“Shankarabarnam Pallavi” Mridangam: Satish Kumar A pure dance like Batu, starting with a typical slow and Raaga: Kuranji sensous style and building up to a fast-paced finale. Taala: Adi Dancer: Akanksha Kejriwal Composer: Annamaacharya Raag: Shankarabarnam Taal: Adi “Poda Ganti” A devotee requests the Lord to fulfill his desires – to see Carnatic Him and be unified with Him. Vocal: Nandakumar Vasudevan

Violin: Prashanth Gururaja “Saamaja Varagamanaa” Mridangam: Satish Kumar A song enlisting the powers & qualities of Lord Krishna. Raaga: Mohanam Vocal: Arun Rajagopalan Taala: Adi Violin: Nandakumar Vasudevan Composer: Annamaacharya Mridangam: Satish Kumar Raaga: Hindolam “Kurai Onrum Illai” Taala: Adi An emotional piece devoted to Lord Krishna depicting Composer: Tyaagaraja The Indian Classical Music and Dance Group the height of Bhakti (or devotion) of an ordinary human.

Vocal: Nandakumar Vasudevan “Manavyaalakim” Violin: Prashanth Gururaja University of Michigan, Ann Arbor A description of the way Lord Rama condescended to Mridangam: Satish Kumar incarnate as a human being to demonstrate the path of Raaga: Raagamalika in Shiva Ranjani, Kaapi and Sindu righteousness leading to salvation. Bhairavi Vocal: Arun Rajagopalan Taala: Adi Violin: Nandakumar Vasudevan Composer: Rajaji presents Mridangam: Satish Kumar

Raaga: Nalinakaanthi “Kanna Nee Vaa” Taala: Adi This melodious song invites Lord Krishna to enchant us Composer: Tyaagaraja with the magical tunes of his flute.

Vocal: Arthi Ramamurthy Kalakriti “Vandeham Sharadam” Violin: Nandakumar Vasudevan An evening of Carnatic & Hindustani Music, A song extolling Godess Saraswati, who is pure, and Mridangam: Satish Kumar lives in the hearts of those who speak the truth. Raaga: Kathanakuthuhalam and Classical Dance Vocal: Vaishno Dasika Taala: Adi Violin: Nandakumar Vasudevan

Mridangam: Satish Kumar “Asaindaadum Mayil Onru” Raaga: Yaman Kalyani This song describes the state of bliss experienced when Taala: Mishra Chaapu Lord Krishna plays his flute and dances. Composer: Swami Dayanand Saraswati Vocal: Arthi Ramamurthy th Violin: Nandakumar Vasudevan Saturday, November 15 , 2003 “Marugelaraa” Mridangam: Satish Kumar 7:00–9:00 p.m. Song in praise of Lord Rama Raaga: Simhendra Madhyamam William Monroe Trotter House Vocal: Pallavi Sita Hota Taala: Adi Ann Arbor Violin: Prashant Gururaja Composer: Oothukkadu Venkatasubbayyar Mridangam: Satish Kumar Raaga: Jayantashree Taala: Deshaadi Conclusion – A Tillana Composer: Tyaagaraja A light classical piece from the dance repertoire using short texts and stressing the rhythmic setting of the “Muddugaare Yashoda” melody, typically performed at the end of a recital. Lord Krishna is compared with precious gems in all his Violin solo: Prashant Gururaja incarnations, as he helps his devotees. Raag: Raageshree Vocal: Pallavi Sita Hota Taal: Adi Violin: Prashant Gururaja Composer: Lalgudi Jayaraman Indian Classical Music The Indian Classical Music and Dance Group, Raag: Yaman Indian classical music is nearly three thousand years University of Michigan, Ann Arbor Taal: Teen Taal old. Indigenous music styles and schools evolved and “Rhythms of Compassion” - The Indian Classical Music developed in different regions of the country, by and Dance Group - is a registered non-profit student “Jaa Jaa Re” blending ritualistic and folk music. The semantic divide organization at the University of Michigan, Ann Arbor. Vocal: Pooja Gupta between the two styles - Hindustani and Carnatic - The group aims to enrich the Indian classical music and Raag: Bhimpalasi originated during the time of the “Sangeetaratnakara” of dance talent in the community, and to draw interest from Tabla: Aniket Joshi Sharangadeva (1210-1247AD). This bifurcation was a wide spectrum of audiences in Indian classical art Taal: Teen Taal later enhanced by influences from the Mid-East. The forms. The group also intends to raise funds for fundamental elements of both the styles are raag charitable causes by using Indian art forms as mediums. “Man Tarpat Hari Darshan Ko” (melody) and taal (rhythm). Both Hindustani and For information, email [email protected]. A song describing a devotee's state of mind as he Carnatic music follow a melodic line and employ a drone yearns for a glimpse of the Lord. (from film Baiju Bawra) (tanpura) with the help of one or two notes against the Today’s Program Vocal & Harmonium: Amit Sawant melody. Both the styles use definite scales to define a Raag: Malkauns (a late night raag) raga but the raga can be rendered in distinctively Tabla: Ashish Deshpande different fashions. Carnatic music follows the Melakarta Invocation Taal: Teen Taal concept to categorize ragas while Hindustani music Composer: Naushad uses the concept of Thaats. In Hindustani music, a taal “Sharanu Siddi Vinayaka” is made up of a number of matras or beats. A unique set A Shloka, sung as an invocation to Lord Ganesh. “Krishna Hare” of bols (patterns) define each taal. There are a number Vocal: Chaitanya Sampara, Arun Rajagopalan, Kritika A devotional composition in praise of Lord Krishna, of taals including daadra, teentaal, deepchandi, jat, and Ramani, Malavika Chandra & Suparna Mandal. describing his various forms and numerous names. kaharvaa. In Carnatic music, there are 7 core taalas - Vocal: Suparna Mandal Dhruva, Matya, Rupaka, Jhampa, Triputa, Ata, and Eka. “Pushpanjali” Flute: Chaitanya Sampara All Carnatic taalas are derived from these sapta talas. A Bharatanatyam dance that invokes the blessings of Tabla: Ashish Deshpande Hindustani compositions include Dhrupads, Khayals, Lord Ganesh, heralded as the remover of obstacles. He Taal: Keherva – Bhajani Theka Tappas, Taranas and Thumris while Carnatic is normally propitiated at the start of any event. compositions include Varnams, Kritis, Javalis, Dancers: Sai Balakrishnan & Udaya Neelakantan Swarajathis, Viruttams and Tillanas. Raga: Nata “Chalo Mana” Tala: Eka Vocal: Srikanth Balaji Indian Classical Dance Harmonium: Suparna Mandal Violin: Prashant Gururaja Indian philosophy and theology associate the Divine Tabla: Aniket Joshi with every aspect of Life. A multitude of the Divine Raag: Yaman manifestations are ever present in stories and art, not as Hindustani Taal: Keherva – Bhajani Theka remote abstractions, but as Divine 'people'. The Indian Composer: Meerabai fondness for personifying abstract principles implies that “Rachna Suprabhat” the abstract truth is accessible to individuals so that they A skillful improvisation of raag Ahir Bhairav. may become identified with the Divine. Art, especially Flute Solo: Chaitanya Sampara Dance dance, consequently does not constitute a form of Composer: Hariprasad Chaurasia entertainment, but an expression of spiritual energy in “Batu” worldly terms. In Indian classical dance forms, the “Sai Re” A pure Odissi dance item deriving inspiration from the dancer represents a vehicle for the realization of a Vocal: Shruti Kasetty temple sculptures of Orissa. The dancers enact the higher spiritual goal. Tabla: Ashish Deshpande preparation for a recital by showing musical instruments Raag: Multani and ornaments used. A number of Indian classical dance forms exist, each of Taal: Teen Taal Dancers: Akanksha Kejriwal, Shikha Arora and which can be traced to different parts of the country. Sharadindu Ramarao Each form represents the culture and ethos of a “Tarana” particular region or a group of people. The most popular Vocal: Shruti Kasetty “Parashakti Janani” classical styles seen on the Indian stage are Tabla: Ashish Deshpande A Bharatanatyam piece in praise of Devi Shakti. Bharatanatyam of Tamil Nadu, Kathakali and Raag: Bhairavi Dancer: Neela Moorty Mohiniyattam of Kerala, Odissi of Orissa, Kathak of Uttar Taal: Teen Taal Raag: Hamsadhvani Pradesh, Kuchipudi of Andhra Pradesh and Manipuri of Taal: Adi Manipur. Besides these, there are several semi-classical “Piya Bina” styles that contribute to the plethora of Indian dance Vocal: Pooja Gupta forms. Tabla: Aniket Joshi