(Decennary Celebrations) Presentation of ‘Guna Nidhi’ title and Cultural programmes on Thursday the 14th June 2007at 5 p.m Venue: Ravindra Kalakshetra Parama Poojya Sri Sri Ganapathi Sachchidananda Swarniji (Head of Sri Avadhoota Datta Peetham, Mysore) has kindly agreed to preside Sri M. Veerappa Moily (Esteemed Statesman aorf German, Administrative Reforms Committe has graciously consented to release the special issue of GUNAGRAHI GUESTS OF HONOUR w * Jay 8 nth Kastuar ngeet Natak Akademi, New Delhi) Dr. Mattur Krishnamurthy (Executive Director, Bharatiya Vidya Bhavana) Dr. Mahesh Joshi (Director, Doordarshan, Bangalore) Smt Pratlbha Prahlad (Noted exponent of Bharatanatya) I DR. M. SURXA. PRA5AD Editor General / Executive Trustee ^o.8, 2 tots*, £±>oe>dc3 £>c±>do, I f gi:*' ’ :; *^^? v- in.*; S, \ I .; ^>«£$>" sdste) arfrod sdodo moA 3d ffsofcrds&rteb -D -0 ;Jfc) * *- ^ (?oco53d: 5e aderodod tfero 3?od, ^rtoadrtd, dorttfjaJb) I QcTOO^ 14 Kjzzf 2007, rbdosrod dozS 5 rtofeirt sitf: daeori deroSed ^ d : v 6oa j]*? • f ~V dds±> 3 ±g>k, &e 2>e rtrad^ ^zSrodod sKKSoesS £ ^ -> fc* * A)Je)Cfo dors to So sdroTostetfofc £>des3 Tjo^do^o djaeffsste"?S : 2>e c^o. aedsrf ^jscOoO w eO (d,?s^ cross dodz^d), esq^ddo, wcterod doqrodras ?j£o3) r^dsroa.d &3®rt&: a3 « 5 e sso&os 6 ' o 6 " _D saakrctesTteb, 3eod dofted ;ro&3£ £953 c§£o, ddrfao<£) G3t). o3)0vS>Jc) $ \aHi) a^OJSvJ^ET _d eJ pq •-*'••'•* sso&Fasrorsotf adersted;), qrod.Beo& aero $dd C33. cdDSj^S 6 ' £§J£)£c^ aderd^di, drodddrd, dorte*rod;> 2) £ ejC) & Sj vB £37) 3j UJe) LJ 6 ' 7j2fok3D020 5 j Karnataka's only English International Journal on music and dance CUNAGRAHI/MAY-2007 Editor General Karnataka Kala Sri Dr. M. Surva Prasad %/ Phone : 22253975 IvvT IX Issue 12 MAY-2007 INSIDE: ' «3 Decennary cultural programs From the Editor General Chief Patrons Dr. A H. Ramarao, Ph : 26691175 S. K. Lakshminarayana (Babu) Mysore, Ph : 0821-2513414. V. Krishnan, Ph : 23345665 M. Bharadwaj, Ph:081 82-222051 H.K. Ganesh, Ph : 56702763 H. Kamalanath, Ph : 26612244 Principal Advisers Dr. R. Sathyanarayana, Mysore 0821-2567891 Guru Maya Rao, Ph : 22261816 Dr.Mattur Krishnamurthy Ph:23346404 Dr.Shyamala G. Bhave, Ph : 23443900 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 Pt. Parameshwar Hegde, Ph : 23310039 Pt. Vinayaka Torvi, Ph : 23305701 Dr. Vasundara Doreswamy, Mysore. Ph : 0821-2542814, Ranjani Ganeshan, Ph :2661 51 27 Legal Adviser C.N.Satyanarayana Shastri, Ph. 26620138 EDIT0RIAL0FFICE: ■M U N I K 0 T I", NO. 8, S E C 0 N D CROSS 0PP. SRINIVASA MANDIRAM, BALEPET B A N G A L ORE - 560 053. PH : 080- 222 53975 e-mail : giniagrahito.yahoo.com. drmsui yaprasadtoiyahoo.com The Love Song 6 Reviews 9 Ananya Award Function 1 1 aSjaSjtf aooddd© rfRrarurf 12 Leisure 13 Keshava College 14 Profile of k Cuna NidhF awardees 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 hut do not take responsibility for the same. 1 f these arc to he returned postage should be included * Letters are welcome * All rights reserved. Nothing may he 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, Jaraganahalli 1*0. J.P. No gar, Kanukapura Main Road, BANGALORE - 560 078. 3 DASHAMAANOTSAVA (Co-operation: Sri Vivekananda Kala Kendra, Thyagarajanagar, Bangalore) 14th June 2007, Thursday, 5 p.m. onwards at Ravindra Kalakshetra CULTURAL PROGRAMMES: 5 to 5.30 p.m.: Hindusthani vocal recital by M. Vageesh Bhat 5.30 to 6 p.m: A Bharatanatya dance feature on “Natya Rani Shanthala” by Shwetha Nagaraj and party. Concept and direction: V. Nagaraj of Sri Vivekananda Kala Kendra, Bangalore. 6 p.m.: Decennary celebration and presentation of title 7.30 p.m: Bharatanatya by Students of Guru Revathi Narasimlian led by Krupa Shah orfj» esttrfortfJrttfa r - '* r 7 J m wm. « « « j q rr . l V • * pf ^ W V a 1 D . .* _ s»n t8* • • • hi V - Mrrrr r* w crAv-rTacte. rfe 4 [111 GUN AGRA HI/M AY-2007 |] IHIIHIIIIIII iiinmiii From the Editor General MOMENT OF JOY: REWARDING EFFORT: PERSONAL INVITATION II is with great joy and pride I write to note that with the publi- cation ofthis issue, “GUNAGRAI I '/" has completed its nine years of successful publication and now making big strides into the tenth year. Making a humbe beginning, the journal has done its mile in achieving the objectives with which it was started. Projection of artistes and art forms of Karnataka, publication of topically rel- evant editorials, reviews of the programmes, profiles, interviews, educative and entertaining columns et al, seem to have endeared a large number of enthusiastic readers within and outside the 1 coun- try. . On this happy occassion, I gratefully place on records the con- tributions of Dr. Matter Krishnamurthy, seasoned dancer Sathyanarayana Raju, Dr. A. H. Rama Rao and Sudha Rao, Nirupama-Rajendra, Dr. R.V. Raghavendra, Dept.of Information and Publicity, Govt, of Karnataka, I l.K.Ganesh, the Printers A. S. Venkalesh of Prinl-O-Graph and M. V. Subbarao of Vartamana Printers, Rajul Shah and Jyothi Shah, dancer Praveen kumar and thousands of readers and well wishers who have stood by me in the rewarding endeavour of publication o GUNAGRAI1I. May I solicit more and more of palronisation from all these personalities and persons like you in the future extended activities o \ GUN AG RAH 11 With activ e co-operation of many interested and enthusi- astic persons, the 10th anniversary celebration is sched- uled to be held on 14th June 2007 (Thursday) at Ravindra Kalakshetra. The formal invitation is enclosed herewith and the details of the celebration are furnished in the following pages. / request you kindly to treat this as my personal invitation to the decennary celebration and grace the occassion with your presence along with your family, friends and well-wishers. Thank you, Karnataka Kala Sri Dr. M. Surva Prasad 5 GUN AG RAH I/M AY-2007 i THE LOVE SONG OF THE DARK LORD APART from the Ramayana, the Mahabharatha, and the Panchatantra, perhaps no otlier work is as well known and loved through the length and breadth oflndia as Jayadeva’s Geetha Govinda and certainly no other work has as much emotional and aesthetic appeal for the subcontinent. Com- posed in the 12 ,h century in eastern India, it was know in Gujarat in the 1 3 th century and shortly thereafter in the rest of India. There is an inscription in Oriya dated A.D. 1 499 on the left of the Jayavijaya gateway of the Jagannath temple in Puri which prescribes the nightly performance of the Geetha Govinda in the temple “from the end of the deities evening meal to their bed time meal”. This practice continues to this day. In nearly every part ofln- dia and in Nepal, the Geetha Govinda is performed at least annually, often more frequently. Best characterized as a dramatic lyrical poem, the Geetha Govinda inspired me- dieval Vaishnavism and contin- ues to enthuse contemporary Vaishnavism. It has influenced devotional music all over India. It is an essential aspect ofOdissi dance and has affected and been incorporated into Manipuri dance. The Bhasholi, Kangra and Rajasthan schools of painting owe a great deal to the visual imageiy of the Geetha Govinda which is also central to Indian religious eroticism. Manuscripts of an commentar- ies on this work exist all over India for by the 16 ,h century Jayadeva’s poem was recog- nized throughout the country for the intensity of its poetic and re- ligious expression. Literary imi- tations of the Geetha Govinda abound and it continues to this day to prompt and animate much Indian literature, poetry and art. The Geetha Govinda was first translated into English by William Jones in 1 792 and it was on this translation that F.H. Van Dalberg based his German version. Since then the poem has been translated into most modem Indian languages and into many modern Eurpoean languages. Memo- rable English versions include Edwin Arnold’s ‘The Indian Song of Songs' and George Keyt’s Sri Jayadeva’s Geetha Govinda: ‘The Loves of Krishna and Radha’. One may therefore wonder why Barbara Stoler M i Her has produced yet another English version. She exp lai ns that ‘ none o f the avai 1 - able translations seemed to convey the literary richness or the religious significance of the original. My early work toward a verse translation of the poem convinced me that my English version should be based on a critical edition of the text and an extensive study of the tradi- tions associated with the poem at various levels of Indian cul- ture. ’ So, while transcending on textual aspects of the Geetha Govinda, Stoler Miller also ‘gathered and studied substan- tial material relevant to its cul- tural contexts’: the songs in dif- ferent musical versions in Orissa, Bengal, Bihar, Madras, 6 G U N AG RA H l/MAY-2007 Mysore, Kerala and Nepal, Odissi danc, all available manuscripts and commentaries and in order to better under- stand the lyrical structure of the Gectha Govinda, the theory and practice of both classical Hindusthani and classical Carnatic music. These studies influece and animate stolcr Miller’s translation and analy- sis of the poem. The translation is not directly annotated but there is a detailed discussion of the poem in the introduction which is supplemented by extensive bibliographic and textual notes. This introduction provides an interesting and informed back- ground against which the gen- eral reader can understand, appreciate and enjoy this ver- sion ofJayadeva’s work which is a successful representation of the original. For Sloler Miller uses a diction within cur- rent English that rcllccts and conveys the overtones, under- tones and textures of Jayadcva’s Sanskrit. I lerwork bears witness to patient schol- arship and a certain devoted lover for its subject and has therefore been highly accepted in the Indian scries of the Translations collection of UNESCO. In the hardcover edi- tion of this book, in addition to the introduction, notes and the Engl ish rendeii ng o f the Geetha Govinda, there is the edited Sanskrit text and documenta- tion of Stolcr Miller’s critical study. This documentation tells how she collected the textual evidence, describes dated manuscipts of the 1 6"' and 1 7"' centuries with the basic evi- dence displayed by the shorter recension of the dale of the poem, a review of selected commentaries on the Geetha Govinda and previous editions of the Geetha Govinda, sec- ondary evidence of the date of composition, the significance of the critical edition and variant readings in different versions. There is also a glossary of San- skrit words which serves in place of repetitive textual notes. In her introduction, she discusses the legends regard- ing the birth place of the poet- singer Jayadcva, his wander- ings, the dating of his work and his ‘marriage’ to Padmavathi, which, she observes ‘may be a veiled allusion to his initia- tion in the Sri Vaishnava cult that was established in Puri under Ramanuja’s influence’, and she gives evidence of the wide dissemination of the Geetha Govinda in the centu- ries following its composition. Examining its lyrical struc- ture, she writes, ‘the Geetha Govinda, deceptively simple in its surface beauty, has a wealth of meaning embedded in struc- turally intricate forms and con- cepts drawn from various lev- els of Indian literary tradition.... master fully Jayadeva interwove formal and thematic elements to create a work of high ai t and religious intensity that remains appeal- ing to popular audiences throughout the Indian sub-con- tinent.’ She then proceeds to analyse and trace the sources of these fonnal and thematic el- ements that have been relevant to her understanding of Jayadeva’s poetry. She explains that this dramatic lyrical poem is ‘ex- pressed as a cycle of songs interspersed with recitative portions in the metrical forms ofclassical Kavya verses func- tion as independent grammati- cal and aesthetic entities. Most of them are narrative verses identi tying the singer of a song or elaborating its context. Oth- ers are relatively independent of the story and serve prima- rily to reinforce the aesthetic atmosphere of the poem. She considers the metrical patterns in the Geetha Govinda, com- 7 GUN AGRA II I/M AY-2007 lion with Rati ha in a sacred pares the structure of the Kavya verses with the struc- ture of the songs, shows how word play as well as rhyme in its several varieties highlights the rhythmic patterns of the songs and how repetitive pat- terns of sounds, syllables, words and phrases serve to reinforce and supplement the metrical structures of the songs which are sung in a variety of different ragas in several re- gions of India. Discussing Krishna, the cosmic cowherd lover, Stoler Miller lists the various epithets by which he is known in the text of the poem. She concludes that ‘By represent- ing his divine hero with a com- plex of characteristics known from older religious sources, Jayadeva sets Krishna’s rela- fi umework. Krishna’s relation to all living beings is expressed through his ten incarnate fomis. His personal, spiritual relation to human beings is expressed through the form of the flute- playing adolescent cowherd. His intense spiritual intimacy with an individual human being is expressed through the divine sensuality of his love with Radha. As the divine lover and object of the poet’s worship, Krishna is the embodiment of erotic mood and the essence of aesthetic experience.” Stoler Miller secs Radha as the consort of Krishna’s springtime passion. She does not believe that Jayadeva invented her, but that “he did create a unique heroinefor Indian devotional lit- erature” and established her as Krishna’s consort in the later traditions of the Krishna cull. In the Gcetha Govinda, Radha is neither wife nor adoring playmate, but partner in a se- cret and exclusive love intense, solitary and proud she both re- flects and complements Krishna’s passion. C o n s i d e r i n g Jayadeva’s language of love, Stoler Miller says, “Jayadeva ’s verses nowhere praise unbodied joy; they are explic- itly sensual and celebrlc the sensual joy of divine love. Through imagery, lone colour and rhythm, Jayadeva inter- weaves levels of physical and metaphysical associations and the cosmic energy of Krishna’s love with Radha is condensed into a religious ccstacy. • CONGRATULATIONS TO I I l [ALL THE “GUNANIDHI” awardees! L J Congratulations Seasoned violinist Dr. Mysore M. Manjunath has been accredited with ‘ A-Top ’ grade by the Prasara Bharathi ( SUBSCRIBE TO ‘GUNAGRAHP ~~) 8 .R. E. V. I. E. W. S. Sliwctha shines: Young singer Shwelha Kcshav is doubly blessed by having artistes as her father and mother in Lakshmikcshav and Veena Kesha v. Lakshmikeshav is well known as a music com- poser and singer. Earlier trained under M.S.Vidya. Shwctha has imbibed the nuances of Carnatic vocalism under her in Saveri raga, the de- tailed delineation of Regade raga (‘Nccve- ra naa kuladhanamu') are no- table for her hardwork. correct understanding of the mode, in- nate talent and artistry. Melodious Shakthidhar: It is a welcome and happy thing to note that the Minduslhani Sangeetha Kalakara Mandali is revived after quite a long period of abeyance. It is worth noting that the Mandali is an organisation which is by the from the audience. In it one could enjoy the confluence of beauty of the raga, artistry and bhaava. The Pahadi dhun fell pleasantly on the ears. He passed around the grandeur of the raga in a systematic man- ner. As per the tradition, he con- cluded with Bhairavi. Successful Seminar 12: The silverjubilee celebration of a unique organisation the Per- cussive Arts Center dedicated to promotion, preservation and propagation of the laya, led by young percussionist V. Krishna present Gum and a scholar-vo- calist Dr. T.S. Salhyavathi. She is a promising representative of the emerging Carnatic music trend. A CD titled ‘Sapta Varna’ of her singing was released by veteran vocalist Dr. R. K. Srikanthan at the Ananya audi- torium. The veteran was all in praise for the young singer’s style and content of presenta- tion. The formal function was followed by a short vocal re- cital by Shwetha Kcshav to the accompaniment of Nalina Mohan (violin) and Mysore Radhesh (mridanga). Shwelha Keshav’s rendi- tions are marked by swara and laya shuddhi. The Hamsa- dhwani vama CPagavari’) is beautified by kaala and gathi artistes, for the artistes and of the artistes. As part of the re- vival of the Mandali a pleasant flute recital by K. Shakthidhar was held at the Gokhale Insti- tute of Public Affairs, N.R.Colony. Appropriately supported by Gurumurthy Vaidya on the tabla, the youthful flautist mesmerized the audience with his melodic strains on the flute. The ebb and How of the melody was consis- tent and full of impact. Yaman which resembles Kalyani of Carnatic music was explored to the fullest extent. He held the vaadi (gaandhar) and samvaadi (nishadha) in the requisite mea- sure. The highlighting of the phrases like ni ri ga ri sa, pa ma ga ri sa drew repeated applause concluded with a meaningful Seminar 12 on Taalavaadyas. The event was held under the joint auspices of MES Kalavedi, MES College, Malleshwara at the latter’s auditorium. Veteran mridangist Trichy Sankaran in his eloquent lecture-demonstra- tion drove home the importance of ‘Aesthetics in Percussion Arithmetic.’ A lay man has a very limited knowledge of the intricacies of the mridanga play. It is mothing more than arith- metic for him. That is why he draws himself out of the audi- torium at the time of tani avartana. But the said seminar was an eye-opener. Trichy Sankaran spoke about the vari- ety of laya in Carnatic music. The percussionist should fash- ion his play in such a manner as to bedhas.The krithi on Ganesha GUN AGRAHI/IM AY-2007 be pleasing to the ears providing food for the brainwork loo. This could be achieved by the usage of koruppus, he demonstrated. He also spoke about the adaptation of yathi (gopuchcha, shrotovaha and sama), gathi (3-4-5-7-9) and jathi bedhas as magnifying agents of the beauty of the laya. Giridhar Udupa lent support on his ghata. Sharada-Harini dazzle: Young singers N.R. Sharada and N. R. Harini and Kalavathi Avadhooth and Geetha depicted how arithmetic exemplifies the per- cussion ensembles and orchestra- tions. Accompanied by Shivu (mridanga), Guru-prasanna (khanjira), Anin (rhythms), Udayraj Karpur and Madhusudan (tabla) and Somasekhar Jois (konakkol) the singers in their respective du- ets sang Bhairavi atatala vama (in different speeds and followed it up by ‘Panchajanya’ (a composition in trishra, chaturashra, khanda, mishra and sankeerna laya in Valachi, Mohana, Shuddha Dhanyashi, Shuddha Saveri and Revathi ragas) and Nalinakanathi tillana respectively. The seminar concluded with a scholarly vocal duet by R.N .Thyagarajan and R.N. Taranathan, the well-known Rudrapatnam Brothers. That they are a seasoned duo and equipped with admirable concert craft and in- depth musical knowledge was evi- dent in their renditions. The duet aptly accompanied by Palghat T.R. Rajamani (mridanga) and Guru- prasanna (khanjari) began with a neatly sung Saveri Varna. A crisp ‘Nenendu vedakudura' (Karnataka Behag) was followed by nuanccd Reetigowla ('Ragarathnamalika- che'), Kalyani (‘Pahi maam') and others. Profound Prakrithi: One of the prominent disciples of Guru Revathi Nara-simhan L.S. Prakrithi proved her mettle as a sea- soned dancer in her Bharatanatya recital held at Padmini Rao’s Parampara auditorium during ‘Guru Kittappa Pillai memorial dance fes- tival’. Well proportioned ardlia mandalis, attractive facials, a fine mixture of simple and intricate aduvus and teermanas becharmed the audience. The Shankara- bharana vama ‘Manavi chai’ was the medium through which the pin- ing nayaki came alive. Her artistic skills were punctuated with hassle- free, leisurely delineation. The fruits of excellence borne out of ex- perience were there to relish. The nritta, nrithya and abhinaya brought out the inherent talent of Prakrithi. Papanasham’s ‘Deviye nee' (Keervani) underlined the greatness of the Devi. Chinnaih’s Java I i ‘Muttu-vaddura’ (Saveri) was neatly rendered highlighting the characteristics of a khanditha nayaki. Guru Revathi Nara-simhan (nattuvanga). Neela Ramanujam (vocal), Vivck Krishna (llute) and Gurumurthy (mridanga) imparted useful support. Kanjani Ganeslian radiats: A fine and seasoned dancer Ranjani Ganeslian Ramesh and her family deserves to be commended for arranging a dance festival in connection with Maha Shi varathri under the banner of ‘Ponnam- balanf. This year's festival held at Shubhas Bhavana in Rajaraj- eshwarinagar had Bombay Kri- shnamurthy singing melodiously a Dikshitar’s krithi ‘Ardha- nareeshwaram’ (Bhava-pi lya) orna- mented with swaras. His Naama sankeerthana evoked the neces- sary devotional feeling. Presentation of ‘Guna Nidhi’ title to: Shyamala G Bhave (Renowned musician), Dr. Vasundhara Doraswamv (Famous expo- nent of dance and Yoga), T. S. Vasantha Madhavi (Noted Karnatik vocalist), R. K. Padmanabha (Well-known singer), Lima Nagabhushan and B. Nagabhuslian of Dombivili, Mumbai (Horanaada Kanndigaru), Nandini Mehtha and Vidwan Murali Mohan (Popular Kathak duo), Shubha Dhananjay (Seasoned Bharatanatya artiste), Chethana Radhakrishna, Mandya (Young dancer-choreographer), Prof. K. Ramamurtliy Rao (Ac- knowledged art critic, dancer and organiser), A. S. Venkatesh (Philanthropist-printeijf 10 imimmmi mum U1 mill GUN AGRAIII/IY1 AY-2007 ID UUUUUUDUIII Shruthi Sindhura Academy of Music & Radel Electronic Pvt. Ltd. 70th Monthly concert, 20-5-2007, 5.30 p.m. Dakshinamurthy & party (veena). Venue: Yogashree (Yoga Mandira), Next to Sri Ramakrishna Udyanavana, I phase, I main, Girinagar, B’ lore-85. Raga Sudhalaya Charitable Trust, 26-5- 2007, Saturday, 6.30-8.30 p.m. Bharathi Sriram (vocal), Venkataramanaiah (violin), G L. Ramesh (mridanga), venue: BEL Sri Ganapathi Temple, Jalahalli, B. 1 3. BTM Cultural Academy, 26-5-2007, vocal duet by S. Ashok and M. B. Hariharan, B. Raghuram (violin), Bhagyalakshmi Krishna (morsing).27.5.2007, Bharatanatya by disciples of Sri KeshavaNrithyashale, B’lore. Malleshwaram Sangeetha Sabha, 27-5-2007, 6 p.m. G Ravikiran (vocal), Nalina Mohan (violin), V. Krishna (mri- danga), Guruprasanna (khanjari), “Chaturashra Triputada chaturate”, venue: Ananya Sabhangana. Hi jap u re Harmonium Foundation, ‘Harmo- nium Habba’ and felicitation to 90 year old Sri Bijapure. 27-5-2007, Sunday, From 9.30 a.m to 5.30 p.m, venue: Seva Sadana, 1 4th cross, Malleshwara. U Ananya Award Function and Sangathi”~Ananya Yuva Sangeethotsava 2007 At Seva Sadan, 14th cross. East Park Road, Malleshwara Inauguration : 6-6-2007, 6 p.m. followed by Vocal recital by Manasi Prasad & Party 7- 6-2007 6 p.m.: Rajakamal & party (flute) 8- 6-2007 6 p.m.: Vasavi & Party (vocal) 9- 6-2007 6 p.m.: Mahalakshmi Shcnoy (vocal) 10th June 07, 10 a.m. Award Function & valedictory of ‘SangathF Ananya Awards to Vidwan T.A.S.Mani, Vidwan T.N.Padma, Vidwan L.V.Mukund, Vidwan B.U. Ganesh prasad, Vidwan G Guruprasanna. BTM Cultural Academy, Sri Ramana Maharshi Academy for the Blind, HI cross] HI phase, JPNagar, B.78. 7- 6-07, 5.30 p.m: Nishanth Namoodri vocal) 8- 6-07, 5.30 p.m: Prasanna (mandolin) 9- 6-07, 5.30 p.m: Shilpa Shashidhar (vocal) Sri Rama Lalitha Kala Mandira, BSK II stage 7-6-07, 5.30 p.m: Amrutha Venkatesh (vocalj 8.6.07, 6 p.m: Ashwini Varaghur (flute) 9.6.07, 6 p.m: Prasanna Venkataram (vocal) Thyagaraja Gana Sabha, Sri Vani Vidya Kendra, Rajajinagar, B. 10. 7.6.07, 6 p.m: Vrinda Acharya (vocal) 8.6.07, 6 p.m: Jayashri Mahesh (veena) 9.6.07, 6 p.m: Ravikiran (vocal) ALL ARE N 1 1 GUNACRAHI/M djsad doddd® afoodd tfsroFUtf tf'cfocJDC^ AOr£)<3 lf?JjD 0 SdOiwO^Cd Efo£& -D arodead doqfrd d^o w $a.d ??cdcd cdoS E^cd^Cd rT2TQ0 Q < re xfodsado 2000 ddrrttf ^Aao^rfadod rfdd °l r *ra&od. esdd. dodo wdorfdrfecdD. O O -o ^ o ^d 3 id ji ) cd Ed cO t) e” fe3 cd id o rd 2 d 3D &o o 3* o 3* £37) ?j , >-> sj ry> ' doa^ts^d, wdjaerfjaed^o* enid^do, *jd vodido, od^rarttfo, Aed, Q) w' dodja ed. dadodd ddwaD if edrttf £) oJ 6 ^ C4 J M Aj ^ Xj d 2d rdvSodojD sd ajdr^^odo. rfpraFi3tf zpDdate^e ^ae asf^e rfrado. )rod de^F rte*» datfd s^d sraart .... ^odo riodraF rioz^do ^F3t)Fi3tf 332dF Karnataka Information ’odrar rftTOFl3tfd ddr : 2006 12 in iu ni uii UI um GUN AG R A 1 1 l/MAY-2007 immiiiiiiiiiiiniiii .L.E.I.S.U.R.E. UIZ OF FINE ARTS 1. Name the author of Abhinava Raga Manjari? 2. What is Abhog in Hindusthani music? 3. Name the other three sections of it? 4. The rhythmic accompaniment is provided by instruments. 5 . The function of an accompaniment is to music. 6. What are frets? 7. What do they indicate? 8. Abhinava Tala Manjari is penned by 9. Anaddha is also known as . 1 0. What do you know about Ambarisha Charitam? SOLUTION TO QUIZ OF FINE ARTS •IBunjiiuBMSvXquonuA\/(E[di|B>|>iBi|iB>j VOI -eqppBUBAV '6 (036 1 Aequiog) isjnj^ eddy ‘8 ’Sujddojs too.uoo ut dpq pus oaejdo sip ui saiou oqt jo suomsod oqi .10 SEEUEBipS-E.IBA\S Oqj^ ' 0J3 JBllS ‘CU93A JO pJEOq-IsSuiJ 3qj SSOJDB pODBjd [BpiU JO sdujs UU| 1 31(1 9 -iuouio|ddns s uoissnojoj y ueqouns P UB BJBjuy‘iABijjsve ’oisniu iiiBipsnpUfH u ! Apopiu e jo uoiidos Suipnpuoo pun qunoj oqx z spuBippBqg ^ A jipucj • \ PHOTO QUIZ What do you know about this picture? SOLUTION TO PHOTO QUIZ •(ndmp) cSuepuiu aqj jo apis puuq iqSiy aqx ANNOUNCEMENT ♦ Artistes, Authors and publishers are welcome to send two copies of their books/cassettes/ S /Ds on Indian music (Kamatak, Hindusthani, Sugama Sangeetha, folk music etc) and Indian lance (classical and folk) to GUNAGRAHI for review. While every effort will be made to ac- ;nowIedge receipt of the same under “New Arrivals”, the decision to review a book/cassette/CD ests entirely with the journal. ♦ The Sabhas, Organisations, Institutions and organisers are hereby requested to send the details of their forthcoming activities/programmes as also the events held to get them enlisted in the current issue of GUNAGRAHI by post and/or through e-mail on or before 8th of every nonth. 13 All I/M KESHAVA COLLEGE OF DANCE & MUSIC 556, 11th MAIN, ISRO LAYOUT, BANGALORE-560 078, INDIA. [AFFILIATED TO BANGALORE UNIVERSITYI INVITES APPLICATIONS FOR ADMISSION TO B.A. DEGREE IN BHARATANATYA & KARNATAK MUSIC FOR THE ACADAM1C YEAR 2007-08 (SEMESTER SCHEME EXAMINATIONS) BECOME A QUALIFIED DANCER OR A MUSICIAN & OBTAIN A DEGREE CERTIFICATE CLASSES ARE CONDUCTED BOTH AT RAJAJINAGAR & ISRO LAYOUT By Experienced And Qualified Teachers Of Both Dance & Music For admissions and other details Contact : B.K. Shyamprakash Phone: 23523773, Cell: 94489 04120 College: Between 10 A.M. & 1 P.M. Tel : 26669565 E- MAIL: keshava_college@rediffmail.com bkshyam@rediffmail.com GUNAGRAHI Monthly Journal RNI REGN.NO.69 149/98 Re2n.No.CPMG/KA/BGS-92/2006-09 >wned, Published, Edited & Printed by Dr. M. Surya Prasad at “Munikoti”, 8, II cross.Opp. Srinivasa fandiram, Balepet, Bangalore-560053. Phone: 22253975. Editor General: DR. M. SURYA PRASAD A thumbnail profile of ‘GUNA NIDHI’ awardees Shyamala G. Bhave: Internationally celebrated Ubhayagaana Visharade Shyamala Bhave is a versatile artiste. Besides her glorious career on stage, she has also done a lot as a promoter of classical music and dance by organising festivals. Her services are invaluable as the president of Karnataka Sangeetha Nrithya Academy. She has been awarded honorary doctorate by the Open University of Mysore. T.S.Vasantha Madhavi: As an outstanding vocalist, teacher, composer and organiser, Vasantha Madhavi’s contribution is immense and varied. She has been doing a yeoman service by awarding music scholarships, holding monthly music programmes, organising annual music conferences and honouring artistes and patrons with titles under her ‘D.Subbaramaiah Trust’. R.K. Padmanabha: A vibrant and versatile artiste RKP has carved a special niche in the field of Kamatak music. He has always been in the limelight as an organiser par excellence with his interesting and innovative classical music programmes and projects. In addition to being a merited singer he has composed krithis on his favourite Haridasa Vadiraja with 1 Padmanabhadasa’ as his pen- name. He is an institution by himself. Dr. Vasundhara Doraswamy: A famous and prolific exponent of Bharatanatya, an expert in Yoga and an endearing teacher Dr. Vasundhara Doraswamy of Mysore is perhaps the only artiste of Bharatanatya to perform at UNESCO. As a patron and promoter of classical dance her contribution is remarkable. She holds varieties of three festivals of dance and music annually at Mysore to packed audiences and honours artistes with titles and awards. Shubha Dhananjay: A seasoned Bharatanatya, Perini, Kuchipudi natya, choreography and Kathak artiste, Shubha has created her own dance studio and arranges programmes by young and upcoming dancers at regular intervals. Well assisted by her husband Dhananjay, a State level competition is held and prizes are distributed annually followed by annual music and dance festival under her ‘Natyantaranga’. She has been actively into the field of dance for more than two and a half decade. Nandini Mehtha and Murali Mohan: Nandini is well versed in Bharatanatya, choreography and Kathak. Murali Mohan is an excellent Kathak dancer. The duo has excellent and extensive performances within and outside India to their credit. Nandini and Murali are doing a great service to the field of fine arts by arranging two day annual dance festival entitled ‘Nadam’ for the past decade. Chetliana Radhakrishna: A fine Bharatanatya dancer and choreographer and a successful teacher Chethana Radhakrishna of Mandya has grown into a powerful institution inspiring and evoking cultural interest among the people of her place by her incessant dance activity. She has several performances and choreographic works to her credit. Equally well supported by her husband P.M.Radhakrishna, annual State level music competitions, music and literary conferences, Salangai pooja, Rangapraveshas and felicitation of artistes are being held under the aegis of her ‘Gurudeva I Lalithakala Academy’. K. Ramamurthy Rao: Basically a professor of Commerce, Rao is a popular teacher, organiser and art crilic/writer. Ramamurthy Rao is known for his organising capabilities and conduct of special dance workshops and camps. He has always been striving hard for the healthy growth of the classical dance field. Several articles and books are penned by him. He encourages young aspirants by featuring them in the annual dance festival oraganised by him. Lima Nagabhushan and Nagabluishan: A veteran and all round vocalist Uma Nagabhushan is credited with a grand success of propagation of classical Kamatak music in Mumbai (Dombivili). With her husband B. Nagabhushan ’s ceaseless efforts, encouragement and backup, Uma has been triumphant in celebrating the silver jubilee of her music school “Mysore Sangeetha Vidyalaya” at Dombivili and Bangalore. Artistes from Bangalore and other parts are invited to perform and honoured during the varieties of programmes and festivals arranged at regular intervals under the banner of their school. A. S. Venkatesh: A dynamic entrepreneur and philanthropist Venkatesh always has a soft comer for cultural upliftmcnt. A great lover of hockey and golf, Venkatesh supports the music and dance activities with his generosity and whole-hearted encouragement. ***>*-• L to R) Shyama/a G. Bhave (Versatile musician), T. S. Vasantha i ¥ / g ■ II ft (Noted vocalist, teacher, organiser) R. K. Padmanabha (Well-known Karnatak Vocalist, organiser). Dr. Vasundhara Doraswamy (Famous exponent of Bharatanatya and Yoga) Shubha Dhananjay (Seasoned Bharatanatya artiste), Nandini Mehtha and Murali Mohan (Popular Kathak duo) Chethana Radhakrishna, Mandya (Young dancer-choreographer). Prof. K Ramamurthy Rao (Acknowledged art critic, dancer and organiser), ftp | A. S. Venkatesh (Philanthropist-printer) and B. Nagabhushan and Uma Nagabhushan of Dombivili, Mumbai (Horanaada Kannadigaru),