World Peace and Harmony Concert Seminar on Margi and Desi in Dance

NEWS & NOTES

World peace and harmony concert

n 11th November 2008 a landmark concert Owas presented at the Dag Hammarskjold auditorium at the United Nations in New York City by renowned Carnatic musicians Sikkil Mala Chandrasekhar (flute), Nirmala Rajasekar (veena), Mullaivasal G. Chandramouli (violin) and Tanjore K. Murugabhoopathi (mridanga). The concert for world Sikkil Mala, Nirmala Rajasekar, G. Chandramouli and K. Murugabhoopathi in concert peace and harmony, put together in was appropriate that the musicians musicians, scholars and music lovers a weeks time, was the brainchild of began the concert with a song from New York and New Jersey and Abaynesh Asrat (CEO & President for peace – Santi nilava vendum included dignitaries from the United of Nation to Nation Networking – and concluded it with an ode to Nations. Sathyabhama Rajalingam, Ltd.), Raj Janarthanan (President, San friendship – Maitreem bhajata. Vatapi veteran Carnatic vocalist from Sri Vision Energy Technology & Board Ganapatim peppered with rounds of Lanka, felicitated the artists with of Directors, NNN) and Krishni kalpanaswara, Bhogeendra sayeenam, an “Award of Excellence” for their Anandarajan (Founder & President, Raghunatha nannu, Tyagaraja’s performance and contribution to Youth Centre for Music & Arts Inc.). composition Nadaloludai preceded by the field of Carnatic music. Several It was a benefit performance to help an alapana, and Unnaiyallal composed people in the audience expressed their the women and children suffering by Papanasam Sivan were the other joy at witnessing a special concert at in Sri Lanka because of the war in kriti-s presented in the recital. this prestigious venue. Kalyani was taken up as the main Jaffna. Nation to Nation Networking Ltd. suite for elaboration. An excellent and (NNN) was founded in 2004 by The event was made possible as a elaborate raga delineation by Mala Abaynesh Asrat (New York based result of the enthusiastic response and Chandramouli was followed psychologist and social worker) to of Sikkil Mala, Chandramouli and by a brilliant tanam by Nirmala on build strong, intellectual and peaceful Murugabhoopathi who were in the the veena, and a fine tani avartanam communities around the world. The U.S.A. on a tour sponsored by Youth by Murugabhoopathi. The tukkada aim of NNN is to help the “voiceless” Centre for Music and Arts and were segment included Kurai onrumillai and around the world. It provides for performing in the new ensemble Kaatrinile varum geetam presented as education and healthcare for children “Nadha Sangam” with Minnesota a tribute to M.S. Subbulakshmi, the and women by working with the based vainika Nirmala Rajasekar. last Carnatic musician to perform at United Nations and charitable this venue. As the concert was presented at organisations in the U.S.A. the United Nations auditorium it The invited audience comprised A CORRESPONDENT Seminar on Margi and Desi in dance

special event took place in the T.S. Parthasarathy or TSP as he was classical music and dance. He was a quiet campus of the MGR affectionately called. one-stop source for musicians, dancers AJanaki College in December T.S. Parthasarathy, veteran music and and scholars looking for authoritative last year. This was a seminar on “Margi dance scholar and erstwhile Secretary reference material. It was fitting that and Desi in Dance,” to celebrate the of the Music Academy, was a veritable he should be remembered during the intellectual achievements of the late encyclopaedia on matters relating to music season in Chennai.

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Sunil Kothari receiving the TSP Award Purisai Sambandan as Ravana and Sangeeta Isvaran as Hanuman Most universities in the West celebrate classical and what is generally termed to the central tradition of the art. By scholarship for its own sake and right as folk. He added that in popular the 10th century, any style that did not at the beginning a brief account of parlance on account of the English fit into that framework came to be the general concept of scholarship is terms ‘classical’ and ‘folk’ we have been known as desi. provided. It suggests that scholarship also using marga as classical and folk He said Dr. Kapila Vatsyayan had is a far from uncontested notion, [sic] as desi. But the connotations of further developed it as the direct which in order to occupy pride ‘classical’ in English language point flow of a river, over a period of time of place, should be contested and at the European history of the term, with a possibility of future growth critically appraised by peers. Precisely which is not exactly the term that we this was done at the seminar organised use for classical meaning ‘sastreeya’; and development. Ever renewing by one of T.S. Parthasarathy’s similarly also for ‘folk’ as desi. chiselling refinement can help a desi protégés, dancer Swarnamalya of the form to reach the level of marga form. Kothari added that the most Raga Mandira Trust in association In short many things we term as important discussion on these two with the Natya Department of ‘classical’ in the modern sense belong types is found in the writings of Dr. the MGR Janaki College. In her not much to the city culture, but are Ananda Coomaraswamy in his book introduction, Swarnamalya outlined a renovated or restructured aspects of Why Exhibit Works of Art? in which the importance of research and the village culture. There is much scope the word marga is explained as a sharp epistemology of reflective practice. for inter-changeability of the marga distinction between ‘learning’ and The seminar drew a good number of and the desi. This only indicates that folklore, ‘high art’ and ‘popular art… music and dance students and some in aesthetics we need not consider “in India a corresponding distinction very senior practitioners including hierarchy – that one is superior to the has been drawn between the V.P. Dhananjayan and Sudharani other. constituted Samskrita and provincial Raghupathy, who lit the lamp of – desi languages and literatures and Kothari left these thoughts with the learning, knowledge and scholarship. between a highway, marga and local or performing artists, historians and Dr. Sunil Kothari, dance scholar, byway desi art; and what is Samskrita scholars for further consideration and author and critic was honoured at the and marga being always superior to discussion. It certainly created an seminar and was invited to deliver a what is desi.” awareness that we need to have more keynote address on the theme “The seminars of this nature. Kothari continued that given the concept of dance as margi and desi”. legendary status of Bharata and his Another special feature of this He started off by saying that with Natya Sastra, the dance movements eloquent seminar was V.R. Devika’s the staggering variety and plural and compositions described by lecdem entitled, ‘A presentation of vocabulary of dance in India, it is well him, along with his framework of Terukoothu, total theatre of Tamil nigh impossible to even enumerate classification and description, came Nadu with Bharatanatyam as an and catalogue various dance forms, to be recognised as constituting the argument that the classical and folk ritual, tribal, rural, urban, social, marga or the established path, leading divisions are very thin in India.”

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Her translation of margi and desi as and great stamina to withstand high Kunhiraman explained the need for classical and colloquial was effective. energy performance for eight to ten neutral analysis of phenomenon. For her all are folk – belonging hours after long distances of travel A panel discussion on the topic to the people. The classical and under trying conditions. “Dance, Divinity and Performance folk divisions she said are not only If folk is not associated with religion very thin in India but almost non- Space” moderated by S. Janaki (of but only with nature, then Terukoothu existent, an imported statement. Sruti), concluded the seminar. is not folk. It is a highly ritualistic This assertion was acceptable to Sudharani Raghupathy, Indra Rajan, theatre that has the entire village most of us. Nandini Ramani, Anita Ratnam, taking part in rituals. It also provides Revathy Ramachandran and Rajshri Juxtaposing Bharatanatyam with an opportunity for vow taking and Vasudevan shared their thoughts and Terukoothu to observe compatibility fulfilment. experiences. The discussions were and similarity, Devika introduced Devika further explained: “If folk thoughtprovoking and interesting. ever inquisitive Sangeeta Isvaran as does not require training, then Hanuman in Bharatanatyam and A major virtue of such events is that Terukoothu is not folk. An artist joins Purisai Sambandan performing the participants and bodies concerned a Koothu group while very young Ravana in the Terukoothu style. The are induced and encouraged to and learns as a chorus and then takes team also illustrated how the lyrics question earlier findings, analyse, on smaller roles all the time being also have a margi and desi division. synthesise and formulate a new set in the play and learning through of conclusions based on established observation. Rehearsals are held for Devika observed that if folk is simple facts. This is often called “action steps and for singing. Since it is an and spontaneous then Terukoothu is research” with its final emphasis ensemble, the artist must sing in sruti not folk. It has a tradition of at least on reflective critique, a process four hundred years and has been with the mukhaveenai and mridanga- which would have us examine practised in the Tondaimandalam tabla and the petti.” critically whether our scholarship area. It has a text that needs to be This certainly was a learning is congruent with what we believe learnt for many months, and requires experience to all, dispelling to be our major values. This is the artist to be well educated in the common understanding of expected to stimulate more seminars mythology. It requires the artist to Terukoothu as folk. of this nature to explore crucial be a good singer and be trained in topics. Hopefully such seminars high pitch to reach the last row. “The idea of dance as margi and Large portions of the play are text desi in Tamil tradition”, an informed will also initiate an “authority list” oriented, sung and danced, while lecture by Dr. S. Raghuraman created of names and spelling for words so large portions are also improvised and much interest; questions volleyed we arrive at some sort of uniformity. spontaneous. It requires a quick wit and thundered until Catherine JAYA SUBRAMANIAM

Panel discussion session at the seminar

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From martial art to dance

he 7th Kalinga Mahotsav – a national festival of Martial TDances, took place at Dhauli Shanti Stupa, on the outskirts of Bhubaneswar on 10th and 11th of January. It was organised by Art Vision in collaboration with the Department of Tourism, Govern- ment of Orissa. The festival showcased the different stages of transition – from purely martial disciplines through semi choreographed forms of combat, to full fledged dance forms, both traditional and contemporary. Every region in India has developed a system of exercises to be used as a technique of attack and defence in war and combat. They involved a high degree of physical and mental A scene from Kalinga concentration to achieve the complex movements and the strength required with acrobatics and contemporary The group that followed was from for their execution. The martial dance. The artists displayed excellent the Chatasal Bhundelkhand Akhada techniques are also a storehouse coordination and precision in the established in 1964 at Sagar in of information for studying the execution though their presentation Madhya Pradesh by Guru Bhagwan kinetics of body language from a seldom rose beyond the pure Das Raikwar. Like the Orissa Paika, sastraic point of view. execution of skill. these artists also display their skill with swords and sticks and a variety Quite a few contemporary dance The transition from this refined of acrobatics. A speciality of their groups have incorporated these rendition to the more raw and earthy style is the way the end any kind physical techniques as basic exercises display of combat and acrobatics of combat by tying the weapons of in their training and as tools for by the Paik group of the Maa Anlei the adversary in a sort of lock their choreographic works. In Paika Akhada from Khordha was without the help of a rope. a country like India where the at first quite shocking, but gradually emphasis in classical dances is more the young performers won the It was interesting to see the on differences than on common hearts of the spectators with their Manipuri artists of the Thang Ta elements, the physical exercises which rudimentary attempts at choreo- troupe watching and commenting are the basis for the martial training graphy and well designed and on the features exhibited by their can offer a common code of body executed acrobatic formations. colleagues from Orissa and Madhya Pradesh. The Kalinga Mahotsav language at the national level. Khordha is famous for the heroism of provides a rare opportunity for such its warriors. The young descendants The Attakalari Centre for Movement artists to meet and get acquainted with of the valorous Paiks are determined Arts from Bengaluru opened one another’s work. It is indeed one to carry forward the skill of their the Festival with a montage of of the rare festivals completely forefathers and want their art to choreographic works incorporating dedicated to them. martial elements of Kalaripayattu be recognised on par with other from Kerala and Capoeira from Brazil performing art forms of Orissa. On the second day, a demonstration

4 z SRUTI April 2009 NEWS & NOTES by Manipuri artists from Hula two important stages in the evolution The War Dance performed by Sindamsang of Imphal showed how of the Chhau dances. Mahendranath 16 artists of the Bhamangaty Chhau difficult it is to define where martial and Ghashiram Kandankel from Nritya Pratisthan of Rairangpur art ends and choreographed patterns Jamda of Rairangpur district in is an equally important landmark of dance begin. Their elegant Orissa performed the Phari Khanda in the transition. It was in fact the movements even in the combat item. It is one of the few, if not first choreographed item performed sequences, excellent coordination the only one, specimens left of this by the Paiks in front of Emperor and precision in the execution of art form which represents an George V in 1912 at Kolkata. It each number both in the “decorative important link between the crude was choreographed by the ruler of display” and in the “actual fighting dance form of the Paik and the Mayurbhanj, Ram Chandra Bhanji category” were absolutely breath- more sophisticated Chhau dance. Deo, a great patron of this art. taking. Outstanding was the ritualistic Brought to Jamdia from Seraikella The fact that this item continues dance by the two warriors holding by two ustad-s soon after to be a part of the Mayurbhanj spears and shields (Ta-Khousaba) Independence, this dance of defence Chhau dance repertoire (although for its choreographic impact, the (phari) and attack (khanda) is an it is now performed with less solo stick dance for the dexterity interesting blend of basic Seraikella number of artists) goes a long way displayed by the performer, and the Chhau steps and choreographed in establishing the continuity item by the blindfolded artist who patterns of combat. There is only between the martial arts and the performed difficult feats guided only one guru who teaches this form in martial dances which derived from by the sheer sense of space directions. this village; in Seraikella it has them. The items which followed referred to completed disappeared. ILEANA CITARISTI Bala anniversary

Anxiety over current Bala. Vedavalli came down heavily on Kannan, Revathi Ramachandran, Bharatanatyam format the ostentatious style of the Carnatic Priya Murle and A. Lakshman, with vocalists on stage. Long speeches ‘Sruti’ Janaki as moderator. th On the occasion of the 25 death delayed the events that followed. anniversary of the iconic dancer Senior dancer Meenakshi T. Balasaraswati, Dr. V. Raghavan Nandini Ramani, daughter of Dr. V. Chittaranjan said the dance scene was Centre for Performing Arts organised Raghavan and disciple of Bala, had not so competitive when she began her a ‘Smarananjali’ on 9th February at the arranged the screening of a film on career, and she did not have to worry Raga Sudha hall in Chennai. Nandini Bala – a compilation which included about getting chances to perform in Ramani, Secretary of the Centre, a documentary produced in the sabha-s. Most dancers performed the devised a two-segment programme early 1990s – Kaalattai Venravargal, margam. As times changed, she added for the evening. The first part featured covering various aspects of Bala’s more items to suit the changing tastes tributes by special invitees Prof. C.V. art. In the film, Nandini explained of the audience, but all within the Chandrasekhar and R. Vedavalli, the teaching style of Bala, and framework of tradition. followed by the screening of a film on Vyjayanthimala Bali paid glowing All the speakers aired their personal Balasaraswati. The second segment was tributes to the queen of abhinaya. The experiences rather than stating points a panel discussion on Bharatanatyam documentary included glimpses of or aspects that would contribute solo performance. This session threw Bala’s dance for the song Krishna nee to kindling the thoughts of the up more questions than answers. begane baro. participants or stir the conscience While paying tributes to T. The last session, a discussion on of the pro-changers. Roja Kannan Balasaraswati, who had close “Changing Values and Trends in said when she returned to the scene connections with Dr. Raghavan’s Bharatanatyam – Solo Performance”, after a gap, she had to catch up family, Chandrasekhar and Vedavalli was delayed by more than an hour. with the younger lot. Margam, she lamented the several changes the The panelists included Meenakshi said, was not much favoured by the style has undergone since the days of Chittaranjan, Nandini Ramani, Roja sabha officials who preferred thematic

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Chief guest C.V. Chandrasekhar with Bala’s associate Ramiah, Nandini Ramani and the panelists performances. “Then what happens Moderator S. Janaki asked questions to are aesthetic. (There was not enough to items like alarippu, jatiswaram, bring out the ideas of the participating time to discuss changing trends sabdam, etc, which we learnt?” she dancers. From time to time she drew in abhinaya). The popularity of asked. inferences from the points made thematic presentations has overtaken by the speakers. Some of the trends the traditional margam, though many A. Lakshman was of the opinion that if which emerged were: The margam is themes are being presented in the solo it was not possible for a dance student even today accepted as the mainstay margam format also. to execute a particular adavu properly, of a Bharatanatyam recital, but the he would teach her the kind of adavu shorter duration of performances has There were many dancers in the best suited to her. Change, therefore, led to the dropping of some items in audience. Bharatanatyam dancer was inevitable, he asserted and won the margam. Earlier, parents who had Uma Ramesh said the discussion was the support of Prof. Chandrasekhar. a passionate interest in the arts sent quite an eye-opener. “I learnt we could Nandini Ramani, however, differed on their children to teachers to learn present thematic dance recitals within this subject and emphasised that until dance. Now most parents have no idea the parameters of the margam format.” the student was made to perform the about Bharatanatyam but want their She welcomed such open discussions correct adavu, the teacher must not children to learn and immediately as this one had also drawn attention give up and Bala was one, who never perform on stage! Changes in the to the difficulties her peers had faced compromised on this aspect. dance – mainly in adavu-s and nritta, in presenting programmes. Priya Murle said: “Why go after have been accepted over time if they CHARUKESI performances? Is learning the beautiful art not enough for enjoyment?” Photonews Revathi Ramachandran had her own story to narrate how her guru Mangudi Dorairaja Iyer taught. Her Saroja Vaidyanathan, search for a teacher after her guru’s Bharatanatyam exponent demise began and ended when she and guru, was conferred met Dr. Padma Subrahmanyam who with D. Litt at the eleventh advised her to continue her unique convocation of the style of Bharatanatyam instead of University of Indira Kala seeking another guru. Sangit Vishwavidyalaya, Khairagarh in Chattisgarh Nandini Ramani said that the focus last year by the Governor of of the discussion was on the current Chattisgarh and Chancellor anxiety of retaining the Bharatanatyam of the University E.S.L. format, the basis for which was laid Narasimhan. more than a couple of centuries ago.

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Remembering Guru Kittappa Pillai: Tanjai Nalvar Manimalai (a book of compositions by the Tanjavur Quartet) was released by V.R. Lakshminarayanan. T.K. Govinda Rao, T.K. Murthy and Vyjayanthimala Bali received copies of the book. B.M. Sundaram and P.R. Thilakam felicitated. C. Sivakumar presented a picture of Vyjayanthimala with Guru Kittappa Pillai and Guru K.P. Sivanandam. S. Nivedha (granddaughter of Sivanandam) performed with other dancers at the function organised by Tapasya Kala Sampradaya in Chennai.

On the occasion of its sixth anniversary Sri Sumukhi Rajasekharan Memorial Foundation honoured octogenarian Leela Sekhar with the title “Aachaarya Devo Bhava” (Lifetime Achievement Award) for her \HRPDQVHUYLFHLQWKH¿HOGRISHUIRUPLQJDUWVHGXFDWLRQKHDOWKVRFLDOVHUYLFHDQGFKLOGZHOIDUH7KH0\ODSRUH7ULR (S. Amarnath, S. Surendranath, S. Aparna) also conferred the titles - “Gaana Chinthamani” on Swamimalai K. Suresh (C-vocal) and “Nrithya Chinthamani” on Gayatri Balagurunathan (Bharatanatyam). G. Ram Mohan (Retired Commissioner of Railway Safety) was the chief guest.

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Sangeet Natak Akademi Fellowships and Awards 2008

Akademi Ratna (Akademi Fellows) Sitara Devi Khaled Choudhury R.C. Mehta Bhupen Hazarika

Akademi Puraskar (Akademi Awards)

Music Theatre Puranam Purushottama Sastri – Carnatic vocal Markand Bhatt – Acting Ulhas Kashalkar – Hindustani vocal Arundhati Nag – Acting M.R. Gautam – Hindustani vocal S. Ramanujam – Direction B. Sasi Kumar – Carnatic instrumental (violin) Probir Guha – Direction Ramesh Mishra – Hindustani instrumental (sarangi) Mudra Rakshas – Playwriting (Hindi) Krishna Ram Chaudhary – Hindustani instrumental Narsingh Dev Jamwal – Playwriting (Dogri) (shehnai) Amba Sanyal – Costume Designing Mannargudi A. Easwaran – Carnatic instrumental Bansi Lal Khiladi – Khayal (Rajasthan) (mridanga) Ningombam Ibobi Singh – Nata Sankeertan Other Traditional / Folk / Tribal Dance / (Manipur) Music / Theatre Dance Shakuntala Nagarkar – Lavani, Maharastra Saroja Vaidyanathan – Bharatanatyam Birbar Sahoo – Gotipua, Orissa Vasanthalakshmi & Narasimhachari – Koochipoodi Mangi Bai Arya – Mand, Rajasthan (Joint Award) L. Heramot Meitei – Thang-Ta, Manipur Ramani Ranjan Jena – Odissi Lakha Khan Manganiyar – Folk music, Rajasthan Shashi Sankhla – Kathak Hildamit Lepcha – Lepcha music, Sikkim Kalamandalam Kuttan – Kathakali Kartar Singh – Gurbani, Punjab Kalamandalam Leelamma – Mohini Attam Lakshman Das – Harikatha, Karnataka Yog Sunder Desai – Creative & Experimental Dance Scholarship in Performing Arts Ramhari Das – Music for Dance (Odissi) R. Sathyanarayana

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‘Sabrang’ and the healing touch

ome winter and Kolkata, at its charming best, of interests. On this occasion Saregama brought out a hosts film-art-music festivals on a grand scale, music album ‘Remembering Bimal Roy’. The nostalgic Cturning the city into a rendezvous for artists and strains of the immortal songs, composed by S.D. Burman their fans from all over the world. This winter was no and the like, unleashed emotion-charged memories. Dilip exception despite the world-wide recession, as Bengal Kumar Sircar of New Theatres, film-director Buddhadev is quite adept at reaching the stars within a shoe-string Dasgupta and a host of others shared their anecdotes with budget. Probably that is the secret of the State’s ‘never- the audience. say-die’ attitude! Magic of the almost extinct surbahar Yesterday once more Pandit Santosh Banerjee is perhaps the only surbahar To mark the birth centenary year of film-maker Bimal Roy player who can still extract tuneful melody out of this regal, (born on 11th July 1909) New Theatres – the birthplace almost extinct instrument. The frail old master performs of Indian cinema, supported by Satyajit Ray Films and very rarely now. Bhawanipur Sangeet Sammelani, a century Television Institute, organised an exhibition of select film old organisation of the city, presented an evening of soul- and music memorabilia at Oxford Bookstore – a cultural stirring instrumental music. Young flautist Dipankar hub at Park Street, known for its warmth and wide range Mukherjee opened the evening with Jhinjhoti. A brilliant

Ustad Ali Ahmed Hussain Khan

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Suddha Kalyan was etched by Sahana Banerjee’s sitar alone. It has now become synonymous to a ‘healing and finally her father-guru Santosh Banerjee regaled the touch’ for those Kolkata-based classical musicians who audience with dhrupad and dhamar on the surbahar in are fighting ailments all by themselves. “Thanks to the raga-s Bagesree and Kausi Dhwani. Sabrang Trust’s arrangements, my medicines arrive by the first week of every month without fail,” said veteran Grammy Award nominee’s gratitude tabla artist Laxminarayan Misra. “Our periodical check- ups, treatment –all are well looked after by Jayati Bagchi,” Indian slide-guitarist Debashish Bhattacharya is this echoed sitar exponent Kalyani Roy, the frail, ailing disciple year’s Grammy Award nominee for his album ‘Calcutta of Ustad Vilayat Khan. Chronicles’. His Bhattacharya School of World Music presented young talents like tabla-player Pundalik Krishna This humanitarian spirit of Sabrang Music Trust was Bhagwat (Varanasi), Odissi dancer Arushi Mudgal revived by Bagchi in 2000 though she came into the (Delhi) and slide-guitarist Somranjan Chakraborty ‘Sabrang’ family by virtue of her ‘golden voice’. Munawwar (Kolkata) under one roof, Uttam Mancha. He expressed Ali Khan, son of Ustad Bade Ghulam Ali Khan, offered to his gratitude to instrument-makers by honouring guitar- give her the Patiala-treasures on the day he heard her sing maker Hrishikesh Biswas and jawari expert Prashanto in a conference. She had trained with pandit-s Damodar Mandal. Mishra (Benaras) and A. Kanan (Kairana). After the untimely demise of the ustad, she continued her taalim 30 glorious years of guru-sishya parampara under the guidance of Kumar Prasad Mukherji (Agra). Bagchi’s association with such stalwarts expanded her The saga of the age-old oral tradition was retold by the extended family. ITC Sangeet Research Academy this year once again with the focus on its guru-s and their sishya-s, to celebrate its She was seriously motivated by the helping, kind nature 30 years of glorious existence. Delightfully varied hues of the legendary Bade Khan, her dada-guru, who was also and tones of different vocal schools, represented by guru- a great philanthropist. He never gave a second thought s Ulhas Kashalkar, Ajoy Chakrabarty, Arun Bhaduri and while giving to the needy, but he himself died in penury. Mashkoor Ali Khan, superbly supported by their disciples, She found most musicians, in their twilight years, heading were spread over the two-day long soiree. Veteran for a lonely, painful struggle. instrumentalist guru-s Buddhdev Dasgupta (sarod) and Manilal Nag (sitar) offered a rare jugalbandi. An annual musical tribute to Bade Ghulam, meticulously organised by Bagchi and actively supported by industrialist The coveted ITC Award (Kolkata) went to Ustad Ali Sanjay Budhia and the Maharajkumar of Burdwan P.C. Ahmed Hussain Khan, an eminent shehnai exponent Mahtab, helps raise considerable funds for the medical who carved a niche for himself despite the overwhelming aid of such musicians. For the rest, there is goodwill and presence of the late Ustad Bismillah Khan. The awardee support from aficionados. Pandit Ravi Shankar led the and his entourage presented a sparkling shehnai recital way with a cheque. Matrisangha Janakalyan Ashram offers later. Two of the Academy’s scholars Manali Bose (vocal) beds and facilities for medical checkups. The beneficiaries and Abir Hossain (sarod) gave impressive solo recitals as included some stars of the bygone era, as well as those the opening items of each day. The only guest artist was living in anonymity. The Trust takes equal care of each Anindo Chatterjee who, supported by his disciple, played member-musician under treatment. a thrilling tabla solo. The Sabrang Sangeet Sammelan, a night-long soiree at The key note running through this melodic series was the Kala Mandir featuring brilliant performers like Kushal bond between teacher and taught and of course the ‘joint- Das (sitar), Subhra Guha and Arshad Ali Khan (vocal), family’ kind of ambience. Abhijit Banerjee (rhythm ensemble) and Jaya Seal Ghosh (Bharatnatyam) reiterated its promise for another year of The healing touch of ‘Sabrang’ love and care of musicians in need.

MEENA BANERJEE ‘Sabrang’, the pseudonym of Ustad Bade Ghulam Ali Khan, does not identify the legendary ustad’s compositions

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Rasikhapriya’s annual festival a winner

asikhapriya’s annual festival of Carnatic music was and his sense of rhythm. Vittal Ramamurthy once conducted from 11th to 16th November 2008 at again rose to the occasion in supporting the artist RUttam Manch in Kolkata. Rasikhapriya’s Secretary with his violin. Mridanga artist K.V. Prasad and ghata Kannan took meticulous care to plan out the musical vidwan Vaikom Gopalakrishnan provided excellent week along with his team and the listeners support for the whole concert; their tani was full of experienced pure listening joy. The stage was richly inspiration. In the post-pallavi session special mention decorated with fresh blossoms of jasmines, marigolds must be made of the song Jaya jaya Sankara, jaya and roses. The ambience created and the excellent abhyankara, in raga Darbari which he sang with great acoustics gave the rasika-s an opportunity to experience feel for the sahitya and raga bhava, an immensely aesthetic bliss. satisfying experience.

This was the 16th anniversary of Rasikhapriya Sumathi Narayanan’s kalpanaswara-s were commendable. featuring eminent artists of Carnatic music. The festival Her main raga Kalyani was developed carefully with was inaugurated by V. Ramasamy, CMD, National articulate sangati-s. Hema Malini played the violin with Insurance Company, and presided by K.C. Sekhar, dedication and mridangist Shyam Sunder was equally CMD, GRSE. good.

The inaugural concert by veteran T.V. Sankaranarayanan Listeners eagerly awaited veteran musician R. Vedavalli’s set the tone of the whole festival, by raising it to concert on the fifth day. Both the lay audience and the lofty heights. His style of rendering raga alapana, knowledgeable savoured the traditional flavour of her kriti-s, and kalpanaswara bore the stamp of his mentor music. With her vast experience, she was a bonus to Madurai Mani Iyer, of course not without a personal the audience. Vasantha Kannan and Kallidaikurichi touch of his own. The violinist Vittal Ramamurthy and Sivakumar rendered commendable violin and mridanga mridangist Melakaveri Balaji supported the singer accompaniment. Vedavalli enlightened the audience imaginatively. with a lecture demonstration on ‘Niraval’, emphasising the importance of knowing the meaning of the sahitya. T.M. Krishna is without parallel for his powerful voice She also explained that the niraval of a kriti is distinctly T.V. Sankaranarayanan in concert different from the niraval of a raga taken up for RTP. There was a lot of audience participation in this session, which was highly educative. Bombay Jayashri’s presentation on the last day of the festival was memorable. She managed to sweep the audience off their feet with her soulful singing. Embar Kannan’s violin support was excellent. Poongulam Subramaniam played a vibrant tani avartanam. After the RTP in Kalyanavasantam, Jayashri sang many melodious numbers.

Rasika-s of Kolkata look forward to more such festivals featuring such versatile artists. TAPATI CHOWDHURIE

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Bengaluru Round Up

Sangeeta Sampradaya S. Krishnamoorthy, grandson of Sangita Kalanidhi Mysore Pradarsini in Kannada Vasudevachar, also a former director of AIR, praised the flawless handwritten translation (completed in just three Ananya Foundation, which took up the responsibility years) of Udupa, and the simple and suggestive notation. He of bringing out the Kannada version of Subbarama commended both Raghavendra and Ananda Rama Udupa Dikshitar’s monumental work Sangeeta Sampradaya who have quietly been rendering help to the music fraternity. Pradarsini, (six volumes + Prathama Abhyasa) organised a Jnanapeeth awardee Dr. U.R. Ananthamoorthy, President pleasant function recently to release the collection as well of Ananya Foundation, threw light on the catholicity of as felicitate the unassuming musician, vidwan Anandarama Subbarama Dikshitar, who had notated compositions of 47 Udupa, at Seva Sadan Hall. The function started with the other composers (before the time of the Trinity) including rendering of Roopamu joochi varnam in Todi raga (from Purandaradasa. He called upon the music fraternity of the first volume), followed by Pancha matanga (Malahari) Karnataka to make the best use of the colossal work of from the second volume, Amba paradevate (Rudrapriya) Ananda Rama Udupa. from the third volume, Mamava Raghuveera (Mahuri) from the fourth volume, Kalavati kamalasana yuvati SULOCHANA SARALAYA (Kalavati) from the fifth volume, Sree Ramaa Saraswati Remembering B.V.K. Sastry (Nasikabhooshani) from the sixth volume and concluded with Purandaradasa’s Hari Narayana in Kurinji raga, from The annual academic session in memory of B.V.K. Sastry was the Prathama Abhyasa volume. The first and last were sung held in Bangalore during the last week of October 2008 under in chorus while the other five were rendered individually the aegis of the B.V.K. Sastry Memorial Committee, Bangalore by Usha Kesari and Geethamoorthy, Vidya, Saralaya Gayana Samaja and Karnataka Gana Kala Parishat. Sisters, Kalavathy and Hamsini Nagendra. B.V.K. Sastry (1916-2001) was a veteran critic and a Speaking on the occasion, Dr. T. S. Satyavathy said “Sada highly knowledgable musicologist. He was contributing ananda and sada arama purusha” Ananda Rama Udupa is a reviews to both Deccan Herald and Prajavani on music, living legend who has shown that neither old age nor serious dance, painting and sculpture. A felicitation volume called illness can deter a focused mind.” She called upon the music Murali Vaani was presented to him in 1999, which was fraternity of Karnataka to be ever grateful to the selfless and sponsored by Ramasudha Charitable Trust. The book contains 127 articles of B.V.K, on various aspects of music, humble musicologist for his monumental work of translating dance and allied arts. the Sangeeta Sampradaya Pradarsini, containing 1920 pages in six volumes and the 247 pages of Prathama Abhyasa, without From the year 2000 the committee is conducting an academic any blemish and with gamaka notation. She disclosed that he session on music, dance and painting, in successive years. “A had dedicated the mammoth work to Kannadigas without few Composers of Karnataka” was the subject of this year’s any financial expectation. She congratulated Dr. Raghavendra, symposium. Manu Baligar, Director, Directorate of Kannada Managing Trustee of Ananya Foundation on getting the work and Culture, inaugurated the programme, under the printed as “Saraswati kainkarya”, at the behest of the late Dr. S. chairmanship of Dr. A.H. Rama Rao, President, National K. Ramachandra Rao. Education Society. Vimala Rangachar, Chairperson, Crafts Council of Karnataka, spoke on the life and N.S. Krishnamoorthy, former Director AIR-Bangalore, works of BVK. After the invocation by the Saralaya observed that the Sampradaya Pradarsini was the reference Sisters (Triveni and Kavitha), Mysore V. Subramanya, book for both the lakshya and lakshana of Carnatic music. Convenor, welcomed the gathering and H. Kamalanath, He also complimented Ananya for bringing out the Joint Convenor, proposed the vote of thanks. translation without any financial assistance; the Tamil version had been brought out by Madras Music Academy In his keynote address, R.K. Srikantan, veteran musician, with assistance from the central Sangeet Natak Akademi, highlighted the contributions of Veena Seshanna, while the Telugu translation by Ralepalli Ananthakrishna Mysore Vasudevachar, Muthiah Bhagavatar and Sarma was funded by Telugu University. Jayachamarajendra Wodeyar – to the field of music.

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At the inauguration of the symposium

R.K. Padmanabha sang compositions in Kannada (varnam), The first session, presided over by Dr. D.S. Kamatha, Yadukulakambhoji, Poorvikalyani and Mayamalavagaula dealt with “Relevance of Dance in Education” by Dr. – to highlight the beauty of the compositions of Choodamani Nandagopal and “Problems of Research Mysore Vasudevachar. Scholars in the field of Dance” by Prof. Usha Datar. Dr. T.S. Satyavathy, while demonstrating The second session confined to the “Usefulness of Doctoral compositions of Muthiah Bhagavatar said that he Thesis to Classical Dance field”, witnessed Dr. Malathi brought to light several less known raga-s and also Shiva Shankar speak about “Rasa in Haridasa Sahitya”, invented few raga-s. She sang kriti-s in Veenadhari, Dr. Shoba Shashi Kumar about content and aesthetics, Dr. Harinarayani and Oormika and Saraswati Manohari. B. V. Geetha about the folklore traditions of Malanadu, while dancer Radhika Nandakumar (who is preparing her Rudrapatnam Brothers R.N. Tyagarajan and R.N. Tharanathan thesis on “Vadya Prabandha”) threw light on “Goundali” demonstrated some compositions of Veena Seshanna, including dance, mentioned in Sangeeta Ratnakara and certain dance those in Kambhoji, Sankarabharanam, Saveri and Kalyani. movements mentioned in the 10th century text Brihaddesi. The symposium was successful in bringing out several less Dr. Tulasi Ramachandra, who coordinated the second known compositions of the Mysore composers. session, said that Ph.D was not an end, but the beginning A CORRESPONDENT of serious study of a particular subject. Her thesis on “Dance in Kannada Kavya-s (literature)” had widened her Karnataka Nrityakala Parishat’s Confest knowledge about Dance in Karnataka. Pampa’s Neelanjana Karnataka Nritya Kala Parishath, under the able guidance of Nritya describes how dance was performed by using guru Lalitha Srinivasan, successfully conducted a day-long “Kati chelli” and “Ura chelli” which proves that ‘Desia th seminar and a two-day dance festival recently in Bengaluru. nritya’ was prevalent during the 12 century. She further

5 z SRUTI March 2009 NEWS & NOTES mentioned that Jakkari, Kattari, Perini and Goundali were emphasised the fact that though 48 drishti-s are mentioned, the specialties of Karnataka dance. Great Kannada kavi-s they sometimes need to be supplemented by angika, like Ranna, Pampa and Janna have also mentioned dance to convey the right bhava, and also the scope to bring while Nagakumara Charita refers to “adavu-s”. She further in vyabhichari bhava in every sanchari. For example, a nayika pointed out that sooladi-s composed by saints Vadiraja playing with the ball can express “shyness” by depicting and Purandaradasa, could be danced for over an hour, as the sliding of the upper cloth or the uttariya. The day-long they are set in seven tala-s and in ragamalika. seminar was well attended and concluded with a friendly interactive meeting between musicians and dancers. Guru Vasantha Vedam (former faculty – Kalakshetra, Chennai), the moderator for the second session, felt The Natyotsava inaugurated by guru Maya Rao and children should be exposed to the fine arts to enable them presided over by Jayaramaraje Urs featured two acquire a rounded personality. She said dance should be dance-dramas – Ambe an adaptation from Vyasa Bharat added as an extra-curricular activity at the school level. penned by Satavadhani Dr. R. Ganesh and directed by dancer Radhika Nanda Kumar and Suvarna Karnataka The concluding session, dealing with the classification of Vaibhava directed by Guru Maya Rao were presented. nayika-s by guru Jaya and “Rasa Drishti – Vyabhichari Bhava” by Satavadhani Dr. R. Ganesh, was highly educative. On the second evening, past president of Nrityakala Dr. Ganesh threw light on the 48 drishti-s and 33 Parishath, Leela Ramanathan was conferred the title vyabhichari bhava-s, eight sthayi and eight satvika Nritya Siromani. The dance-dramaKarisidda of Kuvempu bhava-s mentioned in the Natya Sastra. He pointed was presented by the artists of Nritya Gangotri while the “Rasa is ananda swaroopa, but when viewed through Sridhars presented the popular Mahabharata. eight coloured glasses, eight different rasa-s are seen.” The concluding programmes of both the evenings were well He compared the “sthayi” to the trunk of a tree, whose choreographed and very well received by the large audience. branches are vyabhichari bhava-s, leaves are sanchari bhava-s and fruits are the satvika bhava. He further SULOCHANA SARALAYA Guru K.P. Kittappa remembered

The herb in the backyard has no power,” late guru!), Priya Murle, Priya Dikshit and Sridevi, (Kollaip-pacchilaikku veeriamillai) – thus goes a enthralled the audience with the presentation of selected “Tamil proverb. But, this was disproved by a function kavuthuvam-s of Gangamuthu Nattuvanar and conducted in memory of the doyen, the great compositions of the Tanjavur Quartet, as transmitted by Bharatanatyam guru, K.P. Kittappa Pillai (direct Kittappa Pillai. The audience could witness the experienced descendant of the Tanjavur Quartet), in Tanjavur, on and seasoned expression of bhava and subtlety, typical 30th October 2008, with a packed audience. The venue to the Tanjavur bani, reflected in the choreography of was the historical Sangeeta Mahal. The event was Kittappa Pillai. organised by the K.P. Kittappa Pillai Natyalaya, Tanjavur Sudharani’s disciples started with Todayamangalam and and K.P.K. Chandrasekaran, son and disciple of the followed it with three ‘sandhi-s’ from the Navasandhi illustrious guru. It was supported by the central Sangeet kavuthuvam. The navaragamalika varnamSami ninne, Natak Akademi, New Delhi. The function was presided was the central piece. Priya Murle’s bhava-filled leisurely over by S.N.M. Ubayadullah, Minister for Commercial poorvanga and Sridevi’s brisk footwork in the uttaranga, Taxes, Govt. of Tamil Nadu. were remarkable. Generally, such functions are dominated by speeches When the tillana was performed by all the three disciples, by dignitaries. Contrary to this, this event could rightly a senior male disciple of Kittappa Pillai, sitting by my be called a ‘dance homage’ by the disciples of the side, exclaimed “Aha, this is the typical kalapramanam, late guru. Even the Minister politely refrained from as taught by Vadyar!” The guru would chide, “Which fool making the customary and formal inaugural speech. told you that tillana means fast tempo? Every piece has its Prof. Sudharani Raghupathy (senior disciple of K.P. own tempo.” Kittappa) and her disciples (grand disciples of the

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The padam-sTatthai mozhiyal and Aasai mukham marandu Students from Vijayendra Kalakendra, Tirunelveli, pocche, were rightly chosen by Sudharani for the occasion. Kittappa Natyalaya, Chennai and Tanjavur and the Tamil Tatthai mozhiyal is an old padam and I have been watching Nadu Government Music School, Tiruvarur – all disciples it performed for the last 50 years, by many dancers. While of K.P.K. Chandrasekaran, presented a full margam. conforming to tradition, Sudharani gave a fresh handling. A book Tanjai Naalvar Manimalai, Music and Dance The idea of the whole piece was brought out well. She Compositions of the Tanjavur Quartet – containing some moved the audience with her portrayal of the pathetic hitherto unknown and unpublished pieces, brought out by state of the nayika. K.P.S. Sivakumar, son of K.P. Sivanandam, was released on Her concentration on bhava, immersing herself in the the occasion by Sri Babaji Raja Bhonsle Chatrapati. The composition, was well appreciated. Sudharani remarked, first copy was received by Sudharani Raghupathy. “At my age, in what way can I express my gratitude to my In short, the whole programme was a fitting homage to a Guru, other than by dancing the pieces learnt from him?” great Guru. She also rightly pointed out that at her age, she should not RAMA KAUSALYA attempt jumps and impossible footwork.

Photo News ABHAI - Association of Bharatanatyam Artists of India honoured three guru-s for their service and contribution VQVJGſGNFQHENCUUKECNFCPEGKP6JGCYCTFUYGTGRTGUGPVGFD[%CTPCVKEOWUKEOCGUVTQCPFEQORQUGT /$CNCOWTCNKMTKUJPCKP%JGPPCK )WTW 8GORCVK %JKPPC 5CV[CO YCU JQPQWTGF YKVJ VJG VKVNG QH -WEJKRWFK 0CV[C -CNC %JCMTCXCTVK CU /80CTCUKOJCEJCTK 2TGUKFGPV#$*#+ NQQMUQP 0CV[CEJCT[C7FWRK.CZOKPCTC[CPCPFIWTW-,5CTCUCYGTGJQPQWTGFYKVJVJGVKVNGQH0CV[C-CNCPKFJK

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East meets West in a novel encounter

ero Hameenniemi has created quite a wave in the Western music scene with his introduction of Eimprovisation in Western orchestra compositions. He was 16 years old when India became a part of his consciousness in a little town in Finland. His school text book had featured an open letter to the world’s young by the great German music composer Karlheinz Stockhousen. Hameenniemi, interested in music since childhood, wrote to the composer about the impact his open letter had on him. Stockhousen wrote back asking the young man to read The Life Divine by Sri Aurobindo. Young Hameenniemi searched everywhere for the book and found it in the Helsinki open distance library. He ordered it and had to return it in three weeks. He asked Jayashri, Hameenniemi, Subramaniam and Karthick his mother to permit him to miss school to finish the an impressive main tent with a conical roof by the big pond book. She surprisingly agreed and he read the book from in a park, a tent large enough for more than a thousand start to finish in three weeks time. “I understood very people, with wooden benches with elevations for seats. little at the time but it made me want to go to India.” There were separate tents for café, green rooms, meeting He was able to make it to India in his early thirties. He rooms, rest rooms put up for the festival temporarily on first went to North India but found that he was attending the grass in the park. The tent had an excellent sound more South Indian concerts there. So he decided to go system. Large blue and pink georgette fabric as backdrop to Madras in 1991 and as his practice, researched on the was interestingly arranged with tiny light bulbs in them people he had to meet. He made lifelong friendships. He – flickering like so many stars in the sky! As the soft has worked with mridanga maestro Karaikudi Mani and glow of lighting fell on the musicians, the sequins on the veena vidwan Karaikudi Subramaniam, has brought out kurtas of mridangist Pungkulam Subramaniam, Ghatam several CDs, arranged for exchange programmes between Karthick and violinist Embar Kannan caught the light as Finnish and Indian musicians, and organised programmes they played along. for Indian dancers and musicians in Finland. Chennai is now a second home to him. He tries not to miss any Bombay Jayashri sang Mokshamu galada with her eyes music season. closed as my hosts TV journalist Tiina Maiija Lehtonen and her journalist, trade unionist husband Erki Kupari Hameenniemi became so enamoured of Carnatic music that entered the tent that was almost full. The mostly he began to write compositions for Western orchestras with Finnish audience was fully engrossed in Jayashri’s improvisation in them. “Improvisation is an efficient way of music. At the end of the piece she opened her eyes and internalising different aspects of one’s musicianship. At its said: “This music that I am singing is a conversation best improvisation can also offer a very intensive experience – a conversation with the creator. The tools of the to the listener.” He has been derided by some conservative conversation are the groups of notes creating a path.” music lovers of Finland for bringing in this foreign element Then she began her soft ragamalika Ragam-Tanam- into Western music. To counter this he always keeps a CD Pallavi making the audience sit up and watch her with or two of Carnatic music in his bag to offer to his critics. intensity – swaying to her ‘Guha Shanmukha’ she kept repeating. Lalgudi Jayaraman’s tillana in Behag woke Rain and Red Earth them up from their reverie and they tapped their feet Composition by Eero Hameenniemi premiered in the to the rhythm. When Embar Kannan played the violin, Helsinki Festival Tiina Maiija whispered to me that she could recognise some Bach! Of course the tani avartanam of Ghatam Eero Hameenniemi’s latest composition was premiered at Karthick and Pungulam Subramaniam’s mridanga got the Helsinki festival. The concert was held in the Huvilla – the maximum applause.

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Post-interval was the main event – the premiere of Eero for the two percussionists to sit right in front of such a Hameenniemi’s new composition Rain and Red Earth major orchestra and be the main movers. “It is the respect – five songs from the the Tamil classic poems Kuruntogai given to the instrument that makes us so happy.” with the Avanti Chamber orchestra of thirty musicians with the Conductor maestro John Storgards and Minna Minna Pensola’s violin followed Jayashri’s voice like a Pensola and Heikki Nikula leading on violin and bass shadow and brought out all the love and pathos of the clarionet. poem and the music. “I see music as interaction and dialogue. I write as a practical musician, and my ideas “I love the music of Bombay Jayashri and wanted to are ultimately based on three decades of experience as a create something for her and of course I love the poems practicing composer, performer and listener. They are, of ancient Tamil Sangam anthologies and wanted to however, supported by an intensive study of music history create a large work based on them in Western music,” said and philosophy, as well as of the literature dealing with the Hameenniemi. meeting of cultures,” Eero explained later. This concert is the culmination of twenty years of hard “I cannot believe such an opportunity has come my way,” work – of coming to Tamil Nadu, learning Tamil, getting said Bombay Jayashri. “It is a defining moment in my life Dinatanthi (Tamil daily newspaper) in Finland every day, as a musician. There were three days for rehearsal and the and translating the Kuruntogai into Finnish. And of course first two days were a challenge for me to understand the listening to Carnatic music over and over again, listening conductor’s language. Minna Pensola is a great violinist. to almost every singer on stage. Eero studied classical Tamil She really inspired me.” with Professor E. Sundaramurti, former Vice Chancellor of the Tanjavur Tamil University. “I had this thought for a long time. I compose Western music and I like the human voice. I like two or three For this concert, Hämeenniemi chose five poems and singers in the world and Bombay Jayashri is one of them,” made a small love story out of them moving through says Hameenniemi. longing, disappointment and leading to a final affirmation of love. The poems were sung in Tamil but Hämeenniemi’s “I had read a few Sangam poems with Prof. Sundaramoorthy Finnish translations were printed in the programme and then began to read the collection systematically. leaflet distributed to the audience. These translations I decided to take poems that had some connection and have already been published in one of Hämeenniemi’s wove a story around them. They are romantic poems but books. He has written five books in Finnish, dealing with isolated and I wanted to give it a happy ending. To get the music theory, history and philosophy, and culture of a happy ending we all know there should be a troubled South India. beginning. The longing and waiting of the girl transforms into anger and then the realisation of the love within. The Rain and Red Earth is a large song cycle of more than half Mazhai poem already has a rhythm in it and I used it and an hour duration. It had substantial improvisation sections then the Yayum yayum about relationships which had to be both for Bombay Jayashri and some of the Western slow with a touch of Kalyani and then the girl realises that musicians. This is the first time a leading Carnatic singer love is more important than transitory anger and that deep has sung with a Western orchestra. connections cannot be broken. So I chose the Nilatinum peride poem. Jayashri had changed her black and gold sari to crimson and red for the second half and was seated in a chair in Bigger than earth certainly, front of the orchestra – presenting her classic Tamil profile higher than the sky, to the audience. As the orchestra played, Jayashri picked more unfathomable than the waters up the notes and sang Mazhai mazhai vilayadum mazhai is this love for this man (rain rain playful rain). As she sang, the rain beat on the of the mountain slopes tent and water drops fell off the gable by the side of the where bees make rich honey performing stage catching the light in rhythm as they fell. from the flowers of the kurinchi The swara-s poured rain. The Western instruments and the that has such black stalks. mridanga and ghata seemed to meet as long lost friends. – Tevakulattar (Kuruntokai 3) Karthick says he was delighted that a platform was created (translation A.K. Ramanujan)

9 z SRUTI March 2009 NEWS & NOTES MAARIT KYTOHARJU

Presenting Rain and Red Earth Then came the last one, Kamam kamam which is joyful mridanga and S. Karthick’s ghata work and brought out and humorous. The end was a delirious shout for joy and I the best in each of them.” The concert was broadcast live decided to do it in 17 beats dividing it into 10 and 7.” by the Finnish Radio YLE.

Eero Hemeenniemi engaged the Avanti chamber While the audience reaction to the concert was positive, the orchestra to produce this. Avanti is a premier chamber two newspaper reviews were interesting. The culture critic orchestra of Helsinki founded by two world class of the Swedish Newspaper Hufcudstadsbladet thought the conductors. The orchestra does not employ musicians on whole project was ingenious but the Helsingen Sanomat its rolls as is the practice with other orchestras but seeks critic attacked it finding the space moderate for such a out and gives short term contracts to musicians on its concert and deriding Eero Hameenniemi for his remarks panel for a particular concert. “Avanti is well known for its on Western concerts. “Well, I have talked in print about adventurous programmes in music and had a bold artistic the nature of the concert as a social event that is seen very vision in its current director Kari Kriikku. He trusted me differently in India and in the West. This is one of the when I took the project to him and took it on. In the four reasons for the differences in concert etiquette. In many days of rehearsal, they were pushed to the limits and not respects an Indian concert resembles very much a concert one musician complained,” says Hameenniemi. “For this in the West some two-three centuries ago. Performers can concert I specially asked for Minna Pensola and three shape musical compositions in radical ways. This was the double basses one special with extra string and one special practice in the West during the Baroque era, and it is still trumpet player. The director of Avanti took the gamble. an important aspect of music making in India.” This was a young orchestra.” The camaraderie between the Finnish and Indian musicians was very palpable. Backstage Bombay Jayashri says simply, “I believe Helsinki and Eero after the concert, Embar Kannan just took the viola of a Hemeenniemi’s Rain and Red Earth, is my parents/guru-s Finnish musician and began playing an Indian raga on it. blessings and god’s gift to me. It gave me the opportunity The Finnish man was delighted and was highly pleased. to bring together all my training over the years in different systems and the trust my teachers had placed in me and The special artist in the concert was the sound man. my love for world music and quest for dialogue. And with “He can be called our mike artist” says Hameenniemi. the Kuruntogai which is close to my heart.” He attended every rehearsal, took special pains to listen to the way Jayashri sings and Pungulam Subramaniam’s V.R. DEVIKA

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Thumri Rang in Kolkata

Thumri Rang” presented in Kolkata was a Sangeet Natak Akademi venture, to bring to the rasika-s of the “city, the myriad colours of thumri, a genre of Hindustani music. The festival was held from 13th to 16th November 2008 at Birla Sabhaghar. It was a grand success going by the jam-packed hall of connoisseurs. Eminent scholar and musician Vijay Kichlu was the chief planner of the event. Featured were some of the very best vocalists in the field. Girija Devi, a name to reckon with, explained what a thumri is. According to her, bhakti rasa is the mother of all rasa-s. Prem and bhakti are the two sides of the same coin. One who has experienced this is the repository of ‘gyan’. She sang Syam mori nayya followed by Babul mora. She gradually moved from Girija Devi vatsalya to sringara rasa. Her improvisations must be heard to be believed. her guru Begum Akhtar. She was accompanied by Sabir Khan (tabla). Channulal Misra and Mashkoor Ali Khan of the Kirana gharana transported the rasika-s to aesthetic Stalwart Bade Ghulam Ali Khan’s disciple Jagdish Prasad bliss. Mashkoor Ali Khan sang an uncommon sang in the inimitable style of his great guru. The passion bandish in Bheemplas. Channulal Mishra also included of Radha and Krishna was aesthetically brought out. a rare Baroa thumri in Majh Khamaj Lage to se naina. In the Teen tala thumri which he sang, he used various Ajoy Chakraborty established instant rapport with styles of thumri singing before ending with his very the audience when he rendered a Meera bhajan and own exclusive style. Sohan Lal provided harmonium followed it up with a Khamaj thumri. The audience accompaniment. was transported to the heights of aesthetic pleasure when he sang Kahe satao in raga Behag, so much so The festival boasted of two singers trained by Begum that they were not willing to let him go. On request Akhtar, a legend in thumri singing. Santi Hiranand he sang Aaye na balam with mesmerising sargam-s. and Rita Ganguly. The latter was at her creative best Other singers who made their mark at the festival and the tonal quality of her voice reminded one of were Murad Bano trained by Munawwar Khan of the Patiala gharana, Savita Devi – daughter of the Ajoy Chakraborty legendary singer Siddheswari Devi, and Purnima Choudhuri of the Benaras gharana, who is adept in singing thumri, dadra, chaiti, hori and tappa. Subhra Guha, under Vijay Kichlu’s guidance, has given a distinct structure to her gayaki. She was successful in maintaining the balance between khayal and thumri. Musical accompaniment was provided by Anand Gopal Bandopadhyaya (tabla), Roshan Ali (sarangi) and Sanchita Biswas (harmonium). Jayant Kastuar, Secretary, Sangeet Natak Akademi must be lauded for presenting this rare musical bouquet to the people of Kolkata.

TAPATI CHOWDHURIE

11 z SRUTI March 2009 NEWS & NOTES And then they came to India nd Then They Came To India is a brilliant yet to convey that they would mix with the people of that simple dance choreography by a thinking dancer land like sugar in the milk. The king was impressed A– Mallika Sarabhai. It is a dance-drama telling and granted them permission to stay in his kingdom a tale of the humble community of Parsis. It traces the and called them Parsi as they had come from Persia. history even before the birth of Zarathustra and the early The beauty of the performance lay in its simplicity. Persians, their myths, the birth of Zoroastrianism and the The concluding part of the dance-drama was the most coming of the Parsis to India. impressive where, to show the blending of two cultures, And Then They Came To India was performed by Mallika the dancers perform the Garbha and the other dancers Sarabhai and a troupe of Darpana artists on a rainy playing the role of the Parsis join the Garbha to indicate evening in September at Ahmedabad’s Town Hall. that they had adopted the Gujarati culture. In fact Mallika Mallika is known for her creative productions and her had used a blend of different cultures in India to tell the creativity knows no boundaries. In this production she tale of the Parsis. She used classical dance forms of south used Kathakali, Kalaripayyatu, Bharatanatyam, and India, Gujarat’s Garbha, and music from the Kathakali Gujarat’s Garbha. It had a touch of Koochipoodi too. dance-dramas. Mallika played the role of a sootradhar, she introduced the The concept, script and choreography for And Then characters and maintained the continuity. They Came To India is by Mallika Sarabhai. Music is by Jayan Nair, Darpana Musicians and Eero Hameenniemi. The dance-drama was about the coming of the Parsis to Lighting design is by Yadavan Chandran and it was India. Forced to leave their country, the Persians sailed out performed by Mallika Sarabhai, Anahita Sarabhai and in seven groups. Some went to China and Afghanistan and Darpana’s dancers. And Then They Came To India is being some landed on Gujarat’s coast and asked for permission staged in major cities of India and is sponsored by from the king to stay in his kingdom. Symbolically, the Avesthagen Limited. king sent a bowl filled with milk, to tell the foreigners that his land was full with people like the bowl of milk. The Such productions are among the best ways to learn leader of the foreigners put sugar in the milk, stirred it history! and sent it back to the king. It was a symbolic message SAPNA RANGASWAMY

A scene from And Then They Came To India

12 z SRUTI March 2009