The International Journal on Music & Dance 10th Anniversary Special Issue WORLD MMCEOAV CELEBRATED fi.an.aanah Gunagrahl ass, 8 th Main Road, J.P. Naj-ar 2 nd Phase. Banualore-560078 91-80-26586506/7/8-51 209501/2/3 Resi: 51209504 Fax: 91-8—26584364 com Web Site com E-mail: infofa ivoticolore Karnataka ’s only ntemational Journal on music and dance 10th Year Special Issue Editor General Karnataka Kala Sri Dr. M. Surya Prasad Phone : 22253975 Vol. X Issue 1 JUNE-2007 Chief Patrons Dr. A H. Ramarao, Ph : 26691175 S. K. Lakshminarayana (Babu) Mysore. Ph : 0821-2513414 V. Krishnan. Ph : 23345665 M. Bharadwaj. Ph:08182-222051 H.K. Ganesh. Ph : 56702763 H. Kamalanath, Ph : 26612244 Principal Advisers Dr. R Sathyanarayana. Mysore 0821-2567891 Guru Maya Rao, Ph : 22261816 Mattur Krishnamurthy Ph:23346404 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 .26615127 Legal Adviser C.N.Satyanarayana Shastri, Ph. 26620138 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-K295 EDIT0RIAL0FFICE: •M U N I K 0 T T, 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 : ^unagrahifflyah(K).C()m,drmsunaprasad(flyahoo.com INSIDE: From the Editor General 5 Dances of Prayer 6 Musical instruments as tools 9 Calendar of Events 1 7 Natva Yogi’s Ananda Tandavam 18 * Wc Welcome all unsolicited material but do not take responsibility for the same. I f these arc 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 o 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 arc not necessar- ily those of Gunagrahi. Articles, Photos, Write-ups. reports may also be sent to the following address : Editor General, 44 ft, Jarananalialli P.O. J. /’. Nagar, Kanakapura Main Road, BANGALORE - 560 07S. GUNAGRAHI/ JUNE2007 10th Year Special Issue Greetings to GUNA GRAHI from: fiUicf ^-aTiMifici f^r. tfjae-wsftfeyss 6 * 05* <£). SREE CHARAN SOUH ARDHA CO-OPERATIVE BANK LTD. Head Ollice: 87, H.B. Samaja Road, Basavanagudi, Bangalore-560004. Ph. 26676837. Fax:26606135 SreeCharan Bank under Prcdessiona^nkin Manageme nt TERM DEPOSIT SCHEMES LOAN FACILITIES Fixed Deposit Loan on Deposit— Loan against NSC7KVP Per,od Rate of Interest Personal Load — Education Loan 30 days to 1 80 days 9.0% Vehicle Loan-Secured Bond Loan 181 days to 1 year 10.0% Sulabh Bhadrata Loan Above 1 year to 3 years 10.50% Charan Arthik Sahay Loan 0.5% extra for Senior Citizens on deposits Sree Charan Nivas Housing Loan Scheme above 180 days Immovable Property Loan Business Loan Overdraft— Cash Credit limit Loan on Gold jewellery I he Management reserves the right to Modify/withdraw the schemes without prior notice. 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K.V.Temple Street, Sultanpct Ph:2660 1151, Fax: 26606 1 35 Ph: 222299 1 1 . Fax: 22229977 B'lore-53. Ph: 22389935 Fax' 22389936 GUNAGRAHI/JUNE2007 10th Year Special Issue rdiit the Editor General m A historic occassion to celebrate The celebration of the 1 0th anniversary with the prescnta lion of the title of “GUN A NIDHI” and cultural programmes seems to be historic. For, at a time when thei e arc only a couple of magazines on classical music and dance in Karnataka keeping up a regular publication and complct ing successful nine years means something special and impor tant too. Adding glory to success is the celebration of the very mood and spirit of publication with a befitting and memo rable event. And that event is just now happening. There seems to be no parallel instance of this type in the history of classical music and dance at least in Karnataka. The decennary celebration will be a landmark in the arena ofclassical music and dance. To commemorate this, 'GUN A NIDHI’ awards are being presented to the really deserving personalties who are doing great service to the field of mu sic and dance. Hereafterwards, this will be an annual affair. A special issue of GUN A GRAHI is also released on this occassion which is now in your hands. I am really stunned and moved at the overwhelming sup- port extended by my loving artistes and patrons. 1 not only commend and congratulate all the persons and institutions who have extended me all the support hut also | THANK them wholeheartedly. This is only the beginning. 1 request all the connoisseurs and artistes to co-operate with me in taking up new programmes, plans and challenges. Once again a big thank you to all. With regards. Karnataka Kata Sri Dr. M. Surya Prasad. GUNAGRAHI/JUNE2007 Special Issue DANCES OF PRAYER AND DEVOTION DRAWN FROM HINDUISM The dance world believes that the Hindu God of Dance, Nataraja, who has four arms and is holding a small drum, created this entire universe with his body movement (AngikaV speech (Vachika), adornments (Aharya) and innate feelings (Satvika). “To understand Indian Dance, you need a whole lecture on Indian Philosophy. It is basically a moving prayer of devotion”, said Rebecca Gearhart, an anthropology professor at Illinois Wesleyan University, U.S.A. Religion is difficult to explain, said Brian Hatcher, an Illinois Wesleyan Univer- sity Religion Professor who has written two books on Modern Hinduism. “Hindu- ism is a very complex religion. Scholars go through a lot of somersaults and back twists to explain what its all about”, he said. It is based on three (iods, Brahma, Vishnu and Shiva. Brahma is the creator of the Universe, Vishnu is the preserver who destroys chaos and preserves order. Shiva comes along at the end of eons and destroys the whole cosmos. The three Gods CUNAGRAHI/JUNE2007 function as a cycle. Some Hindus believe that all the three ol them are manifesta- tions of one God. Others believe that they are separate deities. “Many Hindus would say they arc monotheists and object to the idea that God takes many forms”, Hatcher said. Nataraja, the God of Dance, is a manifestation of Lord Shiva and is often depicted dancing in a bowl of fire. Nata means Dance and Raja means King, so Nataraja is the King of Dance. The dance lessons begin and end with a prayer, sitting on toes with palms together, the dancers thank Lord Shiva, Barth, their teacher and parents. I he most popular dance forms related to Hinduism are Bharatanatyam, Kuchipudi, Oddissi, Kathakali and so on. Bharatanatyam is an old and pure dance form from the Southern Indian State of Tamil Nadu. It originated with the temple maidens. These maidens lived in temples and never married. Dance was their prayer to the temple’s deity. This dance form is 6 subtle and sophisticated, demading great virtuousity. Its poses often evoke the sculp- tures in the temple from which it has evolved. nation of dance gestures, speech and song. A Kuchipudi dancer has to be well versed in dancing, acting, music, various languages and texts. Traditionally it is called “Natya Melam” (dance drama) and was performed by male dancers. The musicians appear first on stage and play drums and cymbals. Then one by one each character enters and identifies himself by his specific “Daru”. The dance itself speaks of the character- ization. In the present day, it is also being called as “Nattuvamelam" (solo dances) and is characterized by story telling, rich expression and fast rhythm all creating a mood of excitement. All Indian Classical dances follow the sacred text called “Natya Shastra”, though the dances vary between states. Most dances are female oriented but some are male oriented or mixed. i nc Kuchipudi dance form comes from a different state, don t Andhra Pradesh. This dance form tells stories of Gods as a drama. This dance is combi- Jkt 10th Year Special Issue Oddissi, refers to the dance style of the state of Orissa, in Eastern India. Oddissi traces its origin to the ritual dances performed in the temples of ancient Northern India. The divine love tales of Radha and the cowherd God Krishna are favorite themes for interpreta- tion. Jayadeva's “Ashtapadis" extracted from “Gcctha Gov indam” will be performed in the dance recitals which describes the complex relationship between Radha and her Lord. Kathakah, is the vivid dance drama of the rich and fertile southern state of Kerala. The title combines the two words for dance and play and it developed under royal patronage. Its narra- tives are of Gods, Heroes, Demons and Warriors in the great epics of India, Ramayana and Mahabharata. Masks are elaborately used for characters and percussion is limited to Maddalam (two headed barrel shaped drum), a Chcngila (metal gong) and Elatalam (a pair of cymbals). Dance and Religion are so interwoven in the Indian Culture that it is believed that dance is one of the divine paths for attaining Moksha. By Sudha Rani Kalavagunta GUNAG o 10:26:26 rf/ouO, -» U ilal. e Rods* 12:32:16 doe.«oUj* rtetjrl o faosSs* 20 : 20 : 0 : 1 3 rcoc^aU>< ’faLd o ‘a^/a.r a.O.A. 0 olX/oSalTD, uOdS saoMiah, SJpadaah toft srdoJWdA) d s>v5e) ztodJbdd, 3 * tij*'?, * t* > -i(. o^i‘ . Oi. .. Oorivj.0. 560 052. 080 22386947 ' 48 , 49 080 22386945 idort ^ 08172 264J42 08394 225162 '.•8362 370382 Well done, GUNAGRAHI, Keep It Up, With Best Wishes in the pursuit of classical music and dance From: Smt.PadmaAdiga Seasoned vocalist 922, 20'" Main,BSK II Stage, Bangalore-560070. Tel: 6710418/9448521309 10th Year Special Issue MUSICAL INSTRUMENTS AS TOOLS FOR EXPERIMENTAL RESERARCH Prof. Emeritus -Dr.S.A.K. Durga Musical instruments were used as tools for experi mental research to test and ex amine their hypothesis on mu sical theories when the scien tific equipments were not used by musicologists to examine their Anumana Pramana on music -Theories with Prathyaksha Pramana; Those who have made experiments with musical instruments to establish their musical truths were musicologists and musi cians but not scientists. There fore their only tools tor prathyaksha pramana were in variably the musical instru- ments. In the disepline Ethnomusico- logy. the study of musical in- struments is called by the name organology. The classi- fications construction, playing techniques, role of the musi- cal instruments are studied underorganology. Musical Instruments play dif- ferent roles in the Musical ho- rizon. There are instruments which are used for experi- mental research to test the hy- potheses on musical facts. In india, from the time of Bharata the musical instruments spe- cially devised for experimen tal research were in vogue. As as tools of experimental re- search, instead of scientific equipments of modern days such as Sonagram, Spectro- gram. use of computers, melodic movement Analyser, the lan- guage that was used to put forth their deductions are said in mu- sical terminologies and not in sci- entific terms. For example the terminologies harmonis and formants are described as Swayambuswaras and Anuvananthmaka Dhwani. It is amazing to find that our ancient - s theories on music are propounded with a scientific at- titude without using any scien- tific equipment. What is the sci- entific attitude? It is the experi- mental research. Experimental research need not necessarily be conducted in laboratories with scientific equipments. Our ancient s dispassionately analysed and experimented their hypothesis with Musical Instru- ments. Experimental research is considered as the best for studying facts more effectively since it facilitates the researchers’s attempt to test and examine the hypothesis in an accurate way through experim ents. The musical theories based on science such as twenty two sruthi-s seven notes, the concept of consonance and dissonance, the twelve tones, scales based on 16 enharmonic intervals, the ten types of ornamental varia- tion of notes, the use of inverse law in the construction of muscial instruments (Finger board and length of the body ol instrument) etc. remain intact from the ancient times to the present day. Bharata is the earliest writer who proved the 22 sruthis with musical instruments by con- ducting experimental research. The 2 instruments Dhruva Veena and C'hala Veena are known as experimental veenas. Bharata began his experiment to prove his Anumana Pramana or assumption of the existence of 22 sruthis in an octave. Anumana pramana is assump- tion. This anumana is based on Aptavak or credibility based on Naradiya siksha in the sense that Bharata took the Sa Grama which is enumerarted in the Narada siksha as a descending primary scale and the ma grama which is also enumerated, in Narada siksha, Prapataka 6 verses 24, From the Aptavak he proceeds with his experiment and concludes his theory on Anumana by Pratyaksha Pramana. 9 10 th Year Speciallssue scaled r™l Sed a ,K aS K en t d j n8 3 eka sruthl in,ervals - (81/80) scale Sa Grama w.th the 5* as (25/24) (256/240) in alternate most prominent and mixed progression in the inerva. rat yaksha means lit- arrangement of the 22 srutis He ra ly pcrcenb'e. ,n Nyaya phi- expenmen, ed the cone " of22 losophy, „ , s one ol the four sruth „ s with 2 veenas £ sj "’Odes of proof, la, size and shape. OneiscaZ ouyTf Sa°nT d the h m . e,h0d “ 1 - Dh ™ a V eena or Aehala Veena AnL! Sank y a P^losophy which is constant and Chala Anumana. Pratyaksha Praman- Veena which was used for ex- 22 tuthfs' mfn '7 ^ u' by al,eri "S thc P*<* of 22 sruthis in an octave with h,s the string and Dhruva veena 2 experimental veenas. Dhruva was the referential veena Both veena and Chala veena. The were tuned to Shadja Grama performing trad, t, on keeps on and both had 7 strtngs. At changing from time to time but Bharata 's time, the Zither type many fundamental theories of of stringed instruments we e Ind an mus'c from the scholas- constructed which are of harp tic tradition have not changed type and not lute type of veena from the past as they are based The term Veena ,s used to de- °n scientific truths, note any stringed instrument. Dhrnv V * ° n We may assume that the veenas Dhruv Veena and Cha'a Veen were like Swaramandal of a has established firmly that Hindustani Music 'd 7 cm 7 nly 22 COnvenient I" his experiment with 2 identifiable division oisruthis in scales Bharata uses the erm an octave though sruthis can be grama in thc sense of a scale. Anantham 7 I he 2 consonant The 2 gramas are thc 2 scales intervals- the 5"' and 4 ,h and which have the tome from Sa major tonal intervals in between and Ms and are correspondingly thpm nra 1 .. .. I ■ (It fforanl in l t. them are also explained, different in their intervals. Thc Through Chatusruthi interval intervals are described in terms consists of 4 Eka sruthi inter- ofnumber of srutis and the num- val, the Eka sruthi interval can ^ er ^ as ^ cen ^ xcd as 22 srutis be of any of the 3 , Poorna ' n an octave wherein the sruthi., Nyuna sruth. and ™ a . ra * 0 f 2 granias are dc ‘ Pramana sruthi and all of them ,,4194477 ,o Q « “ ■"« M t— Smi S. zz S£ t.on concept is also brought ou t Rharata says in vcrse 24 incidentally with the mention of that the differences which oc- GUNAGRAHI/JU1VE2007 curs in panchama when it is raised or lowered by a sruti when consequential slackness or tenseness ol strings occurs which shows that he did the experiment with the knowledge of physical law using 2 stringed instruments-the Dhruva and ( hala Veenas of similar shapes and sizes which had 7 strings. Roth are tuned identically first and then by decreasing the panchama note one ‘pramana’ sruthi lower, the scale of Ma grama is found. Bharata speaks ol pramana’ as a size of mea- surement or a standard measure and has not mentioned the names Poorna and Nyuna sruthis in his work Natyasathra. Among the 2 veenas, the panchama was lowered one sruthi in Chala Veena; when panchama is reduced one sruthi i s sounded as a consonantal 4 "' to thc rishaba of not only th c( hala veena but also the Dhruva Veena. Bharata thus demonstrated the Ma (irama in the Chala Veena. “ Again due to the decrease of a sruti, Gandhara and Nishada will merge with Dhaivala and Rishaba respectively when there is an interval of 2 srutis between them. Again due to a decrease of 1 sruti Rishaba and Dhaivata will merge with Shadja and panchama respectively when there is an interval of 3 10 1 Oth Year Special Issue srutis. Similarly, the same sruti swarashthanas which are being again decreased enharmonic notes. He has pro- panchama, Madhyama and pounded a scientific mela Shadja will merge - with scheme. He observed the veena Madhyama, Gandhara and with the 12 semitones in the Rishba respectively when there octave and saw that permuta- is an interval of 4 srutis. Thus tion and combination of these according to this system of srutis (each of) 2 gramas should be taken as consisting of 22 srutis (Prose passage translation of Natyasasthra Clip. XXVIII) Once the 7 notes of an octave were achieved, the search for the new scales began. The uni- versal method known as modal shift of tonic began to be experi- mented to find new scales, with the help of Zither type of stringed instruments. The second important con- cept was organised with the ex- periment on Musical instru- ments. The Modal shift of tonic through which the new scales were derived and were experi- mented. with musical instru- ments were called Moorchanas in Natyasasthra. In Tamil litera- ture Silappadikaram of lllango speaks of “Pan Pcyarthal” which is graha bhedam or modal shift of tonic. The third important concep t is the 72 mclakatha scheme propounded by Venkatamakhi. Without the musical instrument veena, Venkatamakhi could not have propounded a scheme of 72 melas with the 16 12 semitones. 16 enharmonic notes can be found from which 72 scales with 7 notes with sym- metrical ascending and de- scending notes can be formed. Venkatamakhi divided the octave into two tetrachords Sa toMa and Pa to Sa. On the vina it may be seen that there are 4 places between Sa and Ma and Similarly 4 places between pa and sa. Keeping sa and ma constant he paired the intervening semitones as 1 1 2 3 1 4 2 3 1 4 2 4 Similarly the Semitones be- tween the Pa and Sa were paired. Now for Sa and Ma and Pa and Sa they can be paired in 6 ways 6x6 = 36 melas with Sudha Madhyama. The counter part with prathi madhyama has 6x6 melas totalling 72 melas. this scheme was possible only be- cause of the Musical instrument Veena for his experimintal re- search. It is no exaggeration to say that he stringed instrument played a vital role in the experi- mental research to frame musi- cal theories. Lastly, the gamakas which is the soul of Indian music was experimented by Subbarama Dikshitar and he in his work Sangeclha Sampradaya Pradarshini explains how each gamaka should be performed taking Veena as his experimen- tal tool. He explains as to how each gamaka is produced. The Musical Instrument (Veena) can transcribe the gamakas as scientific tools such as Melograph. The technique of playing and construction of various instru- ments are based on acoustical laws such as resonance, sympa- thetic resonance, free and forced vibration, inverse law etc. Many western instruments such as Mandolin Clarinet and Saxphone are modified to suit the playing of Carnatic music effectively. The Jawari or Jiwa in Tambura is yet another important investi- gation with experimental research on the instrum enl. The sound which represents the tonic is the drone which is 10th Year Special Issue unchangeable (achala) . The a drone with the placement of Jawari adds strength for the fun- Jawari. damental in comparsion with the In the wind instruments, the harmonics; one can hear the 3 ,d ,on g flute gives the low pitch and and 5"' harmonics if Tambura is s hort flute produces the high properly tuned. Due to the P' tc h which show the inverse scope of the bridge, string bridge * aw °f physics. The 5 ,h note contact is a grazing one and is ^ rom the tonic is obtained never a definite point. Due to through overblowing. TheChi- the scope of the bridge, string nese Pentatonic scale is found bridge contact is a grazing one by the use of the wind instru- and is never a definite point. The ment based on the principle of placing of the Jawari thread consonance shadga-panchama make this contactmore so. This Bhava accoustical principle was The Percussion instruments realised by our ancients and are use d to experiment the Tamburas, the perfect drone highly complicated rhythm pat- has, in addition to the reasonator terns of Indian music to accom- which gives resonance to the P an y different style of Indian playing of open strings, a thread classical music. It was found introduced to enhance the rich- that certain type percussion in- ness by placing it at its nodal strument should be used for dif- point. As the fundamental tonic ferent styles of singing. For ex- is very essential for the ample, Tabala for Khyal sing- perfomer, the tone of the Sa ing, Pakka waj for Dhrupad string is extended bh having singing, mrudangam for South anusarani, the second Sa string. Indian Classical music and Tambura the drone instrument Autophones or Idiphones for is the outcome of experimental Devotional and Folk music. The research on various types of construction of the percussion stringed instruments to serve as instrument is based on the sci- entific principle of giving it the timbre to suit the particular style ofmusic. Musical Instruments play the role of accompainment as also the main instrument in solo performance and provide an en- semble from the simple Vadhya Brinda to complicated sym- phony orchestra. Beside all the above enjoyable instrumental perfomance, they serve also as tools for experimental research to prove the theory and concepts of Indian Music. Thus Musical instruments which are used for experimen- tal research reveal that sangeetha is not only a Kala or Art but also a Sastra or Science. Sasthreeya Sangeetham is based on Sasthra. The 2 impor- tant features of Indian music are the microtones and different type of embelishments or gamakas and both were experimented using the musical instruments as tools, the 72 mela scheme was propounded only with the ex- perimental study of vecna which astonishes other music cultures. (Courtesy: Indira Nagar Sangeet Sabha) Vocal Concert by Singapore Artiste Kum.Sushma Somashekaran, upcoming youth artist from Singapore, will render a vocal concert on Saturday 16" 1 June 2007 at 6 pm at Gayana Samaja. She has her training from senior gurus including Smt.Lalitha Shivakumar. She has a number of prizes to her credit and has been performing in a number of venues, including the famous Singapore Indian Fine Arts Society. All are cordially Welcome GUNAGRAHI/JUNE2007 12 10th Year Special Issue KESHAVA COLLEGE OF DANCE & MUSIC 556, 11th MAIN, ISRO LAYOUT, BANGALORE-560078, INDIA. [AFFILIATED TO BANGALORE UNIVERSITY] INVITES APPLICATIONS FOR ADMISSION TO B.A. DEGREE IN BHARATANATYA & KARNATAK MUSIC FOR THE ACADAMIC YEAR 2007-08 (SEMESTER SCHEME EXAMINATIONS) BECOME A QUALIFIED DANCER OR A MUSICIAN & OBTAIN A DEGREE CERTIFICATE CLASSES ARE CONDUCTED BOTH AT RAJ A JIN AGAR & 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@rediffniail.coin bkshyam@rcdiffmail.com {7wi Uloi NAGRAHI Monthly Journal RNI REGN.NO.69 149/98 Regn.No.CPMG/KA/BQS-92/2006 m> -09 J Owned. Published, Edited & Printed by Dr. M.Surva Prasad at “Munikoti”,8, II cross,()|)p. Srinivasa Mandiram, Balcpet, Bangalore-560053. Phone: 22253975. Editor General: DR. M. SI RYA PRASAD. GUN AGR AH 1/0UNE2QO7 14 10th Year Special Issue ^ ^ Q cA * 25 rfaDacs^rfe rfsjarurf rfaartfd sfrjaeq^eoia. Kd sft^ rfozfc* o;£ rfsfratarfj eQ-stf n^Dofra srfeacrfa. n^aaere ts^tfo^a sfrjae eo’orfartvarf acto^g*, actfa, wrfjafrfj ifttfa, fctfre tfeoa’anVC^ rfaaFtfc* azfesrf erf , s^rfo astf t-3^rf. e^tfo ^ etfa&tf rfOeat^rttf rorfatfartvartea* rfirertf 3’rf ( e i rYs3 , op3 , n , s3 , o t rffoQ j eB , Ofcd'., rfja^Fcao tfarf srft^nV^tJjCf. 1. utfrvae rfsrfarf^rf Qe^TarsrfQ sfoaratf. rfatse tsearfotfarf srf cfcgaasrf ,o crfjaecsrf. ° ° Q 2. ^ojae rf^tfo^ar etp^o^rran tfjato’ sraotfarf tsorfas^ffa®* sjaoaotfara aQorfa utfrf. 3. wo^BFU s^Onan rftf eonVrftf etjs^o tfaafa, rftfnV rfotf^ttf. 4. zraeaa s^a rf uotS^ rfsrfa^?^ s^a^a^ narfjafaocfjaoOrf rfocfs/areF jadd&ohd K caasrfarTaea. C4 -*> ris&^ri rfrort3rf— o’^artio’ saarft GUNAGRAHI/JUNE2007 10th Year Special Issue 10th Year Special Issue CALENDAR OF EVENTS: Sri Thvagaraja Gana Sabha Trust (R), 20-06-07, Sunday, 5 p.m. Venue: Sri Vani Vidya Kendra, No. 1 246, 4th main road, 2nd stage, Rajaji nagar: Srikantham Nagendra Sastry (vocal), R. Paramashivan (harmonium), B. Dhruvaraj (mridanga) and L. Bheemachar(morsing). Indiranagar Sangeetha Sabha (R), Purandara Bhavana, 8th main road, HAL 2nd stage (Behind Indiranagar Club):: 23-06-07, Saturday, 6 p.m.: Shobha Sashikumarand party- " Bharatanatya.b Ragasudhalaya Charitable Trst (R), BELSri Ganapathi Temple, BEL Colony, Jalahalli, 23-6-07, Saturday, 6.30 p.m.: R. K. Prasannakumar (vocal), C.N. Chandrasekhar (violin), M. Harsha Samaga (mridanga). BTM Cultural Academy, Sri Ramana Maharshi Academy lor the Blind, 3rd cross, 3rd Phase, J.P.Nagar: 23-6-07, Saturday, 5.30 p.m. Sikkil Gurucharan (vocal), H.K. Vcnkataram (violin), Ananthakrishna Shamia (mridanga) and Dayananda Mohite (ghata). Malleshwaram Sangeetha Sabha (R), Ananya Sabhangana, 1 7-6-07, Sunday, 4-25 p.m.: Release of “Varna Prabodha” Gana raga, Graha Bcdha, Tala Malika and Darn vamas in Kannada and Manipravala composed by Gana Vidya Varidhi Sangeetha Vidushi Lalitha Navile, followed by Tri Raga Darshana malika— Vocal recital by Amrutha Vcnkatcsh on raga Shankarabharana, Shahana, Yadukula Kambhoji accompanied by B.K.Raghu (violin), V.S.Rajagopal (mridanga) and S. Narayanamurthy (ghata). zzjsfF nr Oort rto^xljid^ <^3^ ettstfodo ttodjzrmd rjJtirtOu JJDOOii rjui\ FddcjJSCj fadz iirtd2 ZCJDZr nr DCuj S.O fj? 3dO\ rtzf&cj SdOrt3FHddrtd^ rjrtd&CJS u. ZZOrt O dortl ZJdddfort ZjCj3 tfrtdrtQ rbdo d^drt saafor^s&ciraoQrt Jirt&daesirtjs^&dzrt ^ zzcrtzFnzd rt:d: css. rto tiuztirtz ^dd d:d: c£>3s &rtddi. ^ Sosj^r^toujoci:: Fbdsrtd, v, r>s> sd_xf, z d? , rtirtjd^d, z^-oa.. (uLrsdsrorS: ^s.s.y^^c^) C'D and Book release: A book titled “The rare melodies of Kamatak Music” and an audio CD “Hamsanandi” authored and sung by Dr. Hamsini Nagendra will be released by H.D. Kumaraswamy, CM, Karnataka, presided by T.N.Seshagopalan. The Guests of Honour: H.K.Ranganatha, VC, Bangalore University, Dr. R.K.Srikanthan, Dr. T.S.Sathyavathi followed by vocal recital by Dr. Hamsini Nagendra on Monday, 2-7-07 at 6 p.m. at Seva Sadana, 14th cross, Malleshwara. The sale proceeds on the day will be donated to Ananya Arogyadhara. Percussive Arts Centre, Sri Jayarama Seva Mandali, 8th block, Jayanagar: Hemmige S. Prashanth (vocal), Mathu Srinidhi (violin). Padmanabhan (mridanga), S. N. Narayanamurthy (morsing). s 1 — - ■ — SUBSCRIBE TO ‘GUNAGRAHP k 17 10th Year Special Issue Natya Yogi’s Ananda Tandavam -Maharishi Shudhananda Bharati By Indu Raman Come dance joyously in Thillai, O Nataraja, Dance in my heart and may my mind overflow with blissful knowledge. The Yogi Kaviyogi Maharishi Shudhananda Bharati was a Yogacharya, a prolific poet and author. His life was a kaleidoscope of achievements which added amazing facets to his personality. Born on May 11"', 1897, he attained Maha Samadhi in 1990 at the age of 95. His intense physical and spiritual power, energy and cre- ativity remained unabated till his last breath. He was a devotee of Madurai Meenakshi Amman since the tender age of eight. A Nataraja icon with Meenakshiamman as consort accom- panied him wher- ever he travelled in the world to speak to countless devo- tees. His spiritual search even as a youth lead him to intimately associate with illustrious holy men like Ramana Maharishi, Shirdi Sai Baba, Sri Aurobindo,The Mother, Sri Seshadri Swamigal and Avatar Mcher Baba. Initiated into Yoga early in life, he walked from village to village teaching yoga and simple nature therapy remedies for good health. The Kavi Yogi It was only recently that I had the privilege of being associated with the extended family of this great Maharishi. Before choreograph- ing dance for his compositions, I read a few books by him. “Natananjali" has lyrics specifi- cally written for dance. Short dance-dramas like Siva -Gowri Natanam, Shakti Natanam, Valli-Muruga Natanam and Rasa Leela are ideal for a modem repertoire as the lyrics are rich with imagery andjatis. From his biography we learn of his life and works. He never believed in establishing an ashram or organising his devo- tees who can today be counted in thousands scattered round the world. He translated Upanishads, Vedas, Dhammapada. Gita. Koran and Bible into Tamil. A newly discovered manu- script authored by the Maharishi on the art of dance "Natyakalai Vilakkam” was published recently. He was a modem Tamil poet, writing 500 books before he was 50. He was editor of magazines like ‘Swarajya’ (Tamil). Bata Bharati', lyarkkai ' (Nature in Tamil), and Samarasa Bodhini'. The Kavi Yogi’s songs have been popularised by the ev- ergreen voices of veterans N. C. Vasanthakokilam. D. K Pattammal and M. S. Subbulakshmi. The singing brothers (late) B.V. Raman and B.V.Lakshman played a part in propagating the Swamiji’s compositions. The magnum opus Bharata Shakti. (in 50.000 verses) was awarded the first Raja Rajan Award’ for best Tamil literature, constituted by the Tanjore Tamil University. The Natya Yogi His passion lor dance conies through in the pieces on Nataraja. When lie was writing a commentary on Ilango’s classic epic Silappadikkaram, lie realised the significance and beauty of this scientific art. This was at a time when, he says," this great art came to be regarded as an intoxicant to one’s vulgar sensual pleasure. 1 desired to educate people about its ^ y 10th Year Special Issue raca.tt. aesthetic significance and restore its original status”. He decided to study dance to gain a better understanding of the art. The Kaviyogi was given Natya Diksha by an elderly traditional danseuse well known in her time. He underwent strenuous training in Tandava and Lasya for a year in a small village called Kollumangudi in Thanjavur. His “auto”-biographical book “Experiences of a Pilgrim Soul” (written in the third person) speaks of all the influences in his life. I quote: The Yogi took delight in the art of dance too. He sang songs and danced in delight. His very life was a choreographic representation of his feelings and emotions, kindled by environment. Dance is an aesthetic science of mood, time, and melody. He freely joined holy concerts, ecstatic dances round the lamp (Deepa- pradakshanam) and took part in Bhagavata Melas or holy dance-dramas. ’ Poets are inspired by the elements, by divine insights, by experience and events in their life. In the brilliant lyrics of the piece ‘ Ananda Tcindavam Purivaye' one can draw parallels to the trials and tribulations in his life, his passion for Nataraja and dance. The vast sky is filled with silence. Let me draw energy from the sound of OM That shines like a jewel, like the sun in the sky. The sky, the entire Universe in open space is enveloped in silence and the pulsating energy of OHM glows like a jewel. Is it the silence in Bliss or the bliss in Silence that the poet speaks about? For twenty years he observed an oath of silence while staying at the Aurobindo Ashram in Pondicherry (now Puducherry). It was here that that vast horizon of knowledge from other countries opened up to him. His mind ab- sorbed the rich legacy of European literature and languages like French and Latin. He trans- lated The Divine Comedy of Dante, the com- edies of Moliere, Shakespeare, Goethe and the novels of Anatole France, Victor Hugo, and Alexandre Dumas. The Yogi wrote several hun- dred works in English, French, Tamil, Hindi, Telugu and Sanskrit; five thousand songs, and fifteen hundred poems in French. The song 'ananda tandavam purivaye' con- tinues... May the rhythm of the damaru ‘s OM pul- sate in my heart And energise my entire being! Scholars have waxed eloquent on the sym- bolism of the Nataraja icon. The Kaviyogi trans- forms the symbols into metaphors and figura- tively animates the weaknesses of the mind and body. Let my mind not yearn for those which are obstacles Remove the ropes of ignorance that coil around me Desire and ignorance are our greatest en- emies. Help me free myself from this O Nataraja! Destroy the tiger of my destructive anger Anger in man is described as a tiger. O Nataraja, the Kaviyogi exclaims, destroy the evils of anger inside me as you did the tiger which sprang from the fire! Tear apart the black elephant of my enor- mous ego Tear apart the enormous ego which envel- ops me like a shroud. The size of the ego is elephant-like and as difficult to conquer. Stamp out the evil demon Muyalagan in my heart Like you stamped on the demon who dared to defy you, stamp out the evil in my heart \*hich rears its head now and again. Squeeze the snake of greed in my heart Greed will destroy me, O Nataraja, help me to strangle it like you strangled the snake and made it your ornament. Show me the hand which protects Show me the beautiful smile Show me the dancing feet Show me the one Path Show me the red sky of sunrise (which re- moves the darkness) 19 GUNAGRAHI/JUNE2007 JV act d ci ci nj cmeyci IlimnV ‘r ~ - ? > Kiifmadj B^ajans on Cord Hanuman composed and reodo»**d by Ptroma Puiya S»-* Ganapaii SatHchldananda Swzutiji LET THE MELODIOUS STRAINS OF GUN AGRAI II FLOW FOREVER H. S. VENUGOPAL Popular flutist, 30, 3rd cross, Brindavan L/O Muneeswaranagara, Subramanyapura Post, Chikkalakkasandra, BANGALORE-560 061. 080-26394111 94480 66960 10th Year Special Issue sin mookamkika TALA VAHYA SANl.l t LIIA KAI \SHALI ^ TAYA Mil ANA Pi csmils New CDs released: GUNAGRAHI/JUISE2007. WTTWW , tint) WHO .Wi ilxt ■vmmI linJUiMcti. niinv tu/lmtoocul) nlrrt iilriT tut/fMrtxtcM) tk.JUt/tb aUosw' /. 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A brief history of the TVS Motor Company Today we celebrate 26 years of making personal transportation better for India. 26 years of an unwavering commitment to service, quality and technology that matters 26 years of crafting and building the finest two' wheelers money can buy loday the TVS Motor Company celebrates 26 glorious years of maKing you smile. TVS Motor Company Limited i\ „ - V\ jx ivin Hnmversa ry special issue 1 1 T(f| ‘i 1 ! , \ f -tiKv 7 . fJilit W " ^ A ^ 1 JS