Profile of Vidushi Rama Vaidyathan

Rama Vaidyanathan is one of India's leading classical dancers. She is considered as one of the best interpreters of the ancient art form of Bharata Natyam. She has been fortunate to have trained intensively under the legendry dancer Yamini Krishnamurty. Rama has also been under the guidance of the eminent Guru Saroja Vaidyanathan.

Everyone who has seen Rama perform is struck by her unique thought process and fresh approach to dance. While deeply routed in tradition She has evolved her own individual style without forsaking the core principles of Bharata Natyam.

Rama has been performing professionally for the past twenty years and is one of the most sought after dancers of her generation. She brings to her dance a rare sense of devotion and dedication, which leaves the audience with a sense of spiritual fulfilment.

Rama has been performing for the last two and a half decades. She has been featured in all the major national and international festivals including Government of India's Indian Council for Cultural Relations; National Academy for music, dance and drama - Sangeet Natak Akademi; National Television channels; Indira Gandhi Centre for the Arts (IGNCA); Delhi Govenment's Sahitya Kala Parishad and for various State Governments and other reputed cultural organisations such as The Madras Music Academy, Kalakshetra and various Sabhas in Chennai; Kalamandalam, Kerala; Ahilya Fort, Maheswar; Shanti Niketan, Kolkata; National Centre for Performing Arts, Mumbai and many others.

Rama has also performed for International conferences such as The World Sanskrit Conference, Special Charity performances for The Cancer Society, Water Festival of the IIC and for The Red Cross Society. She also performed at the opening of the Indian Film Festival in Madrid, Spainin May 2006 and Samudra Festivals in the Gulf Countries.

Her concerts at prestigious International platforms such as the Bozar, Bruselles; Smithsonian, Washington DC., USA; Tropen Theatre, Amsterdam, The Netherlands; Espace Julien, Marseille, France; Minon, Tokyo, Japan; Du-Store-Verden, Oslo, Norway; Theatro-Juarez, Guanohato, Mexico; Edinborough and Brigton Festivals, UK Les Orientales, Saint Florent le Vieil; , Musee Guimet, Paris; Teatro Fernan Gomez, Madrid; Cite de la Musique, Marseille; Casa de la India, Valladolid and in Moscow and St.Petersburg to celebrate 60 years of friendship between the Indian and Russian Governments were all received with critical acclaim.

Source and Details:http://www.ramavaidyanathan.com

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Virasat-2011 in Rajasthan:-Ms Lavanya Ananth (Bharatnatyam)

•   Lavanya Ananth represents the graceful picturesque  Vazhuvoor style of Bharathanatyam. Initiated into the art at the tender age of four, she has had the advantage of learning under doyens like Gurus Sri S.K.Rajarathnam Pillai, Smt K.J.Sarasa and Padmabushan Smt Kalanidhi Narayanan.

•     She started her performing career at the age of six by donning the role of little Ganesha and thereafter performed  in several  dance productions choreographed by her Guru Sri S.K.Rajarathnam Pillai and also performed with her elder sister Shobana Chandrasekhar during her dance recitals.

•      Lavanya Ananth had her arangetram when she was 10 years old at the Rani Seethai Hall at Chennai and was blessed by leading artists like the Dhananjayans, Smt Chitra Vishveshvaran and Smt Lakshmi Vishwanathan.

   

•   Lavanya Ananth moved to Guru Kalaimamani Smt K.J.Sarasa at the age of 16 and underwent training at an advanced level for more than a decade with her.

•  She learns the nuances of abhinaya from Padmabushan Smt Kalanidhi Narayanan and Smt Bragha Bessel.

•   Lavanya Ananth takes the guidance of Smt Nandini Ramani,an exponent of the Balasaraswathi style of Bharathanatyam.

•     Lavanya Ananth has trained under Sri Ramamurthi Rao for Carnatic vocal, Sri Mayavaram Somu for techniques in rythm and Sri J.Suryanarayana murthi for nattuvangam.

•    Lavanya Ananth has also learnt Kuchupidi briefly under Sri Vempatti Chinna Sathyam as a child.

•     Over years of performing with a sense of commitment and sincerity , Lavanya Ananth has emerged as a vibrant performing artiste and has carved a niche for herself in this field of art with her soulful subtle abhinaya and neat impressive nritta.

•    A critically acclaimed artiste of merit, she has enthralled audiences with her aesthetic and creative performances in India and abroad.

•    A creative choreographer , her dance reflects her rich experience of working with her Gurus, mentors and dancers from other styles without diluting her own, resulting in a happy blend of dance.

•   She is a busy performing artiste and also runs an academy of Indian classical dance "Natya Sameekshana" which focusses on training selected students from India and abroad in the performing art of Bharathanatyam.

Travelling Plan

Date Place

27-Sept Pilani School (Morning)

27-Sept Pilani BITS (Evening)

28-Sept Lakshmangarh

29-Sept Fatehpur

30-Sept Ajmer

1-Oct Jalor

2-Oct Sirohi

3-Oct Udaipur

4-Oct Kota

5-Oct Kota

Thanks and Regards

Ankita Sharma Alok Khandelwal

Coordinator State Coordinator

SPIC MACAY SPIC MACAY

Resource Center Rajasthan Rajasthan

9166244740 9672977907

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Virasat-2011 in Rajasthan:-Vidushi Shobhana Narayanan Ji

Guru Shovana Narayan

(Kathak Maestro)

 (Padmashri)

Source_http://www.shovananarayan.com/

An exquisite diamond of her art style, intense and passionate, elegant yet vibrant, effortlessly spanning centuries of Kathak heritage as she does her dance space, Shovana Narayan is sheer poetry and sublime joy transcending boundaries. She is not only India’s most celebrated Kathak Guru and Maestro of the present age but she has also become a living legend who has blazed a trail in Kathak, re-defining the ethos and vocabulary of Kathak bestowing it with dignity and enriching it with a deeper and wider canvas of expression and dimensions. Every fibre of her body lives and breathes dance. Her performances are intimate yet pristine. A consummate artiste and choreographer, a revered guru to her disciples and an intellectual, she combines artistry with keen observation and humanism. She has also worked in collaborations with nationally and internationally known Indian and western dancers and musicians. She has performed before several Heads of States and Governments all over the world.

In her career spanning several decades that has seen her mesmerizing audiences all over the world in several prestigious national and international festivals, she has been conferred with numerous awards, outstanding among which are the Padmashri Award for excellence and outstanding contribution to dance by the President of India in 1992 and yet again the Sangeet Natak Akademi award by the President of India in 1999-2000. Some of the other awards won by her include Delhi Govt’s Parishad Samman, Rajiv Gandhi Puraskar, Bihar Gaurav Puraskar, Indira Priyadarshini Samman, Kelvinator’s GR8Award, Rotary International Award, International Congress of Women and Japan’s Oisca Award.

Shovana is a dancer with a cause. Deeply committed, involved and aware of people and their problems, she was deeply involved with the organisation and presentation of the first artists’ sensitive outpourings and endeavor to help the families affected by the Kargil war and the Tsunami. She is a regular and most ardent champion of issues related to women’s problems and the ‘specially abled’. She is the first dancer to have conceived, conceptualised and brought out a dance video on the philosophy and legend of the immortal Khajuraho temples called ‘Dance of the Temples’.

Shovana’s keen interest in research have led to the discovery of an ancient 4th century BC Prakrit text (in Asokan Brahmi Script) describing the dance of the Kathaks at Varanasi and also the existence of three Kathak villages near Gaya (Bihar). She has authored several (10) books and numerous articles on the subject of dance and is also a visiting lecturer to several Universities in India and abroad. She has also guided research students for award of PhD degree in the field of dance.

Shovana is a guru of standing whose disciples are adorning the world of classical dance. She also holds two annual festivals 2 well known annual Festivals for the past several years, one featuring the famous maestros and the other Festival ‘LalitĀrpan’ providing a platform to the young, unknown but talented future torch-bearers of the tradition. Shovana’s Asavari group is credited with many path-breaking works.

Extremely versatile she not only holds two MPhil degrees, one in Defence & Strategic Studies and second in Social Sciences & Public Administration but she is also a Masters in Physics. She is the first person to balance two parallel professional careers, one as a very senior civil servant (IAAS 1976 batch) and as a nationally and internationally awarded classical dancer of the country. Presently she is holding the onerous responsibility of Ceremonies & Culture as Special Director General in the Organising Committee, Commonwealth Games 2010 Delhi.

Shovana Narayan is a classical example of a true Kathak, multi-faceted and dynamic, and presents a challenge to today’s spectator. Her life, her works, her dignity and demeanour have made her a role model and peer for millions of girls of the younger generation of today.Rare are artists who can rule the stage for decades. Seldom still are souls who pour their entire being to nurture life and society. Shovana Narayan belongs to both the categories.

Travel Plan 

Date City

16 Sept Neemrana

17 Sept Alwar

18 Sept Pilani

19 Sept Lakshmangarh

20 Sept Jaipur

21 Sept Kota

22 Sept Ajmer

Thanks and regards Alok Khandelwal

Ankita Sharma State Coordinator

Coordinator SPIC MACAY

SPIC MACAY Rajasthan

Resource Center Rajasthan 09672977907

09166244740

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Profile of Pandit Ronu Majumdar

India's Ace Flautist , needs no introduction to music lovers all over the globe. By virtue of his phenomenal talent, he and the Bansuri are literally synonymous. If the flute is likened to a temple, Pt. Ronu Majumdar would be its foremost worshipper. Ranendranath Majumdar, popularly known as Ronu Majumdar is a force to reckon with in the realm of Indian classical music both as a thinking musician and scintillating performer. Ronu Majumdar began playing the flute under the guidance of his father Dr. Bhanu Majumdar, late Pt. Lakshman Prasad Jaipurwale and finally the revered Pt. Vijay Raghav Rao. He was also fortunate to receive training from his grand guru Pt. Ravi Shankar. A powerhouse performer, Ronu Majumdar is firmly rooted in the Maihar gharana which has also given shape to sturdy musical oaks like Pt. Ravi Shankar and Ustad Ali Akbar Khan.Ronu ji's Bansuri is transcendental. It transports you to a zone where divinity reigns supreme and produces a balmy effect thereby taking us on a spiritual journey. His Bansuri keeps juggling between eras. At one moment, it reminds you of the mythical Ras Leela of Lord Krishna and his Gopis; the next instance could be a jam session with ace guitarist Ry Cooder and Lary Coryell. Somewhere in between you will find a Grammy Nomination and a concert at The Kremlin, Moscow or The Palais de Beaux Arts, Brussels or Sawai Gandharva Mahotsav, Pune. And mind you, it's the same Bansuri that carries the sound of India's underbelly to the highest echelons of  West. Pt. Majumdar is a major innovator with New Age Music by having introduced a completely new Aesthetic in Indian Music through his epoch-making album “Song of Nature/ A Traveller's Tale”.  Ronu ji  is also a Grammy Nominee for his work with the Banjo virtuoso Bela Fleck in the album “Tabula Rasa” {1996}. He has performed and composed for the Hollywood movie “Primary Colours” and collaborated with top artists like George Harrison, Ry Cooder, John Hassels, Lary Coryell and Indian maestros like Pt. Ravi Shankar, Pt. Bhimsen Joshi, Pt. Jasraj and Kishori Amonkar.
He has extensively recorded for Bollywood greats like R. D. Burman, Gulzar, Khayyam, Vishal Bharadwaj to name a few. In 1994, Ronu ji recorded for the Merchant Ivory film “In Custody”, music of which was composed by Zakhir Hussain. The music of India's first I- Max film (Mystic India) was also scored by Pt. Ronu Majumdar. His Sadhana School of Music in Chicago, USA is solely aimed at spreading awareness and generating interest about our varied Classical Art forms. While legendary guitarist Ry Cooder called him- “Dr. Feelgood of Indian Flute”, his Guru Pt. Vijay Raghav Rao remarked  “ Ronu is mightier than most of the musicians in the country today”. HIGHLY  SOUGHT  AFTER  ALBUMS Heart to Heart and Ethereal Rhythms with Zakir Hussain Hollow Bamboo Lady Astride the Tiger Fascinoma with Ry Cooder Moonlight Whispers with Lary Coryell Generations with Kishan Maharaj. AWARDS BESTOWED ON PANDIT MAJUMDAR : All India Radio Award{1981} Aditya Vikram Birla Award {1996} Lifetime Achievement Award by Sahara India {2001} National Kumar Gandharva Award {2006} Pandit Jasraj Gaurav Puraskar {2008} Yet, one can safely say that these esteemed titles aren't the real parameters to judge his glory. Pandit Ronu Majumdar's real success lies in the fact that he is one of those great artists who has influenced the music connoisseur's tastes over the years displaying wide range performances across genres and musical boundaries. His crossover projects impart  a true oneness of mind, like Bach singing through a bansuri… Pt. Ronu Majumdar's versatility as an artist is not confined merely within the precincts of our nation. His experiments which reflect a sense of deep rootedness in  traditional Indian Music coupled with formidable knowledge of World Music have rightfully earned him the sobriquet of a "World Musician." Pt. Majumdar was formally introduced to audiences beyond Indian shores in 1988 by this illustrious  grand guru, Pt. Ravi Shankar at the Moscow  festival. There has been no looking back for the maestro ever since. West beckoned him and various heart warming collaborations with International greats like George Harrison, George Brooks, Philip Glass, Zakir Hussain, Ry Cooder, Bela Fleck, Lary Corryel saw the light of the day. His international releases like 'FASCINOMA' with guitarist Ry Cooder, John Hassels (Water Lily Acoustics), In search of life with Christian Seiferd (Universal), "Tabula Rasa" with Bela Fleck, the American Banjo Virtuoso, "Moonlight Whispers" with Larry Corryel, Inside Kremlin, Chants of India and Passages are endeavours on his mission to endear the glory of the humble Bansuri. Ronuji  joined Michael Stipe of REM, Robbie Williams, Asha Bhosle, Baaba Maal and a host of other noted musicians on the  genre crossing "One Giant Leap" (Palm Pictures). John Pareles in The New York Times (Feb 23, 2001) remarked-"Mr. Majumdar draws deep, melting tones from the Bansuri in the meditative preludes to the ragas, as if drawing the melodies, and when the tempo picks up and the drum joins in, this phrases still hover with an other worldly tenderness." The flute (Bansuri) is considered to be the most ancient and natural musical instrument. The idea of fashioning this instrument occurred while listening to the sweet notes generated by the blowing of wind through the holes carved on the bamboo sticks by pests and insects for centuries together. The flute was the principal, pastoral instrument. Late Pandit Pannalal Ghosh elevated it to the status of a Concert instrument.
+91-22-28832371 / 2 ronumajumdar@gmail.com ronumajumdar@yahoo.com

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Profile – Ustad Akram Khan-Tabla Artiste

The finest performer of Tabla from Ajrara Gharana Ustad Akram Khan received his initial training in music from Late Ustad Niazu Khan who was famous for his technical style and guidance. He is also fortunate to have learnt from his great grand father Ustad Mohd. Shafi Khan. He continues his riyaz and training under the able guidance of his father Ustad Hashmat Ali Khan.

He has also undergone formal training at the Prayag Sangeet Samiti, Allahabad and qualified Sangeet Praveen (Master of Music) from there, apart from Sangeet Visharad at Chandigarh. He has a bachelor degree in commerce. He is also a Top Grade artist from All India Radio New Delhi.

Akram Khan began performing at music conferences at a very young age. Since then, he has been participating in prestigious festivals across the globe. In 1987, he performed with Ustad Vilayat Khan in Japan and in 1992 he accompanied the maestro to the United States. He has performed before enthralled audiences at the Kennedy Centre and the Lincoln Centre in U.S.A. He was part of the celebrations for the 50 years of India's Independence in India, as well as abroad.

Important CDs & Cassettes:

CD with Ustad Villayat Khan, produced by India Archive Music in United States

CD by Rhyme Records USA titled "Creating Waves" with Shri Shubhendra Rao and Saskia De Haas Rao.

Compact Disc "Solo" "Ancestors" released in United States.

Compact Disc with Shri Gaurav Mazumdar.

Cassettes with Pt. Bhajan Sopori, Budhadidtya Mukherjee produced by 'Music Today'.

Cassettes with Ustad Shujaat Khan.

Cassettes with Pt. Rajan & Sajan Mishra.

Cassettes with Ustad Rashid Khan "Music Today".

Cassettes with Smt. Kala Ramnath "Music Today".

CD released by Sense World Music With Ustad Shahid Parvez, Dr. M Rajam, Shri Shubhendra Rao and Shri Pathosarothy

                                                        

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Profile of Shree Sanjeev & Ashwani Shankar

Born in a family of musicians of Banaras gharana in which Shehnai & flute are played for the last 450 years and over, Sanjeev & Ashwani manifested their strong affinity towards music at the age of seven and five. Their father Pt. Daya Shankar, himself an internationally acclaimed Shehnai player boosted his sons’ blooming talent to flourish with his personal inspiration and guidance. 

Sanjeev & Ashwani also had the privilege to learn Shehnai from their grandfather, the legendary Shehnai player Pt. Anant Lal .After formal training in pursuit of proficiency of the highest order in Raga, Taal and Laya, both were awarded scholarship by the Govt. of India, Department of Culture, for their outstanding talent in the field of music. At present Sanjeev & Ashwani have been consolidating their knowledge under the able guidance of the legendary sitar maestro Pt. Ravi Shankar . 

Ashwani is a Graduate in Political Science, and Sanjeev who is a Post graduate in Hindustani Classical Vocal music is presently doing research work for his M.Phil degree.Sanjeev has had the privilege to tour the U.S.A with Pandit Ravi Shankar for the Festival of India from 2005.In the year 2003, Sanjeev gave part of the background score and also played Shehnai in the film “Letters from Rishikesh” which was produced for the National Television of Israel.

Sanjeev has recently arranged music in an album of Jain Devotional songs which was released by the honorable Swami Vidyanandji  in the month of April 2006. The  Shankar brothers have to their credit a wide spectrum of performances and have mesmerized the audiences at various music festivals like Sri Baba Harballabh Sangeet Sammelan, Magh Mahotsav, Sangeet Natak Akademi Music Festival , and also in places like Delhi, Calcutta, Bangalore, Allahabad, Lucknow, Poona, Gangtok, Mumbai, Chennai, Ayodhya in India , and have represented India on many international platforms in places like France, Spain, Ireland, England, Scotland, Hungary, Slovakia, Japan, Bangladesh, USA and many more to name.

In all their performances the brother duo touched the hearts of the listeners worldwide and were critically acclaimed and praised by both, the exponents and the critics of the music world.

SHEHNAI

Though its name comes from Persian, and though it can be compared to other Middle-East instruments like Zurna, Surna, etc., the instrument is itself very much Indian. If we break the word shehnai in two words, we get “Sheh” and “Nai” respectively. Sheh, or Shah, means the king and Nai or Na means flute, so this instrument can be regarded as the “King of Flute” or “King of Wind Instruments”.The presence of shehnai can be traced back to the Vedic era and before because of the description of shehnai like instrument can be found in almost all the earlier scriptures, including ancient Vedas, murals, and sculptures of Ajanta and Ellora and also in the Terra-cotta structures.

Over the centuries, the instrument was given a different name for example while the Rig Veda called it the “Naadi”. The Matang in his Brihaddeshi calls it “Mahuvari”. Sharang Dev described it as “Madukari” and “Kahal” and in Ahobali Sangeet Parizaad one comes across the name “Sunadi”.However, this beautiful wind instrument got its present name “Shehnai” probably in the Mughal era.

About 100 years ago, shehnai was basically a folk instrument and playing style was very limited. For example, the style included folk songs from north India especially thumri, daadra, chaiti, sohar, pujaiya, etc. and apart from these very few small compositions based on basic raga were rendered on shehnai but because of the efforts of the virtuoso like Ustaad Bismillah Khan, Pandit Anant Lal, Pandit Daya Shankar the dimension of shehnai playing was broadened with the introduction of new technique and style. It is solely because of the efforts of these masters that shehnai is considered a classical instrument on which almost any raga accompanied by any tala can be played with marvelous clarity, beautiful sound, and modulation, and it has become very famous Indian classical instrument.

See details at

http://www.shankarshehnai.com

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Profile of Vidushi Kapila Venu

 Biography

Kapila is the daughter of Mohiniyattam danseuse Nirmala Paniker and Kutiyattam exponent Gopalan Nair Venu.She is the disciple of legendary Kutiyattam maestro Guru Ammannur Madhava Chakyar. She has also trained in Kutiyattam under G.Venu and Usha Nangiar and is presently training under Kitangur C N Rama Chakyar.

Kapila has been active as a performer of Kutiyattam since a young age. Her repertoire comprises both traditional performances and new experiments. She has traveled with her performances both as a solo performer and together with the Kutiyattam ensemble (Natanakairali and Ammannur Gurukulam) performing and giving workshops in a variety of venues.

She aspires to explore the depths of traditions and at the same time find other than the regular possibilities, spaces and people for her art.

Training 

Kutiyattam

Trained in Kutiyattam since the age of seven for several years in Gurukula Sampradayam under Late.Guru Ammannur Madhava Chakyar at Ammannur Chachu Chakyar Smaraka Gurukulam, Irinjalakuda. She has also trained under G.Venu and Usha Nangiar. Presently undergoing specialised training with Kitangur C.N.Rama Chakyar.

Mohiniyattam

Trained in Mohiniyattam under Smt.Nirmala Paniker.

Training with Min Tanaka

Participated and trained in Body Weather workshops lead by renowned Japanese farmer/dancer/choreographer Min Tanaka at Hakushu, Japan – Jul – Aug – 2006, 2007, 2008

Abhinayakkalari – actors’ laboratory

Participated in Hastha(gesture) and Nethra(eye) workshops organised by Natanakairali and Sanskriti Pravah, New Delhi with support from Japan Foundation- 2004,2005,2006.

In these workshops indepth reasearch, training and documentation was done for three years with great masters of Kutiyattam(Ammannur Madhava Chakyar, Ammannur Parameswara Chakyar), Kathakali(Late.Keezhpadam Kumaran Nair, Late.Kavungal Chathunni Paniker, Late.V.P.Ramakrishnan Nair, Sadanam Krishnan Kutty, Kalamandalam Raman Kutty Nair), Yoga, Aayurvedam, Sidha Vaidyam, Tantram and other Asian performing traditions in relation to hands and eyes in Asian performance and related fields. Kapila is a permanant member of the acting laboratory and a participant in all workshops and ongoing activities.

The World Theatre Project

Participated in The World Theatre Project workshops which were interactive workshops lead by renowned theatre practitioners Peter Oskarson, Ma Ke, Manuela Soneiro, G.Venu, Donato Sartori, Inger Zielfelt, Henning Mankell, Anna Thelin and performers/actors from various cultures of the world including Sweden(Contemporary western theatre), China(Beijing Opera), Mozambique(African dance and theatre) Italy (mask theatre).

Kerala Jan 1999

Sweden 1999

Mozambique 2001

Kutiyattam – The theatre form

Kutiyattam is a theatre form that has the richness and depth acquired from an ancient history and a long and unbroken performance tradition of more than 2000 years.

Koothambalam meaning ‘temple for theatre’ is the exclusively designed venue for the performance of this unique theatre. Actors(Chakyar and Nangiar), musicians, costume and stage specialists(Nambiar) come together to realize the performance.Performances are usually based on Sanskrit texts and their elaborate interpretations and dramatisation. The actor reigns in Kutiyattam. The ‘performance space’ and ‘performance time’ sets free a well trained actor like a bird to explore the sky.  The actor is followed by the acompanying Mizhavu (pot drum) that breathes  life into every pulse, movment and emotion.

The craft and techniques of acting are a blend of both elements – high stylisation and folk (daily, rustic, worldly). The actors and musicians undergo several years of intense training and conditioning to master the complex techniques and skill and simultanoesly acqiure the capability of having the altered existence onstage.

Performances can hardly be time bound. The presentation of a single act of a play can go on for several days and nights, moments can be frozen and explored for hours in an almost meditative relationship between actor and sahrdya(one of good heart, spectator).

The theatre style embraces south India’s indigenous culture of conception and representation as well as the acting technique described in Bharatha’s Natyashastra, the treatise on Indian dramaturgy. Therefore it internalizes both the rigour and vitality of all the folk, ritual and martial arts together with the concepts of classical Sanskrit theatre in India.

See details at 

http://virali.org/

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Profile of Pandit Kaivalya Kumar Gaurav

Kirana Gharana holds a very special place amongst the traditional styles of North Indian Classical vocal music. Widely recognized to be founded by Ustad Abdul Karim Khan (although opinions differ amongst the musicologists) from the village of Kirana (or Kairana) near Muzaffarnagar in Uttar Pradesh, Kirana gharana has given us several excellent performers of the Khayal style of singing including masters like Pandit Bhimshen Joshi, Pandit Rasiklal Andheria, Ustad Amir Khan, Ustad Mashkoor Ali Khan and many others.

Kaivalya Kumar’s grandfather Pt. Ganapatrao Gurav was a first batch disciple of Ustad Abdul Karim Khan. Kaivalyakumar’s father and guru Pt. Sangameshwar, trained by Pt. Ganpatrao, was well known for singing in the true Kirana tradition. And Pt. Sangameshwar in turn has groomed Pt.Kaivalyakumar into an outstanding vocalist of the current times.

Ironically, during the early part of his life, Kaivalya Kumar tried hard to avoid a career in music. Discouraged by his father’s moderate success in the profession, Kaivalya educated himself for a career in business, and engineering. When none of these gave him the satisfaction he was looking for, Kaivalya Kumar turned to his roots in classical music and surrendered himself to rigorous training under his father. And within a short period of time, Kaivalya established himself as a grade “A” artist of All India Radio and Doordarshan at an age of only 35. Now Kaivalya Kumar is one of the most sought after artists in India. A great singer of Khayal, Pt.Kaivalyakumar also renders Marathi Natya Sangeet and Abhang, Bhajans, Kannada Vachana and Dasara Pada with equal finesse and all of which has won him the acclaim of listeners and critics alike all over India and abroad.

Pandit Kaivalya Kumar is a leading young exponent of the Kirana Gharana with a rich multigenerational lineage. He was trained by his father Pandit Sangmeshwar Gurav. His Grandfather Ganpatrao Gurav, studied under 2 legends: Pandit Bhaskarbua Bhakle and Ustad Abdul Karim Khan. Due to this ancestry, Kaivalya Kumar is a treasure house of unusual compositions (Bandish).

Pandit Kaivalya Kumar Gurav hails from Dharwad, Karnataka. He was initiated into classical music by his father Pandit Sangameshwar Gurav. Endowed with a mellifluous, fluid and high pitched tenor voice, he has achieved much recognition- "Surmani", " Pt. Jasraj Gaurav Puraskar” and "Sarva Shreshta Kalakar" to name a few. He has performed at several prestigious music festivals in India and has several albums to his credit.

Young as he is, (born 1963 at Belgaum, Karnataka state) Kaivalya Kumar is a B.Com, B.A and Gold medalist at M.A. Music, all from Karnataka University Dharwad. He took to music, quite early in his career, as naturally as a fish takes to water. He is a third generation musician. His grandfather Ganapatrao Gurav was a disciple of Ustad Abdul Karim Khan, the founder of Kiraana Gharaana. Pt. Sangameshwar. Kaivalya Kumar’s father and guru is a well known exponent of the Kiraana tradition. His father has groomed Kaivalya Kumar into an outstanding vocalist. Gifted with a naturally high pitched, mellifluous voice, Kaivalya Kumar’s rendition of ragas is marked by natural phirat, fast tans, infallible rhythm, imaginative content and a superb aesthetic approach.

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Profile of Dr. Dipti Omcheri Bhalla

Talent, versatility, devotion, passion – the words that well describe Dr. Deepti Omchery Bhalla, the leading exponent of Mohiniyattam. A true artist at the core; she is a unique combination of singer and dancer, well-accomplished and talented in both.

Deepti was initiated into the world of music and dance when she was only four. Her entry into the artistic realm at such a tender age, gave her the sacred privilege of being the disciple of great masters. She studied Kathakali under the eminent gurus, Guru Gopinath, Guru Punnatur Madhava Panikkar and Guru Sadanam Balakrishnan, besides other teachers of International Centre for Kathakali in Delhi, where she was a student for more than 12 years.

She has inherited her musical legacy from her mother and well-known carnatic singer, Dr. (Smt) Leela Omchery. Apart from her mother, her other music teachers include Vidwan T.S. Raghavan and the teachers of the Faculty of Music and Fine Arts, University of Delhi from where she took her M.A; M.Phil, and Ph.D in Carnatic music. She is also proficient in Hindustani music, having mastered it from the renowned singers, Ustad Unus Hussain Khan and Dagar Brothers.

A fabulous dancer of Mohiniyattam, she owes her tremendous expertise and aesthetic perfection to Kalamandalam Kalyanikutti Amma and Guru Sadanam Balakrishnan, the proponents of the classical dance form. She has conducted Mohiniyattom performances in various cities in India and abroad. She has toured extensively in Europe, Malaysia, Singapore, USSR, Japan and Egypt as part of her performances.

She is also actively engaged in guiding research scholars of Universities and fellowship recipients of Department of Culture, Government of India. Currently, she is the Reader in Carnatic Music at the Faculty of Music and Fine Arts, University of Delhi.

Achievements

Her phenomenal contribution to the realm of music and dance has won her several awards and distinctions. Her casket of honors and credentials include Abhivyakti Kala Sangam Award (Dance), Nana Miniscreen Award (Music), Delhi Academy of Arts Scholarship and Fellowships for research from University Grants Commission as well as Ministry of Culture, India.

Dr. Deepti Omchery’s contribution as a researcher and author has brought her endless appreciation from the artistic fraternity. Her thesis for Ph.D on “Sopana Music of Kerala” is a veritable milestone in the field of the indigenous classical music of Kerala. She also did a project on Music and Musical Instruments of India for Sangeet Natak Academy. She has participated in a major dance-music project, “Geeta Govindam”, a multi-media programme produced jointly by Xerox, USA and IGNCA, India.

Dr. Deepti is also blessed with the credit of having performed in some of the leading dance festivals of India such as Khajuraho Festival (Madhya Pradesh), Avad Sandhya Festival (UttarPradesh), Apna Utsav (Delhi), Mamallapuram Festival (Chennai), Parangotsav (Mysore), Lucknow Mahotsav(Uttar Pradesh), Uttar Dakshin Sangeet Sangam(Delhi), Ragini Devi Desh Videsh Utsav(Delhi), Nishagandhi Festival(Kerala), Festival of Music and Dance(Tirupati), ‘Swarna Samaroh’ in Chennai Kalakshetra and SPIC-MACY concert/ Lec Dem(Aurangabad). Among her performances abroad are Festival of India-USSR, Asia-Pacific Expo-Japan, Indian Republic Day Celebration-Zurich and Hungary Festival.

Taken From

http://www.heritageindia.org/deepthi/artist.htm

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Profile of Vidushi Dr.Ashwini Bhide Deshpande

 Ashwini Bhide Deshpande, an outstanding vocalist of the famed “Jaipur-Atrauli” Khayal Gayaki tradition, represents the new generation of veterans worthy of wearing the mantle of the old masters.Born in a musical family, Ashwini completed “Sangeet Visharad” of the“Gandharva Mahavidyalaya” at the young age of 16 and won the President’s Gold Medal at the All India Radio Music Competition in 1977. After grasping the rudiments of Hindustani Classical music under the late Pt. Narayanrao Datar, she began imbibing all the traditional aspects of stylized Jaipur Gayakiunder the strict tutelage of her mother, mentor and Guru, Smt. Manik Bhide.

Thoroughly grounded in the Jaipur Atrauli Khayal Gayaki tradition, Ashwini has developed into an artiste of immense public acclaim earning high praise from discerning critics and music lovers all over the globe. Ashwini’s musicianship is characterized by a blend of tonal sweetness coupled with vitality and emotion and raga structure-architecture. Her raga delineation shows an unerring grasp over the grammar of the raga yet maintaining a soulfulness in her singing. Through this she has succeeded in building up her own loyal audience. She yearns to explore the pathos of rare and complex (“achchop”) ragas characteristic of her Gharana. In this effort she has received invaluable guidance from her Guru the late Pt. Ratnakar Pai, a senior stalwart of the Gharana. This, and of course, her mother’s unstinted support, added to her own mature introspection lead Ashwini to new horizons of the ever-expanding terrain of Hindustani Classical Music.

Although a classicist by temperament and training, Ashwini is equally at ease with lighter varieties like Thumri-Dadra and Bhajans/Abhangs. Add to this, her fluency in Sanskrit enriches her repertoire further by inclusion ofstotras/stutis. Ashwini has added to her devotional repertoire by scoring the music herself of many of her devotional presentations.

Ashwini’s debut recording album was released in 1985 by HMV and several more have followed thereafter under various banners including Rhythm House, Times Music, Sony Music, Music Today, Navras Records and Universal Music among others.In October 2004 Ashwini published a book "Ragarachananjali" of her self-composed bandishes. The book has received rave reviews all over the music world and the effort has been lauded for its musical creativity and artistic presentation. Continuing her creative effort she has followed up with"Ragarachananjali 2", her second book of bandishes in October 2010.

Ashwini has traveled extensively all over the globe participating in various prestigious music conferences and Sangeet Sammelans. Her live concerts have been acclaimed for the sheer presentation delight, as much as for the aesthetic and musical quality. A 'top grade' artiste of Akashwani andDoordarshan, Ashwini has featured in several national programmes and AIRSangeet Sammelans.

As a teacher of competence, Ashwini devotes quality time to her promising disciples assuring continuity of the rich tradition of the Jaipur Gayaki. Ashwini has regularly participated in lecture-demonstrations on Hindustani Classical Music in various schools, colleges and sangeet sabhas and contributes to the enlightenment of the unexposed audiences in India and abroad.

Ashwini's contribution to Hindustani classical vocal music has been acknowledged by way of awards and citations. She is recipient of the Sahyadri Doordarshan “Sangeet Ratna” Puraskar for 2010. She was honoured with the "Pandit Jasraj Gaurav Puraskar" on the occasion of the 75th birthday celebrations of the Maestro. She was awarded the "Rashtriya Kumar Gandharva Samman" by the Government of Madhya Pradesh - the first female Hindustani vocalist to have been decorated with this prestigious national award.

Ashwini, who is currently stationed in Mumbai, finally chose music as her first love forsaking a career in Biochemistry but not before completing her doctorate at the esteemed Bhabha Atomic Research Centre/ University of Mumbai.

Taken From:-

http://www.ashwinibhide.in

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Profile of Pandit Bhajan Sopori Ji

PANDIT BHAJAN SOPORI   - Santoor Legend and Music Composer

A Living Legend and a Musical Genius Pandit Bhajan Sopori is more than an individual – a performer and composer par excellence, musicologist, teacher, writer, poet, and an extraordinary human being – he is a complete institution in himself. Regarded as the cultural bridge of the State of Jammu & Kashmir and the rest of the country, Pandit Bhajan Sopori is hailed as the “Saint of the Santoor” and the “King of Strings”.

The mystic master is the bearer of a rich musical legacy of the fabled ‘Sufiana Gharana’ of Kashmir, the exclusive traditional Santoor family of the country. He was born in Srinagar (Kashmir) into a family of musicians and was initiated into Santoor playing by his grandfather Pandit S. C. Sopori and later by his father Pandit Shamboo Nath Sopori, hailed as the ‘Father of Music’ in the State of Jammu and Kashmir.

Pandit Bhajan Sopori, the Santoor Legend and Music Composer, has been the pioneer in establishing the Santoor on national and international platforms as a complete solo instrument. The quiet and unassuming maestro has come long way since he created history by being the first person to play the Indian Classical music on the Santoor way back in the early 1950s. In his five decades of dedicated work he has explored various dimensions of the Santoor, carrying out many path-breaking innovations. He has increased the range of the Santoor from the conventional one-and-a-half to more than 3 octaves, balanced the ‘Kalam’ (strikers) with ‘boles’ and attached the ‘Tarab’ and ‘Tumba’ for enhanced tonal quality, etc. These innovations combined with his strong base in traditional ‘Raag-Sangeet’ allow for a systematic exposition of the Raag combining both the ‘Gayaki’ and the ‘Tantrakari Ang’ (style) in his recitals, demonstrating all the essential stylistic nuances of Hindustani Classical Music such as Meend, Glides, Gamak, Boles, including the 'Dhrupad Ang' with the accompaniment of the Pakhawaj. His recitals are known for their high degree of technical virtuosity combining highly intricate ‘layakari’, legendary ‘chhandkari’, speedy ‘taan’ patterns running through three octaves and a melodious ‘alaap’. He has thereby expanded the scope of the Santoor as a classical instrument and formally established the Sopori Baaj in the realm of Indian Classical Music. It is also entirely to the credit of the Sopori Family that Hindustani Classical and Light Music acquire legitimate space in the J&K State. 

A highly learned person, Pandit Bhajan Sopori has done his Masters degree in both the Sitar and the Santoor besides having a Masters degree in English Literature. He has also studied Western Classical Music at Washington University, USA.

Pandit Sopori is the only classical musician to have composed music for more than 5000 songs in various languages of the country including Persian, Arabic, etc. He combines a profound knowledge of music and musicology and has carried out immense research on Naad (sound) and ‘sound therapy’. One of his highly commended albums on ‘sound therapy’, “Naad Yoga on the Santoor”, was released by a pharmaceutical company.

Panditji has led the revival of Sufism to spread the message of humanism and the patriotism amongst the masses, especially the youth. He has composed Guru-Baani, Shabads, Vedic Chants and Sanskrit mantras like ‘Mahamrityunjaya’, ‘Durga Kavach’ and ‘Surya Upasana’. Panditji has also composed and introduced three new Raags: Raag Laleshwari, Raag Patwanti, and Raag Nirmalranjani.

He has composed various patriotic songs, which are loved by the people of all age groups, like “Bharat Bharat Hum Iski Santaan”, “Hum Honge Kaamyaab”, “Bharat Ki Beti”, “Vijayee Vishwa Tiranga Pyaara”, “Vande Maataram”, “Sarfaroshi Ki Tamanna”, “Naman Tujhko Mere Bharat”, etc. for the national integration . His compositions bear the distinctive stamp of his virtuosity and erudition and have been sung by eminent vocalists of the country. His classical version of “Saare Jahan Se Achhaa …” and instrumental version of “Vande Maataram” are recognized pioneering efforts.

Panditji has used his Santoor and his compositions to highlight the concept of oneness and foster unity enshrining the idea of national integration, humanism and peace amongst the common man and the youth in particular. Moreover, he has extended the various possibilities in Santoor playing and prepared a formal system, the Sopori Baaj, on the basis of which further research and experimentation may be carried out on the Santoor. For his enormous contributions, he has received numerous awards including the prestigious:

Ø      Padma Shri (one of the highest civilian awards of India),

Ø      Sangeet Natak Academy Award (highest performing award of the country),

Ø      J&K State Award (highest civilian award of J&K State),

Ø      National Flag Honour of the Arab Republic of Egypt,

Ø      National Shiromani Award,

Ø      Delhi Ratan Award,

Ø      Delhi Telugu Academy Award,

Ø      Beenkar Award (Title honour),

Ø      Baba Allauddin Khan Award,

Ø      Maa Shardey Samman (lifetime achievement award),

Ø      Sangeet Vibhuti Award (lifetime achievement award),

Ø      Sangeet Bhushan Award (lifetime achievement award)

Ø      RaagRanjani Sangeet Bhushan Samman (lifetime achievement award),

Ø      Raag Sagar (lifetime achievement award),

Ø      Sangeet Ratna Award (lifetime achievement award),

Ø      Shree Bhatt Kirti Award (lifetime achievement award),

Ø      Gama Maharaj Aaward (lifetime achievement award),

Ø      Sharda Samman (lifetime achievement award),

Ø      Ustad Chand Khan Award,

Ø      National Dogri Award,

Ø      Akashwani Annual Awards,

Ø      Punjab Sakha Award,

Ø      Kala Yogi Award,

Ø      Abhinav Kala Award,

Ø      Shree Bhatt Kirti Award,

Ø      Munnu Guru Sangeet Award,

Ø      Shama Award,

Ø      Sumadhur Hansdhwani Samman,

Ø      Distinguished Leadership Award,

Ø      Golden Jubilee Celebrations Award by All India Radio Srinagar - for contribution to Kashmiri music,

Ø      Kashmir Overseas Association Award (USA) - for contribution towards preserving art & music of Kashmir.

Ø      Kashmir Society KOA Award for his contribution to the Kashmiri music and community service

And many more…

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Profile of Kushal Das

Sitar and Surbahar

Kushal Das was born in Kolkata and received his first lessons on the sitar from his father, Sri Sailen Das, and his uncle, Sri Santanu Das, in 1959. He deepened his studies later under the guidance of Prof. Sanjoy Banerjee and Pandit Ajoy Sinha Roy.

In order to accomplish a more profound understanding of Raga interpretations he takes additional vocal lessons with Pandit Manas Chakraborty and Sri Ramkrishna Basu.

Kushal Das is a "grade A musician" at All India Radio and Doordarshan - the leading media regarding classical Indian music in India itself.

Since 2002 Kushal Das also plays the Surbahar in addition to the Sitar.

Press Review - Kushal Das (Sitar & Surbahar):

Banerjee and Das provoked a stronger and stronger suction effect ... In the Raga lasting more than an hour the musicians animated themselves to ever increasingly ludicrous, raging play. - FAZ, May 10th, 2000

Kushal Das elicited from his Sitar enchanting melodies, characterized by subtle and subtlest nuances of rhythm and dynamics of constantly newly invented colourations of the distinctive, twanging sound of the Sitar. Playfully virtuously his fingers glided over the strings, sometimes so fast that to the naked eye they were merely visible as shadows. - Elbe-Jeetzel-Zeitung, December 13th, 1999

The musician, born in 1959 in Calcutta, since long ago ranks among the great artists in his home country. - Weser Kurier, November 11th, 2000

Classical Indian music with Kushal Das on the Sitar ... Without big bang effects but traditional indian music effective in its modesty. - Szene Hamburg, November 2000

Publications - Kushal Das (Sitar & Surbahar):

• Raga Ahiri, Raga Charukeshi - Tabla: Abhijit Banerjee - D-HS 002 dipavali
• Raga Kaushi Kanada, Raga Jhinjhoti - Tabla: Kumar Bose - RCD 2536 Rhyme Records
• Raga Nat Bhairav, Raga Mishra Shivaranjani, Raga Mand, Raga Mishra Kafi, Raga Madhyam se Bhairavi- Tabla: Abhijit Banerjee - Doppel CD 205552 TIM-COMPANY
• Raga Desh, Raga Mishra Pahadi - Tabla: Abhijit Banerjee - PCD 9906 PESHKAR

See Details at

http://www.kushaldas.com/

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