Dance “Pallavi in Raag Basanta” Carnatic – Part 2 A Pallavi in Odissi is a nritta or pure dance item set to a “Brahmamokkate” Raaga. This Pallavi, set in Raag Basanta is a joyous A song which stresses the oneness of the indwelling dance welcoming the spring season. spirit in every creation. Artist: Akanksha Kejriwal Vocal: Vaishno Dasika Choreographer: Guru Kelucharan Mohapatra Violin: Ravi Subramanian Mridangam: Sriram Balasubramanian “Shivaroopam” Kanjira: Raghu Venkat The dancers describe “Shivaroopam”, the brilliant form Raaga: Bhouli; Taala: Adi of Lord Shiva wielding a Thrishoolam - his luminescent Composer: Annamacharya body, the river Ganga tied up in his locks, stars and snakes as his ornaments, as he performs Thandava to “English Notes” the accompaniment of the Veena, Damru, and the A light classical piece with a flavor of Western music. Mridangam. Vocal: Arun Thathachari Artists: Satish & Suresh Mohan Violin: Nandakumar Vasudevan Choreographer: Srikanth Nangavaram Keyboards: Ravi Subramanian The Indian Classical Music and Dance Group Mridangam: Sriram Balasubramanian Hindustani – Part 2 Kanjira: Raghu Venkat Manjira: Ashish Deshpande University of Michigan, Ann Arbor “Vrindavani Venu” Taala: Jhampa Vrindavani Venu as an Abhang which describes the Composer: Madurai Mani Iyer resplendent, divine form of Lord Krishna in His playful mirth. As a child, Vrindavan was His divine playground. “Swaminatha Paripalaya” The poem is a description of the place's natural beauty presents A song beseeching Lord Shanmukha - the bestower of and the vividness of Lord Krishna’s ways. wealth and the granter of boons - to protect his devotee. Vocal: Nitin Haldankar Vocal: Pallavi Sita Hota Harmonium: Ruthvick Divecha Violin: Prashanth Gururaja Tabla: Ashish Deshpande Mridangam: Sriram Balasubramanian Manjira: Ravi Subramanian Kanjira: Raghu Venkat Taal: Bhajani An evening of Carnatic & Hindustani Music, Raaga: Naatai; Taala: Adi Composer: Bhanudasa Composer: Muthuswami Dikshitar and Classical Dance

“Raag Yaman” Sitar: Meeta Banerjee Tabla: John Churchville Conclusion – Tillana Taal: Teentaal A light classical piece from the dance repertoire using Composer: Dr. Rajan Sachdeva short texts and stressing the rhythmic setting of the melody, typically performed at the end of a recital. Sunday, March 28th, 2004 “Aye Maalik Tere” Vocal: Vaishno Dasika & Arun Rajagopalan 6:00pm–8:00pm (From the movie Do Aankhen Baara Haath) Violin: Ravi Subramanian Pendleton Room A prayer to the almighty to bless us with the strength Mridangam: Sriram Balasubramanian Michigan Union Kanjira: Raghu Venkat and resilience to overcome evil with good. Ann Arbor, MI 48109 Vocal: Pooja Gupta Raaga: Mohana Kalyani; Taala: Adi Keyboards: Manoj Rajagopalan Composer: Lalgudi Jayaraman Harmonium: Ravi Subramanian Tabla: Ashish Deshpande Manjira: Arun Rajagopalan Taal: Teentaal

Indian Classical Music The Indian Classical Music and Dance Group, Vocal: Shruti Kasetty Indian classical music is nearly three thousand years University of Michigan, Ann Arbor Harmonium: Arun Rajagopalan old. Indigenous music styles and schools evolved and “Rhythms of Compassion” - The Indian Classical Music Sitar: Nidhip Patel developed in different regions of the country, by and Dance Group - is a registered non-profit student Tabla: Ashish Deshpande blending ritualistic and folk music. The semantic divide organization at the University of Michigan, Ann Arbor. Manjira: Ravi Subramanian between the two styles - Hindustani and Carnatic - The group aims to enrich the Indian classical music and originated during the time of the “Sangeetaratnakara” of dance talent in the community, and to draw interest from “Bole Re Papihara” Sharangadeva (1210-1247AD). This bifurcation was a wide spectrum of audiences in Indian classical art The Malhars are a family of raagas that evoke the mood later enhanced by influences from the Mid-East. The forms. The group also intends to raise funds for of the monsoon. Miyan Ki Malhar was created by Miyan fundamental elements of both the styles are raag charitable causes by using Indian art forms as mediums. Tansen - the legendary singer in Emperor Akbar's court. (melody) and taal (rhythm). Both Hindustani and For information about our group and our performances, Vocal & Harmonium: Amit Sawant Carnatic music follow a melodic line and employ a drone please visit http://www.umich.edu/~icmd. Email us at Tabla: John Churchville (tanpura) with the help of one or two notes against the [email protected] to get in touch with us. Raag: Miyan Ki Malhar; Taal: Teentaal melody. Both the styles use definite scales to define a raga but the raga can be rendered in distinctively We would greatly appreciate any monetary support, “Raag Bhupali” different fashions. Carnatic music follows the Melakarta as this would help us in the purchase and upkeep of Raag Bhupali is a raag of cosmic movement that concept to categorize ragas while Hindustani music our instruments, and in organizing events. expresses harmony, contentment, and devotion. uses the concept of Thaats. In Hindustani music, a taal Speak with us after the event or email us. Flute: Chaitanya Sampara is made up of a number of matras or beats. A unique set Tabla: John Churchville of bols (patterns) define each taal. There are a number Today’s Program Raag: Bhupali; Taal: Chautaal of taals including daadra, teentaal, deepchandi, jat, and Composer: Hariprasad Chaurasia kaharvaa. In Carnatic music, there are 7 core taalas - Dhruva, Matya, Rupaka, Jhampa, Triputa, Ata, and Eka. Invocation All Carnatic taalas are derived from these sapta taalas. “Darshan Do Ghanshyam” Carnatic – Part 1 Hindustani compositions include Dhrupads, Khayals, A prayer praising the power and omnipresence of the “Karpaga Valli Nin” Tappas, Taranas and Thumris while Carnatic almighty. A song depicting the emotions of an ardent devotee who compositions include Varnams, Kritis, Javalis, Vocal: Malavika Chandra, Vaishno Dasika, Shruti portrays the mother goddess as the perennial rescuer Swarajathis, Viruttams and Tillanas. Kasetty, Arun Rajagopalan & Nandakumar Vasudevan. from sorrows. Harmonium: Suparna Mandal Vocal: Nandakumar Vasudevan Indian Classical Dance Violin: Prashanth Gururaja Violin: Ravi Subramanian Indian philosophy and theology associate the Divine Flute: Chaitanya Sampara Mridangam: Sriram Balasubramanian with every aspect of Life. A multitude of the Divine Tabla: Ashish Deshpande Kanjira: Raghu Venkat manifestations are ever present in stories and art, not as Manjira: Ravi Subramanian Raaga: Raagamaalikaa; Taala: Adi remote abstractions, but as Divine 'people'. The Indian Raag: Kedar; Taal: Teentaal Composer: T.M. Sunderajan fondness for personifying abstract principles implies that Composer: G. S. Nepali the abstract truth is accessible to individuals so that they “Krishna Nee Begane Baaro” may become identified with the Divine. Art, especially “Managalacharan – Pado Vande” A devotee describing his divine form, beseeches Lord dance, consequently does not constitute a form of Mangalacharan is the first item performed in an Odissi Krishna to come hither soon. entertainment, but an expression of spiritual energy in recital invoking the blessings of Lord Jagannath. The Vocal: Arun Rajagopalan worldly terms. In Indian classical dance forms, the central piece is an Oriya prayer, Pado Vande by Sri. Violin: Nandakumar Vasudevan dancer represents a vehicle for the realization of a Kalicharan Patnaik in praise of Lord Ganesha. Keyboards: Ravi Subramanian higher spiritual goal. Artist: Akanksha Kejriwal Guitar: Arun Thathachari Choreographer: Guru Kelucharan Mohapatra Mridangam: Sriram Balasubramanian A number of Indian classical dance forms exist, each of Kanjira: Raghu Venkat which can be traced to different parts of the country. Manjira: Ashish Deshpande Hindustani – Part 1 Raaga: Yamuna Kalyani; Taala: Misra Chapu Each form represents the culture and ethos of a “Raag Darbari Kanhara” particular region or a group of people. The most popular Composer: Vyaasaraaya Khayal - More Ghar Aayo classical styles seen on the Indian stage are Description of a devotee’s immense joy upon Lord Bharatanatyam of Tamil Nadu, Kathakali and “Sudha Mayi” Krishna gracing her home. Mohiniyattam of Kerala, Odissi of Orissa, Kathak of Uttar Violin: Prashanth Gururaja Taal: Teentaal Pradesh, Kuchipudi of Andhra Pradesh and Manipuri of Mridangam: Sriram Balasubramanian

Manipur. Besides these, there are several semi-classical Kanjira: Raghu Venkat Bhajan – Shiv Shankar Shambho styles that contribute to the plethora of Indian dance Raaga: Amritavarshini; Taala: Roopakam A devotional song in praise of Lord Shiva. forms. Composer: Harikeshanallur Muthaiah Bhagavathar Taal: Bhajani