DOCSLIB.ORG

Rukmini Devi Full Small.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rukmini Devi Full Small.Pdf Rukmini Devi Arundale (29 Feb 1904 – 24 Feb 1986) he story of Rukmini Devi others of her high standards as a and others in the smooth transition and Kalakshetra is now part teacher, mentor, head of institution, to Kalakshetra’s continued state of Tof the cultural history of she perhaps failed to put in place a stability are well known to people contemporary India. Her life was part proper succession plan. In her own familiar with the history of the fairytale, part heroic saga, a life lived by words, “Often people exclaim and Foundation. True there have been lofty ideals and unshaken conviction. say: ‘What will happen after you!’ My moments of uncertainty and some steps She played a large role in the revival answer is twofold; firstly, one must do perhaps taken in the wrong direction, of Bharatanatyam, redefined its stage the best one can while one is alive and but few can complain of any great and costume aesthetics as well as its even that is worthwhile. Secondly, we loss of identity or decline of standards grammar and spiritual underpinnings. must not stop working just because over the decades after Rukmini Devi, A brilliant choreographer and we may not find the kind of successors especially when we consider the designer, she created the genre of we expect. I feel sure that there will serious depredations globalisation has dance-drama, collected around her be some who will carry on the work made into institutions and traditions some of the finest artists and teachers and that, if our destiny is good, there all around. from a variety of disciplines, to teach will be some one or more outstanding This profile of Rukmini Devi Arundale, and practise at Kalakshetra. She personalities to take over, who will written by Gowri Ramnarayan as a did a magnificent job of preserving make their own contribution.” three-part serial in the first year of traditional arts and crafts, making the Rukmini Devi’s faith in a benign Sruti’s publication, takes the reader Kalakshetra weaving department a destiny seemed misplaced for a while through her journey of discovery centre of excellence. She was a strong and there were anxious moments and excellence, while also providing and vocal advocate of vegetarianism about the future of the institution insights into her holistic philosophy and compassion to animals. She when she died in 1986. The roles of art truly rooted in nature, and her became an effective, often inspiring played by several individuals like the compassion for all things living. speaker on all the subjects dear to much loved Sankara Menon, former her. Above all, she was an institution EDITOR president of India R. Venkataraman builder par excellence. And like many “The first time I saw her was when she invited me to India. The second time I saw her was when she gladdened the eyes of the children of my school in Europe by the beautiful presence of her Indian womanhood. I saw her again a third time from an aeroplane on the sacred land of India and her hands were covered with garlands of roses and jasmine, and then I lived next to her. I have seen her in all the beauty of her unsurpassing Art of Kalakshetra which she cares for with the generous goodness of her exceptional spirit. Today the occasion of her birthday, which, however, comes only every four years, I have felt the miracle of being here in her domain and of seeing her in glory among her pupils and have wished her with all my heart, all the good that can be obtained in this world and the triumph of her ideals.” Dr. MARIA MONTESSORI 1 z SRUTI And today, at the mellow, age of When you partake of an art, four-score plus one, she still somewhere, somehow, perhaps like remains an extraordinary source of a hairline, there is a development kinetic energy, a trend-setter, a of your own nature, your higher revolutionary who battles with all self. The change is so subtle that the power at her command to you cannot easily define it. It is a preserve the purity of tradition and gradual but sure change of keep the insidious encroachment of civilization itself." he imperious voice rings out a ugliness in both life and art at bay. Trefusal. "No. I cannot spare the Ultimately what genuine art strives time to give interviews. There is so Rukmini Devi's missionary zeal has to communicate is the sense of much important work to be done been channelized into many and beauty and a joy in that beauty. and here come all these people varied streams of activity. They When highly created art evolves, pestering and pressurizing me." have borne fruits in several spheres she says, "its beauty is such that it Another voice implores: "This is a and not only in the aesthetic realm will gradually penetrate into your very special occasion. You have which has received the greatest nature." This may not be an just turned eighty and it's a attention. But she herself draws no instantaneous transfiguration and landmark...." At this, Kukmini Devi, dividing lines between the various perhaps not occur in one lifetime. who has been walking away to get activities to which she has paid The human collective unconscious into her car turns around. All attention. Hers is a holistic is enriched by it for "it will surely traces of annoyance have vanished. approach towards life which does penetrate into the nature of our With a broad smile she asks: "Is not look upon animal welfare and civilization." The poet Shelley had turning eighty such an Bharatanatyam as separate, observed that imagination is a achievement? All men and women watertight compartments. Her great moral force operant in the grow old. Some live longer than involvement with education is not arts, which impels man towards others. Completing eighty is not a segregated from her interest in the goodness because it unfolds vistas sacred landmark in my life! I don't handicrafts. Working for the of hitherto unperceived beauty. even feel old! My work is by no vegetarian cause is as important as Art contributes to the effect by means complete. I am looking giving lectures on theosophy. A acting upon the imagination, he e forward to achieving more and heuristic sensibility makes her said. Kukmini Devi avers that it is more worthwhile goals in the various activities an authentic not so much the power of future." contribution of the individual imagination as the power of art to towards changing the course and make man more sensitive that She is old, no doubt. Her freshly direction of the world. With this develops the human qualities of washed silver hair proclaims her approach, she has brought to the compassion and fellow feeling. She years, as do the wrinkles and world of art, which is a world of elaborates: pouches under the eyes. She had illusion and make-believe, the been leaning on a colleague's thrust and force of real life. "Artists have a deep emotion- shoulders during the short walk to charged sensitivity. They are the car. Yet, when she talks of the She feels strongly on the sensitive to everything, to beauty, future and the work to be done, she importance oi art and articulates to sorrow, to cruelty. So they seems to shed all traces of the her views with passion. cannot stand ugliness in life and passage of years. There is a glow in "People say that art makes you cruelty is an ugliness in life. With her eyes, a youthfulness in her grow. But anything that inspires their natural instincts tuned to this voice and a zest and power of you makes you grow. Learning and fine, sensitive pitch, they get a eloquence in her speech. practising any of the arts will add better mental understanding of life. But since the change wrought by Assuredly, unpredictability is the to your poise and make you more artists is neither preceded by a main streak in Kukmini Devi's graceful, expressive and articulate. sudden upheaval nor followed by a nature. She eludes entrapment by But the personality doesn't grow by total change, you may think that eulogy. She refuses to permit the the attention given to a subject. It there is no change. But the change ossification that sets in with grows by an inner understanding. is taking place all the time and excessive adulation which would Artists and art lovers are artists are helping civilisation to 'monumentalize' her and cut her off sometimes very cruel. So don't change. I think art is essential for from the mainstream of life. think that a mere learning of music or dance will make a person more human development because it It is often said that personalities compassionate. contributes, immeasurably yet make destiny. This truism is imperceptibly, like a drop in the applicable with special force in "But the arts have a much more ocean, to the evolution of noble Rukmini Devi's case. It is surely important role to play in human and good character in people." her own dynamic nature, with its life and human endeavour than the multifaceted interest in the varied development of individuals. In an These words gain meaning and aspects of life and art, that has invisible overall way, art fosters the validity in the light of the speaker's made her a unique "cult figure'. spiritual growth of humanity. own life. Rukmini Devi was born on 29 student of Vedanta who wrote and that she used to enjoy watching February 1904 — a leap year — in commentaries on some of the the rehearsals as well as the actual Madurai during the auspicious Upanishads.
Load more

Recommended publications
  • How Modern India Reinvented Classical Dance
    ESSAY espite considerable material progress, they have had to dispense with many aspects of the the world still views India as an glorious tradition that had been built up over several ancient land steeped in spirituality, centuries. The arrival of the Western proscenium stage with a culture that stretches back to in India and the setting up of modern auditoria altered a hoary, unfathomable past. Indians, the landscape of the performing arts so radically that too, subscribe to this glorification of all forms had to revamp their presentation protocols to its timelessness and have been encouraged, especially survive. The stone or tiled floor of temples and palaces Din the last few years, to take an obsessive pride in this was, for instance, replaced by the wooden floor of tryst with eternity. Thus, we can hardly be faulted in the proscenium stage, and those that had an element subscribing to very marketable propositions, like the of cushioning gave an ‘extra bounce’, which dancers one that claims our classical dance forms represent learnt to utilise. Dancers also had to reorient their steps an unbroken tradition for several millennia and all of and postures as their audience was no more seated all them go back to the venerable sage, Bharata Muni, who around them, as in temples or palaces of the past, but in composed Natyashastra. No one, however, is sure when front, in much larger numbers than ever before. Similarly, he lived or wrote this treatise on dance and theatre. while microphones and better acoustics management, Estimates range from 500 BC to 500 AD, which is a coupled with new lighting technologies, did help rather long stretch of time, though pragmatists often classical music and dance a lot, they also demanded re- settle for a shorter time band, 200 BC to 200 AD.
    [Show full text]
  • Rukmini Devi Arundale
    Rukmini Devi Arundale January 6, 2021 Rukmini Devi Arundale(1904 – 1986) “I was very intuitive from an early age. I responded to people just as I responded to art – through an inner feeling which is difficult to explain. I just felt some things were right and some were not…” Rukmini Devi was born on 29 February 1904 in Madurai of Tamilnadu. She was the first woman in Indian history to be nominated a member of the Rajya Sabha. Rukmini Devi Arundale was an Indian theosophist, dancer, and choreographer of the Indian classical dance form of Bharatnatyam, and an activist for Animal welfare. The most important revivalist of Bharatanatyam from its original ‘sadhir’ style prevalent amongst the temple dancers, the Devadasis, she also worked for the re- establishment of traditional Indian arts and crafts. She was awarded the Padma Bhushan in 1956 and the Sangeet Natak Akademi Fellowship in 1967. In January 1936, she along with her husband established Kalakshetra, an academy of dance and music, built around the ancient Indian Gurukul system, at Adyar, at Chennai. Today the academy is a deemed university under the Kalakshetra Foundation. She also became very close to Annie Besant and helped her with her work. She went on to become the President of the Theosophical Society after Dr. Besant’s passing and Rukmini Devi herself was an active member of the Theosophical movement. She gave her first performance at the Diamond Jubilee celebrations of the Theosophical Society in 1935. Theosophists hailed her as the World Mother, to her family in Kalakshetra she is Athai (paternal aunt).
    [Show full text]
  • The Early Days of Theosophy in Europe by A.P
    The Early Days of Theosophy in Europe by A.P. Sinnett The Early Days of Theosphy in Europe by A.P. Sinnett Theosophical Publishing House Ltd, London, 1922 NOTE [Page 5] Mr. Sinnett's literary Executor in arranging for the publication this volume is prompted to add a few words of explanation. There is naturally some diffidence experienced in placing before the public a posthumous MSS of personal reminiscences dealing in various instances with people still living. It would, however, be impossible to use the editorial blue pencil without destroying the historical value of the MSS. Mr. Sinnett's position and associations with the Theosophical Society together with his standing as an author in the Theosophical movement alike demand that his last writing should be published, and it is left to each reader to form his own judgment as to the value of the book in the light of his own study of the questions involved. Page 1 The Early Days of Theosophy in Europe by A.P. Sinnett CHAPTER - 1 - NO record could truly be called a History of the Theosophical Society if it concerned itself merely with events taking shape on the physical plane of life. From the first such events have been the result of activities on a higher plane; of steps taken by the unseen Powers presiding over human evolution, whose existence was unknown in the outer world when their great undertaking — the Theosophical Movement — was originally set on foot. To those known in the outer world as the Founders of the Theosophical Society — Madame Blavatsky and Colonel Olcott — the existence of these higher powers, The Brothers as they were called at first, was more or less imperfectly comprehended.
    [Show full text]
  • Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan
    Table of Contents From the Publications & Outreach Committee ..................................... Lakshmi Radhakrishnan ............ 1 From the President’s Desk ...................................................................... Balaji Raghothaman .................. 2 Connect with SRUTI ............................................................................................................................ 4 SRUTI at 30 – Some reflections…………………………………. ........... Mani, Dinakar, Uma & Balaji .. 5 A Mellifluous Ode to Devi by Sikkil Gurucharan & Anil Srinivasan… .. Kamakshi Mallikarjun ............. 11 Concert – Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan ..... 14 A Grand Violin Trio Concert ................................................................... Sneha Ramesh Mani ................ 16 What is in a raga’s identity – label or the notes?? ................................... P. Swaminathan ...................... 18 Saayujya by T.M.Krishna & Priyadarsini Govind ................................... Toni Shapiro-Phim .................. 20 And the Oscar goes to …… Kaapi – Bombay Jayashree Concert .......... P. Sivakumar ......................... 24 Saarangi – Harsh Narayan ...................................................................... Allyn Miner ........................... 26 Lec-Dem on Bharat Ratna MS Subbulakshmi by RK Shriramkumar .... Prabhakar Chitrapu ................ 28 Bala Bhavam – Bharatanatyam by Rumya Venkateshwaran ................. Roopa Nayak ......................... 33 Dr. M. Balamurali
    [Show full text]
  • One 1 Mark Question. One 4 Mark Question. One 6 Mark Question
    10. Rukmini Devi Arundale. One 1 mark question. One 4 mark question. One 6 mark question. Content analysis About Rukmini Devi Arundale. Born on 29‐02‐1904 Father Neelakantha StiSastri Rukmini Devi Arundale Rukmini Devi Liberator of classical dance. India’s cultural queen. Rukmini Devi Fearless crusader for socilial c hange. Champion of vegetarianism. Andhra art of vegetable-dyed Kalmakari Textile crafts like weaving silk an d cotton a la (as prepared in) Kanchipuram Banyan tree at Adyar Rukmini Devi The force that shaped the future of Rukmini Devi Anna Pavlova Anna Pavlova Wraith-like ballerina (Wraith-like =otherworldly) Her meeting with Pavlova. First meeting : In 1924, in London at the Covent Gardens. Her meeting with Pavlova. Second meeting: Time : At the time of annual Theosophical Convention at Banaras. Place : Bombay - India. The warm tribute of Pavlova Rukmini Devi: I wish I could dance like you, but I know I never can. The warm tribute of Pavlova Anna Pavlova:NonoYoumust: No, no. You must never say that. You don’t have to dance, for if you just walk across the stage, it will be enouggph. People will come to watch you do just that. Learning Sadir. She learnt Sadir, the art of Devadasis . Hereditary guru : Meenakshisundaram Pillai. Duration: Two years. First performance At the International Theosophical Conference Under a banyan tree In 1935. reaction Orthodox India was shocked . The first audience adored her revelatory debut. The Bishop of Madras confessed that he felt like he had attended a benediction. Liberating the Classical dance. Changes made to Sadir. Costume and jewellery were of good taste.
    [Show full text]
  • Visionary Craft
    Chennai • CITY EDITION • FEBRUARY 28, 2020 Arts | Dance | Music | Movies www.thehindu.com/FridayReview Theatre | Review | History & Culture | Faith Lakshmi Viswanathan CCCCCCCCCCCCCCC of the soul to the Highest. It needs the sential feature of India’s art is that it is same devotion, the same great flights A leap year child, founded on a spiritual outlook,” she et me begin by paying my of imagination that produces reli­ Rukmini Devi said. She often emphasised that “ homage to the founder of gious feeling. Added to these are the spirituality” was above religion. “In Kalakshetra, Rukmini De­ creative spirit which, blossoming out Arundale was also a India there is no religion apart from vi Arundale. I knew her, of the artist produces great works of non­political activist our daily lives.” interacted with her, and art. Think of some of the great tem­ in my own modest way, ples and the bronze images of South and a woman known Path-breaking experiments Lhelped her with some of her thought­ India. These were not made by so­ for her refined Such clear thinking moulded her ful ventures like the Kalakshetra Jour- phisticated people… they may not vision for dance and thus was born nal. I admired her as a leader of In­ even be able to speak to us about ab­ aesthetic sense the institution Kalakshetra. She was dian culture, a thinker and a creative stract philosophy… nevertheless they the first to understand the value of a artiste. She knew that the arts have to were the people who created master­ school for dance.
    [Show full text]
  • FINE ARTS ART and CULTURE ‡ Bhangra (Punjab) - Folk Dance of Harvest Season, Coinciding with the Festival of Baisakhi
    78 FINE ARTS ART AND CULTURE ‡ Bhangra (Punjab) - folk dance of harvest season, coinciding with the festival of Baisakhi. ‡ Lalit Kala Academy was set up in 1954 at New Delhi. ‡ Tamasha (Maharashtra) - Nautanki (U.P.), Garba ‡ Sangeet natak Academy was established in 1953 at (Gujarat), Chhow (Orissa, Bihar). New Delhi. Its function is to conduct survey ‡ There are two forms of music in India - Carnatic and research of different art forms in India. Hindustani. ‡ Sahitya Academy was established in 1954 at New ‡ Sama Veda deals with music. Delhi. Its aim is to encourage production of high ‡ Purandaradas gave shape and form to Carnatic class literature in several languages of India. music. ‡ The National Book Trust of India was set up in ‡ The trinity of Carnatic music is Thyagaraja, Syama 1957. Shastri and Muthuswami Dikshitar. ‡ ASI - Archaeological Survey of India - was established in 1861. Its headquarters is in New Names Associated with Indian Music: Delhi. ‡ Ustad Alla Rakha - A master of the Tabla. ‡ Indian Council for Cultural Relations was established ‡ Bala Murali Krishna - A singer of Carnatic music. in 1950, and it strives to promote and to strengthen cultural relations and mutual understanding between ‡ Bhim Sen Joshi - A Hindustani singer. India and other countries. The Council administers ‡ Pt. Hari Prasad Chaurasya - Flute player. the Jawaharlal Nehru Award for the promotion of ‡ Pt. Jasraj - Famous singer of Hindustani music. peace and international understanding. ‡ Parveen Sulthana - Hindustan style singer. ‡ NSD - National School of Drama - was set up in 1959 in Delhi. ‡ Neralathu Ramapothuval - Sopanam. ‡ Dances : There are two main branches of Indian ‡ M.S.Subha Lakshmi - Carnatic music.
    [Show full text]
  • Chapter 1 Uday Shankar and Locating Modernity
    CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead.
    [Show full text]
  • It Will Be My Greatest Happiness to Know That in Its Own Humble Way, Kalakshetra Is Helping to Make More Beautiful, More A
    "It will be my greatest happiness to know that in its own humble way, Kalakshetra is helping to make more beautiful, more artistic, the lives of all - that in the education of the young, creative reverence for that spirit of the beautiful which knows no distinction of race, nation or faith has a pre-eminent place..." Rukmini Devi Arundale INTRODUCTION RUKMINI DEVI COLLEGE OF FINE ARTS BHARTANATYAM REPERTORY CARNATIC MUSIC VISUAL ARTS MAP OF KALAKSHETRA PART TIME COURSES SCHOOLS MUSEUM LIBRARIES, ARCHIVES AND PUBLICATIONS PERFORMANCE SPACES CONTACT DETAILS ABOUT OUR FOUNDER RUKMINI DEVI ARUNDALE 1904 -1986 ukmini Devi was born in the temple town of Madurai in Rthe erstwhile Madras Presidency, now in Tamil Nadu. She spent her early years there along with her eight siblings. Her father Neelakanta Sastry who was very “forward thinking” initiated the family into the philosophy of the Theosophical Society, which freed religion from superstition. She grew up in the environment of the Theosophical Society, influenced and inspired by people like Dr. Annie Besant, Dr. George Sydney Arundale, C. W. Leadbeater and other thinkers and theosophists of the time. In 1920, she married Dr. George Sydney Arundale. Although they faced a great deal of opposition from the conservative society of Madras, they stayed firm in their resolve and worked together in the years that followed. KALAKSHETRA'S ORIGINS n August 1935, Rukmini Devi along with her husband Dr. IGeorge Sydney Arundale and her brother Yagneswaran met with a few friends to discuss a matter of great importance to her – the idea of establishing an arts centre where some of the arts, particularly music and dance, could thrive under careful guidance.
    [Show full text]
  • Abhinaya in Bharatanatyam
    PAPER 6 DANCE IN INDIA TODAY, DANCE-DRAMAS, CREATIVITY WITHIN THE CLASSICAL FORMS, INDIAN CLASSICAL DANCE IN DIASPORA (USA, UK, EUROPE, AUSTRALIA, ETC.) MODULE 19 THE EARLY FEMALE GURUS AND DANCERS OF BHARATANATYAM From early 1900 A D, some brave girls and their families started a journey, going where earlier it was a great taboo to go. The courage, conviction and love for dance prompted them to venture on a path which at that point had no direction and was beyond worldly gains. Also in such a tumultuous time, to be born to that tradition was really tough. We need to know, understand and get inspired by these women, due to whom millions are not only learning Bharatanatyam, but it has given dignity and purpose to the art. Here we study a few of them. SMT. BALASARASWATI Balasaraswati was born in 1918 and died at 1984. She rose on the solo Bharatanatyam horizon through her sheer genius. She belonged to the devadasi tradition and was extremely proud of it, though she was never initiated into any temple service. The only dancer to be conferred the prestigious Sangitha Kalanidhi title; she reacted sharply to compartmentalizing the dance into sacred and profane water-tight divisions. For Bala, Shringara / �रĂगार was an all- 1 encompassing mood which included all the other moods. In 1975, speaking at the Annual Conference of Tamil Sangam, Bala made the famous statement, "In Bharatanatyam, the shringara we experience is never carnal, never, never!" Bala came from a home where musicians like Dharmapuri Subbarayar / धरमऩुरी, Tiruvottiyur Tyagier, Hayagrivachari / हयाग्रिवाचारी (from Dharwad / धारवाड़), Govindaswamy Pillai, Ariyakkudi Ramanuja lyengar were frequent visitors, who came to meet and listen to Bala's grandmother, the inimitable Dhanammal, the veena player.
    [Show full text]
  • The Theosophist
    THE THEOSOPHIST VOL. 133 NO. 3 DECEMBER 2011 CONTENTS On the Watch-Tower 3 Surendra Narayan Buddhi 6 I. K. Taimni Freedom of Thought: Is It Essential? 8 Linda Oliveira Indian Systems of Philosophy — Samkhya Darsana 15 Bhupendra R. Vora A Word to the Student 21 N. Sri Ram A Philosophic Look at the Organization 23 N. C. Ramanujachary Tread the Path — the Theosophical Way 25 R. Revathy Fragments of the Ageless Wisdom 30 To Service the Whole Universe is Yoked 31 T. K. Nair Convention Programme 36 International Directory 38 Editor: Mrs Radha Burnier NOTE: Articles for publication in The Theosophist should be sent to the Editorial Office. Cover Picture: Garden Lizard (Calotes versicolor), Adyar — Dr T. P. Alaganantham Official organ of the President, founded by H. P. Blavatsky, 1879. The Theosophical Society is responsible only for official notices appearing in this magazine. 1 THE THEOSOPHICAL SOCIETY Founded 17 November 1875 President: Mrs Radha Burnier Vice-President: Mrs Linda Oliveira Secretary: Mrs Kusum Satapathy Treasurer: Miss Keshwar Dastur Headquarters: ADYAR, CHENNAI (MADRAS) 600 020, INDIA Secretary: [email protected] Treasury: [email protected] Adyar Library and Research Centre: [email protected] Theosophical Publishing House: [email protected] & [email protected] Fax: (+91-44) 2490-1399 Editorial Office: [email protected] Website: http://www.ts-adyar.org The Theosophical Society is composed of students, belonging to any religion in the world or to none, who are united by their approval of the Society’s Objects, by their wish to remove religious antagonisms and to draw together men of goodwill, whatsoever their religious opinions, and by their desire to study religious truths and to share the results of their studies with others.
    [Show full text]
  • Vol.74-76 2003-2005.Pdf
    ISSN. 0970-3101 THE JOURNAL Of THE MUSIC ACADEMY MADRAS Devoted to the Advancement of the Science and Art of Music Vol. LXXIV 2003 ^ JllilPd frTBrf^ ^TTT^ II “I dwell not in Vaikunta, nor in the hearts of Yogins, not in the Sun; (but) where my Bhaktas sing, there be /, N arada !” Narada Bhakti Sutra EDITORIAL BOARD Dr. V.V. Srivatsa (Editor) N. Murali, President (Ex. Officio) Dr. Malathi Rangaswami (Convenor) Sulochana Pattabhi Raman Lakshmi Viswanathan Dr. SA.K. Durga Dr. Pappu Venugopala Rao V. Sriram THE MUSIC ACADEMY MADRAS New No. 168 (Old No. 306), T.T.K. Road, Chennai 600 014. Email : [email protected] Website : www.musicacademymadras.in ANNUAL SUBSCRIPTION - INLAND Rs. 150 FOREIGN US $ 5 Statement about ownership and other particulars about newspaper “JOURNAL OF THE MUSIC ACADEMY MADRAS” Chennai as required to be published under Section 19-D sub-section (B) of the Press and Registration Books Act read with rule 8 of the Registration of Newspapers (Central Rules) 1956. FORM IV JOURNAL OF THE MUSIC ACADEMY MADRAS Place of Publication Chennai All Correspondence relating to the journal should be addressed Periodicity of Publication and all books etc., intended for it should be sent in duplicate to the Annual Editor, The journal o f the Music Academy Madras, New 168 (Old 306), Printer Mr. N Subramanian T.T.K. Road, Chennai 600 014. 14, Neelakanta Mehta Street Articles on music and dance are accepted for publication on the T Nagar, Chennai 600 017 recommendation of the Editor. The Editor reserves the right to accept Publisher Dr.
    [Show full text]