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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.
14
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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
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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 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.
KALA
DARPANA
Artistic Co-existence
- Priya Raman
A Pa r 2011
- Aparna Shivapura
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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A Pa r 2011
Yuva Nota
Shilpa
Nanjappa
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
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31
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Concert of Smt.Vani Sateesh for Vishesha Fine Arts on Aug 13, 2011
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
- 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
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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Allied Ragas -17 - on ragas Lathangi, Vachaspathi & Kalyani will be conducted
by Vid. Padma Gurudatt on Sunday, 25-09-2011, 5.00pm at Ananya
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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.
38
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39
40
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