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Akadami Awards AKADAMI AWARDS 1956 Rashtrapati being Canducted ta the Stage T an impressive ceremony held at th.e not be given to him. A Diwan-e-Am, Red Fort on the lIth Apnl Reading the citations Smt. Nirmala Joshi 1956 the Rashtrapati Dr. Rajendra Prasad requested the Rashtrapati to honour the presented the Sangeet Natak Akadami annual following artists who have rendered singular awards to the eminent artists of the year. service to the cause of art. In his address, the Rashtrapati remarked Rajabbayya Poonchwale "'If efforts are being made in free India to revive BORN in 1882, the late Rajabhayya started these arts and to popularise them, the reason his music lessons under the late Pt. Vaman is not merely love for the Bua Deshpande and later old and traditional. These under Khan Sahib Nisar arts, specially music and Husain and Sri Shankar dance, are so well developed Rao Pandit of Gwalior. and have so much inspira­ Acharya Rajabhayya's main tional value that they may forte was the khayal; his be looked upon as a means gayaki' belonged to what of sublimating human so­ is known as the "Gwalior cietv and imparting true Gharana Gayaki". He was happiness to it." a scholar, teacher and artist and devoted his entire life In his welcome address to music. Unlike most Sri Natyanand Kanungo singers, his style was noted referred to the sad demise for its simplicity and grace. of Rajabhayya Poonchwale He always executed the most who was nominated for intricate tans in difficult the award for Hindustani rhythm, in madhyama laya, vocal music. He also refer­ over which he had complete red to Prithviraj Kapoor mastery. His gayaki had who had been unanimously ease, depth and sustaining nominated for the award appeal. He was the Principal in the category of Producer­ ofthe MadhavSangeet Vidy­ Director. But since Prithvi­ alaya, Gwalior, from 1941 to raj is already a Fellow 1949. In his death, the coun­ of the Akadami it was try has lost an eminent tea­ decided that the award need Rajabhayya Paonchwale cher and an able exponent. 16 Smt. M. S. Subba/akshmi Guru Amubi Singh Shr; Bismillah Khan Guru Amubi Singh Cultural Centre. He has trained a whole generation of able teachers and exponents of A FTER undergoing training under eminent Manipuri dancing. He is also a well-known Gurus of Manipur like Laisram Mongoli­ musician-composer. jao Singh and Chaubu Sharma and others Guru Amubi Singh devoted his whole life to Guru Kunchu Kurup the cause of the revival of Manipuri dancing. BORN at Ambalapuzha, Travancore-Cochin His passion for the art was so great that he State in 1881, Guru Kunchu Kurup start­ came out ofImphal to teach Manipuri dancing ed his training at the age of 12 under the and was associated with Sri Uday Shankar's renowned teacher Champakkulam Sanku Pillai, Shr; Pa/ghat Man; Guru Kunchu Kurup Shr; Ganesh G. Badas 17 He is widely known as a versatile perform­ is also well known for her melodious rendering er with a great mastery over the technique and of Bhajans. literature of Kathakali dancing. An able teach­ er he has reared up a number of outstanding She has been awarded the Padma Bhooshan dancers. He has also been a pioneer in the in recognition of her services in the cause of cause of the revival of Kathakali and was a education and culture in the country. founder member of the Kerala Kala Manda­ lam. He was awarded Veersrinkhala by His Palghat Mani Iyer Highness the Maharaja of Cochin in 1930. He was also honoured by the Prince of Berar and pALGHAT Mani Iyer hails from a family of His Highness the Maharaja of Mysore. musicians. He is the son of Sri Seshan Bhagavatar. Sri Mani Iyer has had training Ganesh Govind Bodas under Sri Shathapuram Subba Iyer of Palghat and Tanjavoor Vaidyanatha Iyer, both of whom BORN in Shevgaon village in Ahmadnagar in are celebrated vidwans of Mridanga. Forty­ 1880 Sri Bodas started his career in 1896 three-year old Mani Iyer has been playing Mri­ and had his early training in acting under the dangam for over thirty years and has shown late Govindrao Dewal. Since then he has been his genius both as an accompanist as well as a on the stage as actor. producer and director solo performer of rare quality. He has develop­ and has been associated with almost all promi­ ed a unique style in accompaniment, closely nent theatre companies of Maharashtra render­ following and embellishing the patterns of ing great service towards the progress of the 'Sahitya' and 'svaras' of singers and instrument­ stag e. alists. The most intricate 'pal/avis' and 'kritis' are handled by him with consummate ease. His 'tani avarthanams' rendered with skill and His versatility as an actor has been recog­ clarity are very eagerly looked forward to by nised since 1908 when he was awarded a gold the music audience in the South. He is also medal in Bombay. He is also a recipient of known as an eminent teacher. He has been a number of honours from various cities in honoured as an Asthan Vidwan of Travancore. Maharashtra. Bismillah Khan M.S. Subbalakshmi BISMILLAH Khan hails from a family of SMT. Subbalakshmi is one of the best known musicians in Banaras. He is a musician exponents of Karnatic music who has won endowed with a rich creative faculty. It is en­ wide popularity all over the country for her tirely through his efforts that the Shahnai has enchanting voice. She comes of a hereditary acquired great dignity and popularity. Sri Bis­ family of musicians and is the daughter of millah has developed a soft and delicate Smt. Shanmuga Vadivoo, a celebrated Veena technique of his own in rendering the most player. A talented and versatile artist Subba­ difficult ragas on the instrument. His subtle lakshmi has a large repertoire of the '''kritis'' nuances lend colour to his concerts and thrill of all great composers of Karnatic music. She the listeners..
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