Quantcast
Channel: Sruti Magazine
Viewing all 1851 articles
Browse latest View live

Generation Next

$
0
0
By KS Kalidas

Sriranjani Santhanagopalan

Successful musicians in the past were generally not in favour of their wards taking up music as their profession. The reasons were the hardships they had faced in their career and also the uncharitable comparisons that people often made between them and their offsprings. Till about three decades ago, concert opportunities were quite limited, which discouraged youngsters from taking up music as their career. Of course, the constant ‘sound of music’ at home did rub off on the children and they became quite knowledgeable, though they did not necessarily become performers.

Things have changed to some extent now. With the increase in performing opportunities, growing independence and self-confidence of the younger generation, and the rigours of the profession getting mitigated considerably, we do have youngsters from music families taking up careers in music.

One such young musician is 22-year old vocalist Sriranjani, daughter of the popular musician Neyveli Santhanagopalan. Santhanagopalan, the most important disciple of Madurai T.N. Seshagopalan, has over the years, evolved a style of his own, emphasising bhava with influence drawn from such musicians as Tanjavur Sankara Iyer. Sriranjani’s earliest inspiration was undoubtedly her father, but while growing up, she was deeply attracted to the music of the late Madurai Mani, Semmangudi and Ramnad Krishnan whose recordings are now freely available with collectors and on the Internet. Her current favourite is S. Sowmya.

Sriranjani started giving public concerts in 2008 and immediately attracted attention. She sang in as many as twenty concerts that year including programmes in major city sabha-s. In the following years, opportunities to perform grew exponentially. Today she has performed not only in most Chennai sabha-s but also in various cities in the country. She has won awards as the best junior musician in sabha-s like Narada Gana Sabha, Sri Parthasarathy Swami Sabha, Indian Fine Arts Society and Sri Krishna Gana Sabha.

As her father has close association with a number of pakkavadyam artists who drop in at his home frequently, Sriranjani has the good fortune of practising extensively with violin and mridanga artists, thereby gaining experience that gives her a certain confidence and comfort level in her public concerts. She was a runner-up in the ‘Carnatic Idol’ contest conducted by a popular TV channel. Just four years after she started performing, some sabha-s are offering her the senior slot to present concerts of two-and-a-half-hour duration with senior violinists like Narmadha, Usha Rajagopalan, and Padma Shankar and senior mridangists like J. Vaidhyanathan, Arun Prakash and Mannarkoil Balaji. In order to keep her voice in fine fettle, she does pranayamam and ‘akaara sadhakam’ daily.

Santhanagopalan is a much sought after teacher of music too. Sriranjani assists him in taking classes in person and over the Internet. There are occasions when she learns from her father over Skype while they are in different parts of their house, says Sriranjani. Such is the hold of the Internet on our lives today!

Sriranjani is academically brilliant too. A school topper in 2007, she also stood first in the state in accountancy and business studies in the B. Com. examinations. Though she could easily have secured admission in professional courses such as engineering, medicine or management, her commitment to music led her to choosing commerce, a comparatively ‘soft course’. Sriranjani is now doing a masters course in music under the distance education programme of Madras University and hopes to pursue her studies to the Ph.D level.

(The author is a mridanga vidwan, connoisseur of classical music, and a keen follower of young talent)

Generation Next

$
0
0
By Nandini Ramani

Janaki Rangarajan

Janaki Rangarajan is a US-based Bharatanatyam dancer who trained first with Madhavi Chadrasekhar of Tiruchi and then for about a decade with Dr. Padma Subrahmanyam. Since her arangetram in 1993, she has performed for numerous organisations in Chennai and other metros and at well-known festivals in the country. She participated in many group productions of Padma Subrahmanyam while she was member of the teaching staff at Nrithyodaya from 1993 to 2001.

Marriage to Aneal Krishnamurthy, who is also involved in cultural pursuits, took Janaki to the U.S.A., where her dedication to her art received further support. In about a decade, Janaki has performed in renowned festivals like the Jacob’s Pillow Dance Festival, Festival Of India, and World Arts, Music and Dance Festival. She runs her dance school Nritya Niketan in Alexandria, U.S.A.

Janaki is a vibrant dancer who has intelligently blended the essence of her guru’s Bharatanrityam into the regular stream of Bharatnatyam, to evolve an impressive style of her own. Her dance is marked by well-chiselled delineation of both nritta and abhinaya. Her well conceived technique enables her to mould her physique effortlessly into the karana-s as and when appropriate. She weaves in pauses and sculpturesque poses into her dance with ease and fluidity even as she performs difficult adavu-s with firm footwork, creating contrasting textures of grace and firmness, of refined talent and visual beauty. Janaki is an empanelled artist of the ICCR and graded artist of the Doordarshan. She is the recipient of many awards for young dancers like Yuva Kala Bharati and Natanamamani.

Her meticulous planning and presentation of performances are a result of not only her rigorous training, practice, and commitment to the dance form, but also of her high academic proficiency. A scientist with a doctorate in molecular genetics, Janaki is a recipient of many gold medals and honours for her academic attainments.

Apart from successfully completing diploma, post diploma and certificate courses in dance, Janaki has learnt Carnatic vocal music from D.K. Nagarajan, and veena from Kamala Viswanathan. Her understanding of the inter-relation of music and dance add a special appeal to her artistry.

Janaki visits India every year for the music and dance season and performs some 15 recitals in the four months beginning October. She has something different to offer in every performance, and that is where her success lies. This hard working, passionate dancer, has all the potential to rise high and create a place for herself in the vibrant dance scene in the years to come.

Birthdays & Anniversaries

An exquisite Pallava Nataraja

$
0
0
By Chithra Madhavan

Nataraja
Sculptures of Nataraja of the Chola period in stone and in metal are often seen in temples and museums. In fact, the image of this deity has come to be associated mostly with the Cholas as Nataraja was their family deity. Not many are aware that such images of the preceding Pallava era are found in some of their temples. There are a few Nataraja bronzes of this period as well.

Among the best known are those adorning the walls of the famous eighth century Kailasanatha temple in Kanchipuram. Much older than these is a stone sculpture of Nataraja in a cave temple in Siyamangalam, a village approximately 80 kilometres from Chennai, in Thellar taluk, Tiruvannamalai district. Dating back to the seventh century AD and belonging to the reign of Mahendravarman I Pallava (c. 600-630 AD), this cave has an inscription which mentions the original name of this Siva temple as Avanibhajana Pallaveswaram. Incidentally, Avanibhajana was one of the titles of Mahendravarman I. Today, this cave shrine, enlarged over the centuries, is called the Sthambheswara or Tunandar temple.

The carving of Nataraja, small in size, but exquisite in finish, is found on one of the huge pillars in the Siyamangalam cave temple. Archaeologists have dated it as one of the earliest sculptures of this deity in South India. Identified by art historian C. Sivaramamurti as Siva dancing in bhujanganchita, this Nataraja has the lower right palm in ‘abhaya hasta’ and lower left hand in ‘dola hasta’ to the side of the hips. In the upper right hand is a bowl of fire and in the upper left he holds an axe. The sculptor has depicted the whirling motion of this celestial dancer with his hair flying and garments flowing to one side. You can see a seated Sivagana, in the foreground to Nataraja’s left, playing on a vertical drum with both hands, while another gana to the right, carved in profile (slightly damaged) seems to be either holding the cymbals or pressing his palms together in anjali hasta. The attributes of Siva – the crescent moon on the matted locks and the third eye on the forehead are visible, but the dwarf or apasmara purusha underneath the right foot is not seen in this sculpture. A coiled snake with a raised hood is carved underneath the upraised left foot.

Indeed, a delectable little sculpture of the Divine Dancer carved by the dextrous fingers of an unknown sculptor of the seventh century.

(The author is a historian focussing on temple art and architecture)

Birthdays & Anniversaries

A partial success

$
0
0
By V Ramnarayan

Prof. S. Swaminathan
Subramaniam Swaminathan retired in 2000 as professor of mechanical engineering from IIT Delhi, where he served for more than three decades. An expert on several aspects of Indian culture and heritage, Swaminathan coordinated SPIC MACAY concerts within IIT Delhi for several years. He is the author of the illustrated book, Mahabalipuram, Unfinished Poetry in Stone and a founder of the Tamil Heritage Group in Chennai.

Kiran Seth was four years my junior in the faculty at IIT Delhi. The son of a mathematician, Kiran is a brilliant mathematician, too, specialising in Industrial Engineering. We all know that he was inspired by a dhrupad concert by the Dagar Brothers while he was a Ph.D. scholar in the US. He plunged into the mission of taking Indian classical music to young people while he was on the faculty of IIT Delhi.

Kiran was very good at creating a buzz about classical music, making it fashionable to go to concerts at a time when young people were generally embarrassed to be even seen at such events.

He did very good academic work at IIT, but was not very ambitious in his professional career. He is a charismatic person who has remained a confirmed bachelor and has devoted considerable time to his interest in promoting classical music and SPIC MACAY (Society for Promotion of Indian Classical Music And Culture Amongst Youth), a smart name he coined.

As a professor with some clout at IIT Delhi, I was able to help Kiran by coordinating the concerts he organised for over two decades – in fact till my retirement in 2000. I also attended all the concerts inside IIT as well as Carnatic music kutcheri-s in the city. Kiran brought the topmost names in Hindustani and Carnatic music to SPIC MACAY concerts but made no serious attempt to demystify it for young listeners. In contrast, I enjoyed doing that not only in the field of music, but in Indian culture and heritage as a whole. In fact, I had been doing that for a few years.

“Modern ethnic” is how I would describe the aura SPIC MACAY created. Young women, who were comfortable in jeans were now sporting ghagra-choli, sitting on the floor of hostel rooms after lighting lamps with appropriate reverence. There was much hype about SPIC MACAY concerts and its volunteers gained quick glamour in the eyes of their peers. Though the whole experience was an elaborate ritual, many genuine music lovers joined. Many of the teacher-coordinators did not know what to coordinate.

SPIC MACAY events were generally haphazardly organised, with different students deputed to receive musicians at the airport and look after their stay, but the schedules of the programmes were pretty much vague.

I generally did not approve of the easy informality of student volunteers who addressed Kiran by first name. I also felt that not enough care was taken to make camps – like the Meerut Mela one year - safe and comfortable for boys and girls travelling and living together.

Kiran Seth and SPIC MACAY have definitely introduced classical music to a large number of young people. To sustain the effort for 35 years has been very praiseworthy. Has the movement, however, succeeded in creating a large audience base for classical music? I am not so sure.

PS Narayanan is no more

$
0
0
Deeply saddened to share the news of the passing away today of my cousin PS Narayanan (75), one of the most talented cricketers of my time, a key member of the champion Jolly Rovers team of the 1960s, a gentle human being, and devout husband and parent, leaving behind his wife Lakshmi, son Sundar Raman, daughter Abhirami, daughter-in-law and son-in-law, and granddaughters.

Narayanan succeeded his late father PN Sundaresan, retired Sports Editor of The Hindu, as Publisher of Sruti magazine and played an important role in the running of the magazine in a crucial period. He'll be sorely missed in family circles, where he was a pillar of support to many. His family can be contacted at 24321765. Address: ''Sreshta Kalyanpur,'' HD Raja Street, Eldams Road, Chennai 18.

Birthdays & Anniversaries


Generation Next

$
0
0
By Nandini Ramani

Uma Nambudripad Sathya Narayana

Uma Nambudripad Sathya Narayana, a disciple of Chitra Visweswaran, is a talented and committed dancer. With her proficiency in Carnatic vocal music, she is also shaping up as a good vocalist for dance. This has added a further dimension to her interpretation of the mimetic aspects of Bharatanatyam.

At the age of six, Uma started learning Bharatanatyam in Nagpur, from Sreemathy, a disciple of Lalita Srinivasan of Bengaluru. Later, while in Delhi, she also learnt Kuchipudi under the tutelage of the duo Vanasree and Jayarama Rao.

Uma’s passion for Bharatanatyam led her to Chennai when she received the CCRT scholarship from the Ministry of Tourism and Culture. She enrolled under Chitra Visweswaran, renowned exponent of the Vazhuvoor style. Since then Uma has put in years of dedicated work with her teacher, in exploring the nuances of her guru’s style. Uma has the maturity to assimilate what she learns and observes, and is able to express them in her own recitals.

Uma’s innate talent for vocal music was first nurtured by Rajeswari Neelakantan of Nagpur. After moving to Chennai she learnt vocal music from the multi-talented R. Visweswaran (C-vocalist, vocal accompanist for dance, and H-santoor artist). With a CCRT scholarship for vocal music, Uma learnt the nuances of voice culture and the regular repertoire, apart from training in dance music. As a beneficiary of the training programme for Dance Music, of the Central Sangeet Natak Akademi, Uma has honed her skills in classical music and dance. She regularly assisted Visweswaran in Chitra’s concerts, in India and abroad. Uma received holistic training in the arts at the Chidambaram Academy for Performing Arts (CAPA) run by Chitra and Visweswaran. She learnt the art of nattuvangam, stagecraft, and dance theory. Uma is among the few young dancers with a sound knowledge of music for dance. Presently she is undergoing intensive training in vocal music with A.S. Murali.

Uma has presented solo Bharatanatyam recitals at most of the well known cultural organisations in Chennai, other cities in India, and also abroad. She participated in the Swarna Nritya Pratibha festival organised by SNA. She plays an active role in the dance productions of her teacher which are staged nationally and internationally.

Uma’s pleasing stage presence, firm grip over the picturesque nuances of the dance technique, ebullient nritta, and eloquent abhinaya mark her as a committed torchbearer of the Vazhuvoor school. Her abhinaya is enriched by her understanding of various aspects of vocal music.

Uma is a “B” Grade artist of Doordarshan. She is a recipient of many youth awards including the Yuva Kala Bharati award (for all rounder in Bharatanatyam, nattuvangam and vocal) from Bharat Kalachar. She is a senior faculty member at the Chidambaram Academy where she assists her guru in training and guiding the students. Uma’s passion for the arts enables her to simultaneously pursue her own artistic goals with dedication to her guru and the sampradaya.

(Nandini Ramani is a Bharatanatyam exponent, teacher, writer and keen follower of classical dancers young and old)

Birthdays & Anniversaries

Birthdays & Anniversaries

Birthdays & Anniversaries

Remembering Fiddle Govindaraja Pillai

$
0
0
By P N Muralidharan

Chennai Fine Arts celebrated the 105th birth anniversary of renowned violin maestro Mayavaram Govindaraja Pillai on Friday, 12th May at Srinivasa Sastri hall in Luz. Earlier CFA had also celebrated his birth centenary in the year 2012, in which a short documentary on him was presented. 

On the occasion yesterday, three students learning at the CFA Academy were presented the musical instrument Nagasvaram. These students are trained by Vidwan Kundrathur T. Venkatesan who is a faculty of CFA. The instruments were sponsored by the Mayavaram ‘Fiddle’ Govindaraja Pillai Trust founded by Shri. Shanmughanathan, son in-law of Govindaraja Pillai. Vidwan Seshampatti Sivalingam presided over the function and presented the instruments. This initiative is to encourage the students to learn sincerely and achieve big. The function was followed by the violin duet concert of Dr M Lalitha and M Nandini. Beginning with Abhogi varnam in four speeds, the duo presented sarasiruhasana in Nattai (Puliyur Duraiswamy Iyer), Siddhiswaraya in Neelambari (Muthuswami Deekshitar), Paraloka in Mandhari and Nannu kanna thalli in Sindhu Kannada besides the main piece Etavunara in Kalyani (all three by Tyagaraja). KH Vineeth, Mrdangam and S Sunil Kumar, Kanjira were the accompanists. The concert which lasted two hours witnessed a full house audience. 

(Left to right in the photo:  S Nithyasree - Secretary, Chennai Fine Arts, PN Muralidharan - Founder, Chennai Fine Arts, Kundrathur T Venkatesan - Nagasvaram Faculty, Chennai Fine Arts, D Rajeswaran - student, S Kishore - student, vidwan Seshampatti Sivalingam, Shri. Shanmuganathan - Founder Mayavaram 'Fiddle' Govindaraja Pillai Trust, Mohana krishnan - student).

Birthdays & Anniversaries

Birthdays & Anniversaries


Birthdays & Anniversaries

Birthdays & Anniversaries

Gangadhar Pradhan Samman Award

$
0
0
Sruti’s senior contributors Leela Venkataraman and Dr. Sunil Kothari were honoured with the Guru Gangadhar Samman by the Orissa Dance Academy in February 2017 during the Dhauli-Kalinga Mahotsav in Odisha.



Dakshina Vaidyanathan: a talent to watch

$
0
0
 By Chirag Shah

( A young contributor to Sruti)


Dakshina Vaidyanathan made her debut at the Madras Music Academy’s annual dance festival, held during the first week of January each year. The young artist's intelligence as a dancer was clearly brought out in her use of the vast space the stage at Music Academy’s main hall boasts, something which many veteran dancers fail to do. Her dance was marked with crisp and clear movements, perfect rhythm and impeccable araimandi making it a treat to watch.

‘Divine Cowherd’– verses from Narayana Teertha’s Krishna Leela Tarangini strung together with jatis was the chosen opening piece. The music was composed and set by Sudha Raghuraman, a well-known Delhi based singer. It was refreshing to see a slightly uncommon start to a dance recital as opposed to the more commonly performed alarippu/ pushpanjali/ kauthuvam routine. Dakshina pranced on stage full of life, quite effortlessly portraying Krishna as the playful cowherd, herding the cattle using his stick and flute.

Moving to the varnam, Dakshina chose to present Mohamaginen inda velaiyil, an oft performed varnam composed by Guru Dandayudhapani Pillai in Kharaharapriya ragam. Here the nayika expresses her love for lord Nataraja and goes on to explain how her love and passion for him change with the season. 

In the second half of the varnam Maade, innum yojanai aenadi – Oh friend! Why are you still here procrastinating, go at once! Go to my lord and tell him of my love. Go help me be united with him!’ – Dakshina’s delineation of the nayika was immaculate. The jatis were composed by mridanga vidwan Karaikudi Krishnamoorthy and the rhythmic patterns set by Karaikudi Sivakumar. The composers displayed a good sense of how to set jatis for Bharatanatyam and keep them more or less proportional to the varnam.

The next piece for the morning was a keertanam Saddu madalu bedavo’ a less known composition of Purandaradasa  on prankster Krishna disturbing the nayika's morning prayers. Again Dakshina gave the audience a vivid presentation of the story. Dakshina ended her show with a tillana composed by M. Balamurali Krishna in the raga Dwijavanti.

Dakshina’s brilliance as a dancer must be attributed to the strict and extensive training imparted to her by her gurus Saroja Vaidyanathan and Rama Vaidyanathan. There was a certain revitalizing innocence seen in her dance. With a little more diligence and hard work, Dakshina will be on the path to becoming a top-notch dancer.







Birthdays & Anniversaries

Viewing all 1851 articles
Browse latest View live