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ANANYA KALASINCHANAC)
is a monthly published by ANANYA .

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Sogasuga Mridanga Taalamu ..............

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Kaladarpana ............................................

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Youth Icons of Carnatic Music.............

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Yuvanota .................................................... 27

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Dance series with a difference................. 35

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Chairman: Dr. U.R. Ananthamurthy.

Managing Editor: Dr.R.V. Raghavendra.
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The Kala Premi Foundation Presents Ashtavadhana by Shatavadhani Dr. R.Ganesh On Sunday,
11th Sept.2011, at 5.00 p.m., Seva Sadana Auditorium. Malleshwara, Bengaluru-3 All are invited .
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SRI RAMA LALITHA KALA MANDIRA 9th Main, BSK II Stage, Bangalore - 560 070
A workshop on Trinitys Compositions will be conducted by Dr. R.K. Srikantan from 3rd to 9th September
from 6.00 p.m. to 7.30 p.m. at Sri Rama Lalitha Kala Mandira.
Carnatic Vocal Music Concert by Sri R. Ashwath Narayanan of Chennai, accompanied on violin by Sri N.N.
Ganesh Kumar and on Mridangam by Sri Sai Shivu on Sunday, 25th September at 5.30 p.m. at Sri
Rama Lalitha Kala Mandira.

BTM Cultural Academy (R),

Hindustani Vocal Concert, Pt.Kaivalya Kumar Gurav - Vocal, Pt.Viswanath Nakod - Tabla,
Pt.Ravindra Katoti - Harmonium. At Ramana Maharshi Academy for the Blind, 3rd Cross, 3rd
Phase, J.P.Nagar (Near Ragigudda), Bengaluru-560078.
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Hamsadhwani Creations is conducting Devi Krithi Competitions on 11th Sept 2011 at Ananya
Sabhangana.(91/2, 4th main, Malleswaram, Bangalore - 03) in connection with its 12th anniversary
celebrations. The competitions will be held in both junior(10-15 years) and senior(16-25 years) vocal
categories. Participants have to register in advance through e-mail(hamsadhwanicreations@gmail.com)
or phone (Yogish:9886264694; Srimatha:9886230033) with name, age, list of compositions and contact
details. For details, check www.facebook.com/hamsadhwani.
Aradhana Institute Of Performing Arts Trust is pleased to invite aspiring young talent to
participate in Sri.Ramasubbaiah Memorial Saint Tyagaraja Krithis singing competition. Date-25th
Sep-2011, Sunday Venue- Indian Institute Of World Culture, Manorama Hall, B.P Wadia Road,
Basavanagudi, Bangalore . Age group-13 years-19 years. Please contact for registration on or before
15th of September . Contact details: Aradhana Institute of Perfroming Arts TrustSmt. Aparna. S
Ph- +91 99457 19822, Email- aparna2music@gmail.com

Gurudev Academy of fine Arts is organising a National level Bharatanatyam Competition on 9th
oct 2011.Interested may download the appliation form from www.gurudevdance.com and send the
applications before 25-9-2011

Raaga Sudhalaya Charitable Trust (R), Carnatic Classical Instrumental Veena Music
Recital by Vid.C.N.Dhananjaya & Party. Dt.16-09-2011,Friday, Venue:BEL Sri Ganapathy
Devasthanam, BEL Colony, Jalahalli, Bangalore - 13, 6.00 pm.
A Pa r 2011

15

Sogasuga Mridanga Taalamu

CCVid. T.A.S. Mani
Lesson 31 (Tekha)
1
Thaddim
6
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11
nna Thaddim

Dhinna
ddinna

2
7

Thaddi

8
Jutatgajadun
12
Kitathaka Diguthari

4
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Dhinna
13
Kitathaka thamkita

1
Thadim

5
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Thaddi
14
Diguthari kitathaka
Two Times
6
kitathaka Thamkita

2
3
4
5
Dhinna Taddi nna Thaddim
Kitathaka Diguthari
7
8
9
10
Diguthari kitathaka
ThaddimDinna
Thaddi
11
12
13
14
nna Thaddim
Kitathaka Diguthari
kitathaka Thamkita
Diguthari kitathaka
1
2
3
4
Thaddim
Diguthari kitathaka
Thamkita Diguthari
Kitathaka Dhim
5
6
7
8
Ta Dhee gi Thaddim
kitathaka Diguthari
kitathaka Thamkita
9
10
11
12
Diguthari kitathaka
Dhim ta
Dhim Thaddim
kitathaka Diguthari
13
14
kitathaka Thamkita
Diguthari kitathaka
1
2
3
Tham kita
Thaka Dhim
Dhim Dhi
7
8
9
Dhinna
Tham kita
thaka Dhim
12
13
Diguthari kitathaka
Thaddim kitathaka
1
2
Thamkita Diguthari
kitathaka Thaddim
5
6
ta Dhee
gi Thamkita
9
10
Diguthari kitathaka
dhim ta
13
14
Thaddim kitathaka
Diguthari kitathaka

Lesson 32
4
5
6
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kitathaka
Dhim Dhim
10
11
Dhim Dhi
nna Thamkita
14
Diguthari kitathaka
3
4
kitathaka Diguthari
kitathaka Dhim
7
8
Diguthari kitathaka
Thaddimkitathaka
11
12
Dhim Thamkita
Diguthari kitathaka

Note : Lesson No. 32 to 35 as same as in Mishra Chapu Taala

16

- to be continued

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BengaIuru International Arts Festival 2011

15-09-11Thursday 6:30pm : Sheesh Mahal,
Palace Grounds a)The Sufi Gospel Project and b)
"Layalahari" Anooru Anantha Krishna Sharma &
Troupe - Percussion Ensemble, Music by Vijay
Praksh
16-09-11 Friday 6:00pm : UB City- Chitra Veena'
N Ravikiran, Billy Cardine' Slide Guitar' from US &
Sudha Raghunathan Carnatic Vocal ; K H
Kalasoudha, Hanumanthanagar-Parijat Desi Dance
Company from USA; OPUS, Palace Cross RoadDNOAX - Hip Hop Group from U.S.A.
17-09-11Saturday, 6:00pm: UB City-Amit Heri &
Matt Renzi - Jazz Music, Norway Group - "FOOD"
& Prakash Sontakki Troupe fusion Music; OPUS,
White Field-Mexico Group - Jazz & Pop music;
Jayanagar Open Air Theatre- Folk Festival Groups
from Philipphines, Sri Lanka, Indosesia, Folk
groups from Karnataka, Orissa, Manipuri Drums
& many other states,;Jayanagar Open Air Theatre"Folk Festival" Groups from PERU, Indonesia;
Malleshwaram Ground/ Rajarajeshwari Nagar "Folk Festival" Groups Philipphines, Srilanka,Folk

groups from Karnataka, Orissa, Manipuri Drums

and other states, Opus-Program Sponsored by
British Council - Max Turner
22-09-11, Thursday,6:30pm: Freedom ParkDrums by Japanese artists ,Bhava Sangama - Light
Music 6pm to 9pm: Taj West End , RC Road -Art
Exhibition at The Art Corridor in Association with
Concern India Foundation
23-09-11 Friday 6:00pm: Brigade MLR CC, JP
Nagar- Muddu Mohan- Hindustani Vocal, Ranjani
Gayatri -" Karnatic & Hindustani Jugalbandi";
Chowdiah Hall-Ratan Thiyam -Theatre 'When We
Dead Awaken'; 10am to 7pm Taj West End, RC
Road -Art Exhibition at The Art Corridor in
Association with Concern India Foundation
24-09-11Saturday 6:00pm Brigade MLR CC, JP
Nagar- Padmini Ravi - Bharatanatyam ,Anuj
Mishra - Kathak ; Chowdiah Memorial Hall -Aruna
Mohanthy & Group Odissi Aditi Mangal Das &
Group Kathak Fusion
25-09-11 Sunday 4:00 pm Chowdiah Memorial
Hall - O.S.Arun & Sanjeev Abhyankar - Vocal Duet

Academy of Music Presents

Nritya Vaibhava
01-09-2011, 6.30pm: Bhama Kalapam by Ms Manju Bhargavee and Group
02-09-2011, 6.30pm: Kathakitathom by Ms Nirupama- Sri Rajendra and Abhnava Dance Company
03-09-2011, 6.00pm: Odissi by Ms .Madhavi Mudgal; 7.30pm : Bharatanatyam by MsVani Ganapathy
Venue: Chowdiah Memorial Hall
18

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A Pa r 2011

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A function is being arranged to commemorate the launch of website on Sri H.YOGANARASIMHAM
(1897-1971) and release of a set of audio Cds of his compositions both named DEVAGITAM
Padmabhushana Sangeetha Kalanidhi Dr. R.K. SRIKANTAN
the doyen of Carnatic music has consented to be the chief guest
Venue:the auditorium of The Bangalore Gayana Samaja, Krishnarajendra Road, Bengaluru-560 004
On Sunday the 11th September, 2011 at 10 A.M
Guests of Honour:Sri Lalgudi G.J.R. Krishnan (the violin maestro)
Sri G. Raj Narayan (Founder, Radel Electronics Pvt. Ltd.,)
Dr. R.V. Raghavendra (Founder , Ananya GML Cultural Academy)
The Compositions in the CDs are rendered by Smt. Neeraja Achuta Rao
(Daughter and disciple of the Composer) & Smt. M.A. Jyothi (Granddaughter of the composer)
Members of H.Yoganarasimham family and the younger generation.

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A Pa r 2011
25

KALA

DARPANA

Artistic Co-existence

Geetam (Songs) Vadyam (Instrumental music)

and Nrityam (dance) comprise Sangeeta.---- so said
Saarangadeva in his treatise Sangeeta Ratnakara.
As artistes step back from their vibrant happenings
of the artistic world to brood into some such rich
Sanskrit verses in our treatises, one realizes how far
we stand from Practicing the theory. This shloka
very simply enumerates how literature, music and
dance are closely knitted
to demand co-existence.
But does the practical
scenario second this
thought? Dr. Padma
Subramanyam in one of
her lectures recently lamented The artiste fraternity needs to develop an open mind as a war
footing goal. Most dancers do not attend music
concerts; musicians do not follow the dance happenings. Literature scholars get only the related
public as their audience and visual artistes work
only for the buyers. So where is art appreciation
within art community in the true sense of the word?
No wonder then that we crib about classical arts
loosing sheen
As a flash in the pan this thought triggered the
forming of a virtual and real spotlight on the issue.
At the outset though music, dance, literature and
other arts are taken in the same breath, each of these
silt their individual characteristic traits upon invasion, which makes for the separated phenomenon.
A musician of vocal and instrumental music enjoys
his wonder into the depth of the ragas, his creativity into bringing the nuances of music to the fore,
his impromptu singing the manodharma
sangeetham. Given this genre, a musician if watching a dance performance would be tempted towards
the musical aspect of it which barely touches its
true spirit for him. He justifies his stance on his
inability to concentrate on the dance leaving alone
the music which here becomes only a tool to enhance the performance! Neither the dance or the
dancer is benefited nor does the musician become
an engaging audience. As for their keenness to26

- Priya Raman

wards participating in other allied arts (viz visual

etc), there exists a strange uneasiness for whatever
the reason may be. Simply put given a choice they
would rather watch another musician perform.
Dance community is no different. If they are not
busy rehearsing, marketing or performing, they
would oblige another dancer by being an audience.
A gesture of encouragement to the other
allied arts would require a strong stimulus
of making a presence
felt and that too only
at a level of higher professional existence.
Visual and other
fine art practitioners would no where loiter around
performing arts. This I am guessing would be attributed to too much of happenings that essentially disturb a peaceful and space oriented approach for their
art.
The reference also relates to other related artistic inclinations like propagation and education. A
study of music in colleges would confine to the topic
alone, dance study will include music but only to
the extent required for dance and its presentation,
propagation of works and achievements of contemporaries in the field would take precedence over that
of other arts, thereby allowing very little or no scope
for any collaborative experiment to have the communities engage, understand and appreciate the
other related art form better!
So as we justify respective approaches, where
do we draw a consensus for the good of all arts?
Does our education system even realize the importance of initiating the young minds into a combined
and comprehensive study of Indian arts as diligently
as into the sciences? On a more professional platform does our cultural administrative set up consider all the arts as a homogeneous lot and attend to
it so as to create a oneness? Or is it the artistes
themselves who do not want to take the mantle of
creating an Artistic Co-existence?

A Pa r 2011

Youth Icons of Carnatic Music in India

Amrita Venkatesh

- Aparna Shivapura

Amrita brings the formal air that is normally associated

with classical music down to an earth shaking simplicity
and loveliness when she says, "I love music, I love singing
and don't want to stop because it's wonderful." Her words
ring melody to my ears as I hear her out on her experiences
and her plans for her future.
Amrita is a classical vocalist and also plays the Veena.
She gives out classical vocal concerts and plays the Veena
for the radio. In contemporary lingua, one can call her a full
time musician. Amrita dedicates her full time and her
passion is for music but this artist is also a B.Sc gold
medallist having received over 9 gold medals in her
academic stint. But she gave it up
and any other plans to pursue
music at a very young age.
This young lady started
learning music at a tender 2 and a
half years and seriously started
learning when she was 4 from M T
Suryanarayana and Charumathy Ramachandran when she was 9. of course, all
this under the tremendous support of her family especially her mother.
"Learning is an important element of music and one has to continuously learn
else one may endanger one's growth by becoming stagnated," she quips. Amrita
is currently training under Prince Rama Verma.
Amrita is just 23 years old and started giving concerts from 1996 when she
was just 7 years. She recalls fondly that she was uninhibited and fearless and
this also earned a lot of backing and encouragement from senior artists then.
Amrita says in our society the role of organizations like Ananya becomes
critical. It provides a platform for artists and also takes culture ahead and young and upcoming artists
need forums like these to
launch and develop as artists.
" It is good to keep listening
to other artists as one can
observe and learn from other
singers and veterans." She
agrees that it's challenging and
not easy to make a mark in the
field. Merit counts and one has
to keep learning. If you are a
good artists, audiences will
come, the young lady says with
wisdom. Its also important to

A Pa r 2011

27

learn music for the sake of music and not to win a competition.
Amrita continues to soak in music, as we wind up our conversation. Ananya wishes Amrita a great
and successful musical future. Write back to tejaswinis@gmail.com to reach Amrita Venkatesh.

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28

A Pa r 2011

Yuva Nota
Shilpa

Nanjappa

- Interviewed by Priya Raman

Yuva Nota travels in spirit to the beautiful hills of Coorg to reminisce the dancing career of Shilpa
Nanjappa (Nee Uttappa). Shilpa has been a young prodigy of Bangalore trained under the watchful
eyes of Guru Padimini Ramachandran in Bharatanatyam. Having loads of experience in her kitty, we
asked her to recall a few of them, talk on dance issues and how marriage has rejuvenated her dance!
On one hand where there is uproar about the classical and fine arts losing their sheen, the art
community amongst itself is not mutually encouraging. For example how many artistes of fine arts
follow the performing arts or vice versa. Your take.
Shilpa: Everybody has their own comfort zone and mostly adhere to their own styles, be it classical or
fine arts. We dont find many performing artists following the activities of fine arts and vice versa.
Though this is a point to ponder over, in
my opinion, this lack of inter-appreciation
is silently justified. Each field in itself is so
vast and an artiste of performing arts will
have myriad factions to learn and grasp.
When one is quite pre-occupied with
ones own field and engrossed in related
research, the need doesnt arise to study a
completely independent field. However,
basic knowledge and appreciation of
correlated fields is not only necessary but
also gracious of any artiste.
Performing arts are revered to be oral
traditions. But with globalization setting
in, how important according to you is
documentation and art appreciation. How do you think
knowledge of art can be spread to the maximum?
Shilpa: Let us not forget that the core of performing
arts(dance) is a document- The Natyashastra. It forms the
foundation and over years it just dissolved into oral traditions.
Nevertheless, all performing arts can be truly learnt only
through these oral teachings. Documentation has already
swung into full speed and this has resulted in more and more art
connoisseurs across the world. Good quality DVDs, articulately
written books have been produced by noteworthy artistes and
this must continue in order to pass the torch on to the masses.
But, I really wish there would be a central council which could
control the release of the same so as to keep in check the
quality of knowledge included.
An Arangetram at a young age in life would be an event full
of memories. Share some of them.

A Pa r 2011

29

Shilpa: I was just over 12 at the time of my Arangetram in 1998

at Ravindra Kalakshetra. My parents worked extra hard so that I
could only concentrate on dancing. They would take care of my
diet, answer my teachers at school and also help me study. I
had no worries! That was the time I learnt how to focus and
also when I developed a skill of learning at the last minute.
There was a week left for the big day and I still hadnt learnt the
Devaranama- Baaro Krishnaiah. When I asked my Guru, Smt.
Padmini Ramachandran, she looked at me, smiled and said,
youll do it, dont worry. My Guru had so much of faith in me
and that keeps me going even till today. No doubt, I did it and it
turned out beautifully. I also had the privilege of having my
gurus teacher, Guru Kalaimamani Sri S.K.Kameswaran preside
over the show. His blessings and encouragement will always
remain with me.
Dance is always labelled as the possession of the wealthy and
powerful . Do you feel true talent is lost in the mileu and gets
fewer opportunities?
Shilpa: Yes, I do feel that true talent at times is lost somewhere
in the dark due to lack of financial resources and fewer
opportunities. But, dance is also the possession of the smart
and determined. I grew up in a middle class family and there
were times we couldnt bear the expenses. At times like those, I
participated in several competitions and garnered a name for myself. Programmes automatically started
pouring in and some of it paid well. If I didnt have the constant support of my parents and sheer
determination to prove myself, I too would have been lost in the mileu! Dancers must think smart and
create a marketability for themselves in order to find those opportunites.
How important are external factors like acoustics, stage and light design etc for a performance?
Shilpa: Extremely important! In fact, these are the factors which contribute to making a show successful.
If the acoustics are not good, the rendering of the orchestra is not justified. The stage set up and the mere
flooring affects a dancer. Sometimes we have good lighting and sometimes we manage with just basic
lights. A dancer is lucky if the light technician is good and if not, one has to just deal with off and on.
These factors are important, but I must relate an incident here. I once gave the inaugural show for a
festival in Bangalore and there was a power outage. The dejected technician said he could only used 2
lights which restricted my space to 5 square feet. I had no choice, so I did it. Regardless of the lack of
space, I managed to present well. After the show, the technician said, You probably could have managed
with a smaller stage! Additional factors are truly what the dancer makes them.
How has marriage changed / influenced your artistic career.
Shilpa: Change- I have fewer performances. This has actually worked to an advantage. I pick and choose
where I need to perform, so it has made me more exclusive an artiste. I am also a family oriented person, so
it gives me loads of time to spend with them. This does not mean I dance only when I perform. I practice
diligently and try my best to keep very fit which ultimately shows in my performances.
Influence- Firstly, my style itself has changed into a more polished and mature version. Being in a marriage
took me out of the protective cover of my parents and has taught me to deal with life head-on. This has
definitely emulated in my dance. Secondly, I live in Coorg. It is like paradise on earth. And natures bounty
around me inspires every single movement. I dance everyday in a gazebo which overlooks hills and
mostly mist covered valleys. Need I say more?
30

A Pa r 2011

Ananya Nritya Chilume 8

Nritya Chilume 8 , a stage for young talents.was set on 22nd July 2011 at Seva Sadana, Malleswara
by Ananya, GML Cultural Academy.
Chilume began with Devika Parameshwar, student of Guru. Smt. Revathi Narasimhan who performed
with ease. It was a desired beginning with Devika performing to both nritta and abhinaya items with a good
stage presence and expressions.
Niveditha Aravindhan, with her subtle abhinaya and good angashuddhi pleased the audience. She is a
student of Guru.Bhanumati. Piece on Subramanya was a welcome change in the usual pattern of any
programme. Performance was followed by Shivani and Shreya,
who danced with a very good co-ordination. Students of Guru.
Padmini Ramachandran, both Shivani and Shreya showed
maturity in performance beyond their age.
The
programme
concluded with Shreema
Upadhyaya, disciple of
Guru. Sri.P.Praveen Kumar.
Brisk movements, beautiful
smile and the special item
Bhairava Naari captured the
attention of all.
The highlight of the
evening was various styles
of
Bharatanatyam
choreographed by Gurus
who have made a mark in
the field of Dance.
The Chief Guest, Smt.
Radhika Ramanujan a
Bharatanatyam performer
and teacher herself
expressed her views and
good wishes to the kids.

A Pa r 2011

31

Variety Of Vaggeyakara Compositions By Varadarangan

A special feature of Varadarangans Concert held at Veene Sheshanna

Bhavana on the 14th of this month was he rendered compositions from
eleven composers, and whats more, three of these composers are from
Mysore.! The occasion was the second day of the eleventh anniversary
celebrations of Mysores veteran fluitist,late V.Deshikachars Sushira
academy of music. He commenced the concert with the Adi tala Varna of
Tiruvatriyur Tyagayyar in Shahana,immediately after which he chose a
Mysore composer Musore KariGiri Rayaru. A brief raga led to the Telugu
composition Neeve Palanchara Ninnu nami Nanura. The place for the
kalpana Swara chosen was not the usual pallavi but the latter part of the
charana- Sugyanamin chevura O Narasimhodara, which pleased the
musicians present both sahitya wise and edupuwise.
The next number took me by surprise when the artist announced that he
was going to render a composition of Pu.Ti.Narasimhachar. I attended a
concert of T.M Krishna recently on the occasion of Captain Gopinaths daughters wedding, where I was
equally surprised to hear a composition of Pu.Ti.Na rendered beautifully and elaborately in Kalyani, especially
as Krishna is from channai and not from Karnataka. Sri Pu.Ti Na was not just a great poet but was also a great
musician, who had immense knowledge about Carnatic music. Perhaps he was the only poet of Karnataka
who prescribed Ragas for all his compositions including poems. And he would not approve if they were sung
otherwise. Though some of his poems have been popularized by our dancers and singers , a great many of his
compositions are yet to be brought to light. We musicians ,therefore, would do well to adopt some of them in
our concerts. The raga in which the present composition was rendered was a rare one called Sudha, which
takes an extra Kaishiki Nishada in avarohana to Shuddha Saveri.. Sudha Shubbhre Saraswati set to Rupaka
tala is a short piece,but Varadarangan rightly chose to sing the ragalapana, as the raga was an unfamiliar one.
Veena Suresh left no stone unturned in bringing out the raga bhava as was done by the main artist. This kriti
was suffixed with swaras. Dhanyasi was one of the main items chosen, in which Varadarangan rendered an
unusual kriti of TyagarajaNee Chittamu,set to Mishra chapu. Neraval was for the Charana guruve, the
edupu of which was for two aksharas in the beginning but four later. Three fillers-(quite a handful perhaps)Bhjuvaneshwariya (Mohanakalyani,aditala,Muttiah Bhagavatar) and Janaranjani Palaya maam( Janaranjani,
Aditala, a composition of Ra.Vishweshwaran,who,incidentally is Varadarangans guru) and Sri Rama
Saraswati(Nasamani,aditala,Muttuswami Dikshitar) were briskly rendered. Tyagaraja,s Enduku peddala,set
to Aditala vilamba was dealt with in detail with Neraval and taniyavartanam at the CharanaVeda Shatra
Tatvarthamu. Natraj on mrudangam and Manjunath on Ghatam responded well to the mood of the main
artist. This was followed by a devaranama in Madhukauns and a kriti of Sri Musooru Rangiah in Kalyana
vasanta.
As it was the eve of the Independence Day,varadarangan rightly concluded the concert with a patriotic song,
Namo Devi Namo Taye,in Kamas, set to trishra nadai,Asitala The concert was educative ,entertaining and
enjoyable, but for the fact that the number of compositions could have been reduced to seven or eight.
-Padmavathi Narasimhan.
University of Mysore has awarded Ph. D. Degree to Sri Udaya Kiran. K.T., Mysore for his
Thesis, "Karnataka Shastreeya Sangeetha Paddhatiya Itteechina Belavanigegalu:
Prayogika Amshagala Omdu Vishleshanatmaka Adhyayana" under the Guidance of
Dr. Mysore M. Manjunath
32

A Pa r 2011

Concert of Smt.Vani Sateesh for Vishesha Fine Arts on Aug 13, 2011

The packed hall at Augusta, Brigade Gardenia in J.P.Nagar that was

treated to wholesome Carnatic Music by Smt.Vani Sateesh... She delighted
the audience with a delectable vocal recital that was brilliant in both plan
and execution.
Pace and moodwas set instantly to the concert Nattakuranji Varnam.
Nata
composition
of
Puliyur
Doraiswamy
Iyer,
Saraseeruhaasanapriye followed briskly, with crisp swaraprasthaara
at Saraswathi. Shyama Shastris Ahiri gift, Maayamma took the
concert to a different, sublime level and set the tone for Ramaswamy
Sivans magnificent Sarasangi composition, Neekela Dayaraadu,
which Vani rendered immaculately following a scholarly delineation of
the aalaapana. Her inherent understanding of the Taala aspect was
showcased in the swara kalpana for this Khanda Chapu kriti. Vani
then did justice to the intrinsic beauty of Papanasam Sivans
simultaneous eulogy of Hari and Hara in his Hindolam gem, Maa
Ramanan, Umaa Ramanan. The rendition of Poorvi Kalyani, though
brief, proved again Vanis stature as an artiste of great merit. She invoked
the memory of her uncle and Guru Sri Bellary Sheshagiriachar, his Mudra fitting in aptly in the Pallavi
Sheshaachala Naatham Bhajaami, Vishesha Phala Daayakam. Although set to Adi Taala, the tricky
Kaal Eduppu and the elegant syntax of the Pallavi could prove a challenge to the best of musicians.
Vanis sure command over Laya made it seem very simple as she handled the Thrikaalam and Thrishram
with consummate ease. Sri Balu Raghuram deserves special mention for his perfect replay of the exercise in
his solo turn. He provided constant and able violin support. Sri J.Vaidyanathan continues admirably the
musical legacy of his father Late Sri D.K.Jayaraman. His Mridangam accompaniment was as usual precise
and appropriate to the occasion. The Thani Aavarthanam was evidence of his artistry and vast experience.
Sri Giridhar Udupa added to the enjoyment with his timely and dexterous strokes, displaying great mastery
on the Ghatam. The concluding part consisted of Rajajis reassuring Raagamaalika hymn on the Lord of
Thirumala, Kurai Onrum Illai, Sri Sheshagiriachars moving Ninna Manade Kulava in Madhuvanti
and Mayuram Viswanath Shastrys evergreen patriotic inspiration in Khamach, Jayati Jayati Bhaarata
Maatha. Vani demonstrated the value of Paataanthara and the virtue of full-throated singing right
through the concert, which she signed off with a Mangalam by Purandara Dasa in, of course, Madhyamaavati!
Prior to the concert, Dr. Sreevatsa gave a talk on Voice Culturing. Following that, portrait painting of Bharat
Ratna M.S.Subbalakshmi was unveiled by DGP Dr. S.T. Ramesh.
- Ghatam Ranganath Chakravarthy

Sharannavarathri 5th Music Festival

Sri Vani Education Centre, No.1246, 4th Main, E Block, 2nd Stage, Rajajinagar, Bangalore - 560
010.Time:6.00 pm.
28-09-2011, Wednesday, Vocal Recital by Vid N.R.Prasahanth and party
29-09-2011, Thursday, Vocal recital by Vid.Chitra Srikrishna and party
30-09-2011, Friday, Veena Duet recital by Vid.Geetha Ramanad and Vid.Revathi Murthy and party
1-10-2011, Saturday,Vocal recital by Vid.Ranjani Santaanagopalam and party
02-10-2011, Sunday, Hindustathi Vocal Recital by Vid.Anagha Bhat and party
03-10-2011, Monday, Vocal recital by Vid.Ananthapadmanabha.M.S and party
04-10-2011, Tuesday, Vocal recital by Vid.Uma Kumar and party
05-10-2011, Wednesday, Vocal duet recital by Vid.Krishnaprasad & Vid.Vinay.S.R and party
06-10-2011, Thursday, Violin Jugalbandi recital by Vid.C.N.Chandrashekhar and party

A Pa r 2011

33

Preservation or Nurture? What should the fate of our Art be?

- Sindhoor Panagal

Do you think that our art forms need to be preserved? Wait! Before you dismiss this as a question
of a sceptic, let me assure that I am an ardent worshiper of dance, devoted enough to make an entire
career of it. So before you ignore the question all
together, do give this article a read and reconsider
the question once more.
The context for this question is an interesting weekend show by Bharatagama Pratishtana & Sangeet
Natak Academy. On 23rd and 24th of July, this organization put together a rather interesting program
that featured all the styles of Bharatanatyam indigenous to Karnataka. The event spanned two whole
days, morning and evening, including presentations,
discussions and performances, all aimed at showcasing to Bangalore audiences the rich heritage of
Bharatanatyam in Karnataka. I had three realizations
during this event. The first was just awe at the antiquity of the tradition in Karnataka, the second- an
epiphany about an alternative view on our identity
and the third, and the most thought provoking of
all, was this question on preservation. I will explain
each of these in a little bit of detail before diving
deep into this intriguing question of mine.
The first thing that struck me at this event was how
far back in the past this journey leads us. The
Bharatanatyam culture in Karanataka seems to date
well into the medieval ages. Guru Lalitha
Srinivasans's students presented a highly polished
Suladi belonging to Mysore tradition. These pieces
go back to the Vijaynagar Empire. Similarly Smt.
Radhika Nandakumar presented a Goundali , which
is a repertoire exclusive to Karnataka. Dr. Tulasi
Ramachandra presented a Perani, pieces that were
prevalent in Karnataka & Andhra and now extensively reconstructed in both states. All these pieces
are ancient, predating the Tanjore Quartet.
Add to the above rarities, were unique pieces called
the Poorvaranga Vidhi. These are unique items very
unique to this school of Bharatanatyam and include
a Sholaka, some jatis and a Choornike, which is often in praise of the king. Disciples of Guru
Shakuntala,
grand
daughter
of
K.
Venkatalakshamma, presented a Poorvaranga Vidhi
34

that were being frequently performed at the courts

of Mysore. Students of Guru Lalitha Srinivasan also
presented a Poorvaranga Vidhi that seems to have
similar ancestry, but this time part of the Moogoru
tradition. To the uninitiated, the variety of the repertoire of the styles in Karnataka was a pleasant surprise.
The second thing that caught my attention was a
very different aspect of these presentations - the
attitude of medieval Karnataka. It seems like medieval Karnataka was nothing short of Cosmopolitan.
Through the two days, we saw presentations in
Telugu, Kannada, Hindi and Sanskrit.
Bharatakalamani Guru Radhakrishna's students pre-

sented an actual Thumri. Thumri's are pieces performed in Kathak and it was such a pleasant surprise to see it being rendered in Bharatanatyam style.
Guru Lalitha Srinivasan's students presented an
Ashtapadi that seemed to be heavily inspired by
Odissi. On one piece I even saw a head piece that
resembled the one's used in Kathak!
I hear many argue that in order to establish our identity, we need to focus on use of Kannada. But medieval Karnataka seemed to draw its identity, not by
use of a single language but by it's open minded,
cosmopolitan attitude. Makes me wonder why we in
modern Karnataka feel the need to clutch on to our
language as a source of our identity. So what if other
states stick to one language or another? Why can
our identity not be our ability to be absolutely broad
minded, adventurous, avant garde and an embodiment of national integration?
My third realization sprung off the pieces Guru

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Lalitha Srinivasan's students presented - several modern pieces, under the

same banner of this festival. This was the most heartening part of the entire
event for me. I often find that when we talk about our dance form, there is
immense focus on the traditional pieces and new pieces are almost blasphemous. I almost see trepidation in dancers to do something new.
Sometimes I wonder if the worst part of the British rule was to alienate us from
our own ancestors. Often I hear of people talk about our ancestors as "them".
Many of us seem to view our arts as a hand down from "them" to "us", that we
need to "preserve". This evokes the image of a museum piece in my mind, that
sits on a shelf collecting dust. To my mind, we are a part of a continuum, one
with our ancestors and Art is a co-passenger in our journey of life, helping us
effectively and beautifully package relevant social messages in a powerful
way. I see Art as something that empowers us and as something we need to
nurture along the way - an ever evolving medium that travels with us, speaking to us and on behalf of us. If we view it as a delicate relic that needs just to be preserved, are we not in
the danger of allowing it to stagnate and gradually losing relevance all together?
So, back to my three realizations - The immense sense of pride on the age old rich Bharatanatyam legacy of
Karnataka; The joy at seeing how progressive and open minded our ancestors were and a yearning to carry
on that tradition, instead of a seemingly jingoistic language based politics in our art; and finally, a provocative question of "preservation" Vs. "nurture" being the right attitude towards this Art of ours. In my mind,
I am clear on how I want to embrace my Art and I request you, rasikas, what would you like to do? Put Art
in a proverbial museum or become custodians of a historically powerful medium and nurture it to grow with
you and the society around you?

& 2011 : h ] Wg g () "" P R |

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35

 WW

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Allied Ragas -17 - on ragas Lathangi, Vachaspathi & Kalyani will be conducted
by Vid. Padma Gurudatt on Sunday, 25-09-2011, 5.00pm at Ananya

P v 'd' AAi wAz Ae

AVv PAiP AP : 18-09-2011,

g"g, Ae 5:30 P QAZ , sgwAi "z s, g P g, AUg-01 E DAifVz.
P"zg w -UAi (A|| gg Ai U w v e. g gg ) ,
Ugw z - v, w Pn - AiA, U A|| x Zlf, Pv - vg A||
gf vgx, g - gz Eg dU A PAiP GzAige Pg - v
36

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Dance Series With a Difference

Jyothi Raghuram
Within the parameters of the in-built choreography of Bharatanatyam, there have been dancers wanting to
experiment with different concepts. What has held them back is a forum to present such creative work.
As a dispassionate onlooker, one would say that Nritya
Sinchana, got up by Ananya, has given senior dancers a
space and outlet for their new modes of thinking vis a vis
dance. Seven dancers have been presented so far, each of
them coming out with a different stream of thought. Keeping
aside individual assessment of the productions, one has to
concede that it has been as much an outlet for the audience.
For one, they have gotten to see Bharatanatyam with a
different thrust. Nritya Sinchana has also proved, with the
sizeable audiences it has drawn, that dance pieces which have
been seriously and earnestly worked upon, setting aside ideas
of making a popular splash, go down well with viewers. This
is the most satisfying and optimistic message the series has
sent to both the dance community and organizers.
The most recent presentation was by Gayatri Sriram of
Singapore, her Panchkanya looking at five women of
substance from mythology, who maintain their dignity and
integrity despite assaults on it.
But this is the story of Nritya Sinchanapresent dancers as
artistes, thus allowing the art to dabble in new concepts and
keep it alive, and at the same
time, get the audience to mull
over the presentation, and
expanding their knowledge base
itself, whether it is in the
understanding of mythology, or
the idiom, or the form itself.
What qualifies one to be a part
of the series is just the urge to
experiment. The theme is
secondary. It is the capability of
the dancer to get across to
Ananya as one who is
searching for his/her own
identity via dance, is the only
criterion.
The directions the dancers have
taken are richly disparate. If
Padmini Ravis Samprati with its
contemporary and applicable
to all motif, traced the genesis

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37

of even Bollywood dance movements to the Natya Shastra, Chitra Dasahrathi, through her Kunti, showed
the many myriad aspects of the persona and emotions of one of the most valiant characters in the
Mahabharata. Similarly, Kirti Ramgopal chose DVGs Antahpurageethegalu to weave a recital around
Chennakeshava, while Sruthi K P worked around a maargam devoted to KrishnaNinna Maaya. Pulikeshi
had set to dance the abstract Sri Chakra, a stylized
geometrical representation of the universe. Presented by
his sister Sushma Mohan and others, this was the sole
group venture, as the subject demanded so.
Mention should be made of Ananyas efforts to hold the
hands of dancers in another way too. It has brought out
four CDs devoted exclusively to dance numbers. Kirti, in
fact, used the Antahpurageethegalu of Ananya.
These CDs are professional venturesManasi Prasad, M S
Sheela, Ganesh Desai and Srivatsa are the singers.
Kannada compositions, and bhavageetthegalu have been
adapted for the Kathak and Bharatanatyam mediums,
providing readymade, quality music for a dancer. Nritya
Sinchana has been able to sustain because of its substance,
and comes as a refreshing change which has been
welcomed by an eager audience.

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