3. It will take hours to perform.

b. What is its speciality?

7. Rare tala like is featured therein.

<S. What are automatic instruments?

4. Give examples for them.

10. What is Avanaddha Kutapa?

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