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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Profile of Ritesh-Rajnish Mishra

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Profile of Padmashree Bharti Shiwaji

Padmashri Bharati Shivaji

Initially beginning her research under Sri Kavalam Narayana Panikker, one of the most illustrious authorities on theater in the country, Bharati has been researching in Mohiniyattam for over two decades which eventually became the cause of her life. She has played a significant role in the reconstruction of the dance form, reorienting & revitalizing the concert format, & expanding the parameters of its technique & idiom. Until then, the repertoire of Mohiniyattam remained limited & repetitive.

Bharati's pursuit of Mohiniyattam also initiated her into other regional art forms of Kerala, thus enabling her to imbibe the aesthetics of Mohiniyattam not in isolation but in significant relation to the interdisciplinary traditions of Kerala, be it theater, music, sculpture, painting, architecture or literature. Bharati traveled extensively in Kerala thus imbibing the regional ethos & studying the DESI traditions of Kerala, interacting with several regional art forms & their characteristics. She embarked on a process of assimilating & grafting elements from various art forms in which she discerned an affinity with LASYA, the feminine spirit which constitutes the quintessence of Mohiniyattam.

	Bharati's research into the cultural legacy of Kerala culminated in the publication of her book 'The Art Of Mohiniyattam', making it one of the most illuminating works on the form & spirit of Mohiyattam. She has done extensive work on the GEETHGOVIND tradition in Kerala temples. Ashtapadis as it is known, have been sung in the temples of Kerala from the 14th century & Bharati being an accomplished singer herself has traveled to several temples in Kerala & documented the unique musical tradition known as SOPANA. She was the first dancer to have incorporated the GeethGovind ashtapadis in the Sopana tradition into the Mohiniyattam repertoire. And today, the GeethGovind has become an important item in the Mohiniyattam syllabus thanks to her efforts. Bharati has added a new dimension to Mohiniyattam by successfully presenting innovative group choreographic productions. She has established the CENTRE FOR MOHINIYATTAM, which is exclusively devoted to the training & propagation of Mohiniyattam. She is solely responsible for establishing Mohiniyattam on the national & international map. Besides having performed extensively both within the country & abroad, she has also produced documentaries on Mohiniyattam for Doordarshan & Films Division. Without deviating from tradition, she has single handedly established Mohiniyattam with all other classical dance forms of India. Some of the prestigious venues where Bharati Shivaji has performed include the International Edinburgh Festival in 2002. More recently, she had the unique honour of being invited to present her new choreographic work Swan Lake in the Mohiniyattam style at the Bolshoi Theatre, Moscow and the Conservatory Theatreat St.Petersburgh,Russia in 2005
She has been conferred one of India's highest honour - the title of 'PADMASHRI' - for her tireless efforts, devotion & comittment to the cause of Mohiniyattam. For her invaluable contribution to the art of Mohiniyattam, the title of  'LASYA LAKSHMI'   was conferred on her by the Kunchan Nambiar Memorial Trust, Kerala. She was honoured with the Sahitya Kala Parishad Samman by the Delhi administration & the prestigious title 'NRITYA CHOODAMANI' conferred on her by the Sri Krishna Gana Sabha, Chennai. She was also felicitated at the Theatre De La Ville, France, by the Mayor of Paris for her one woman crusade in popularizing Mohiniyattam ensuring it's place on the world map. She is also the recipient of the Central Sangeet Natak Akademi Award for her contribution to Mohiniyattam.
See Details at http://www.bharatishivaji.com

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Profile of Pandit VISHWA MOHAN BHATT

Creator of the MOHAN VEENA and the winner of the GRAMMY AWARD, Vishwa Mohan has mesmerized the world with his pristine pure, delicate yet fiery music. It is due to Vishwa's maiden mega effort that he rechristened guitar as MOHAN VEENA, his genius creation and has established it at the top most level in the mainstream of Indian Classical Music scenario, thereby proving the essence of his name VISHWA (meaning the world) and MOHAN (meaning charmer) and indeed , a world charmer he is.

Being the foremost disciple of Pt. Ravi Shankar, Vishwa Mohan belongs to that elite body of musicians which traces its origin to the Moughal emperor Akbar's court musician TANSEN and his guru the Hindu Mystic Swami Haridas.

Vishwa Mohan Bhatt has attracted international attention by his successful indianisation of the western Hawaiian guitar with his perfect assimilation of sitar, sarod & veena techniques, by giving it a evolutionary design & shape and by adding 14 more strings helping him to establish the instrument MOHAN VEENA to unbelievable heights. With blinding speed and faultless legato, Bhatt is undoubtedly one of the most expressive, versatile and greatest slide player s in the world.

Being a powerhouse performer, Vishwa's electrifying performance always 

captivates the audience whether in the United States of America, Europe, Gulf countries or his motherland India. Vishwa Mohan has become the cultural ambassador of India by carrying the Herculean task of glorifying and popularizing Indian culture and music throughout the world.Outstanding features of Bhatt's baaj (style) are his natural ability to play the 'Tantrakari Ang' and incorporate the 'Gayaki Ang' on Mohan Veena which is the greatest advantage of this instrument over traditional Indian instrument like sitar, sarod and veena. It was no surprise that Vishwa Mohan with his sheer virtuosity and limitless supply of melodies won the highest music award of the world, the GRAMMY AWARD IN 1994 along with Ry Cooder for their World Music Album, 'A MEETING BY THE RIVER' enhancing his celebrity status not only as a star performer but also as an improviser and a soulful composer.

Vishwa Mohan has performed extensively in the USA, USSR, Canada, the Great Britain, Germany, Spain, France, Italy, Netherlands, Belgium, Scotland, Switzerland, Denmark, then scaling the Gulf of Dubai, Al-Sharjah, Bahrain, Muscat, Abu Dhabi etc. and throughout India.

MOHAN VEENA

Indian stringed instruments have undergone many changes throughout history . Many western musical instruments like violin, harmonium, mandolin, archtop guitar and electric guitar have come to be accepted in Indian classical music. Vishwa Mohan Bhatt developed and named this hybrid slide guitar and has been added to the list of Indian classical instrument.The Mohan Veena is a highly modified concord archtop, which Bhatt plays lap-style. It has 19 strings: three melody strings and four three drone strings coming out of the peg heads, and 12 sympathetic strong to tuners mounted to a piece of wood added to the side of the neck. The melody strings are on what we would consider the treble side of the neck, and the drone strings are on the bass side. The drone strings are lower in height than the melody strings to allow for unrestricted playing of the melody strings. The sympathetic strings run underneath the melody and drone strings to yet another level in the bridge. The instrument has a carved spruced top, mahogany back and sides, a mahogany neck, and a flat, fretless, rosewood fingerboard.

The Mohan Veena is under tremendous tension; the total strings pull to be in excess of 500 pounds. It is due to this high tension the tone tuns incredible with the sympathetic ringing out and strengthening each note played. This is a loud instrument made to cut through with low amplification.

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Profile of Monisa Ji Nayak-Kathak Dancer

Monisa is an accomplished Kathak performer of the Jaipur Gharana who has dedicated herself to perfecting her art form. Her excellent command of rhythm, as well as her natural flair for profound expression, mark her performances and are critically acclaimed by connoisseurs.

A disciple of Pandit Rajendra Gangani, and a Post graduate from the national institute – the Kathak Kendra, New Delhi  and an A- Grade artiste of Delhi Doordarshan, Monisa is an empanelled artiste of the ICCR, Govt. of India. She has performed widely in major festivals within and outside the country. In recognition of her prodigious talent, versatility and dedication to the art form, she has been awarded the Sanatana Nritya Puraskar. Presently Monisa is teaching at Gandharva Mahavidyalaya,New Delhi.Kathak is said to have originated in the temples of North India before finding its way into the royal courts of Awadh and Jaipur. Known as the dance of story tellers, Kathak comes from the word Kathakaar – the village minstrel who used subtle gestures and movements to enhance the dramatic element of the narrative. The narrative was most often from mythological legends.During the Mughal period, artistes served in courts for royal entertainment. It is during this time that the dazzling court Kathak, with its exotic costumes, Persian influence and intricate footwork, developed and flourished.

This graceful and spontaneous dance form reveals the poetry, mythology and spiritual ethos of its roots and also, importantly, India’s rich Hindu-Muslim heritage. It is, of all the classical dance styles of the country, pre-eminently the one which renders tala, or the rhythmic aspect, as a central focus in its repertoire.

·  'A' Graded Kathak Artiste at Doordarshan Kendra, New Delhi.Awarded Sanatana Nritya Puraskar from Sanskriti Pratishthan for versatility and dedication to the art form.Empanelled by the ICCR in their Reference Panel of Artistes.Received Sanskriti-Kalakriti Fellowship for the year 2006-2007 for research in the field of Kathak Choreography.

·  Bestowed with the title 'Sangeet Kala Ratna' at the Guru Poornima Mahotsava.

National Talent Search Scholarship in Kathak by CCRT, Govt of India.

·  Presented Kathak choreography “Nartan" in Ananya Festival, depicting the historical development of Kathak (against the backdrop of the Purana Qila, New Delhi).Choreographed group-production “Raga-chitra”  depicting the moods of various ragas, for 11th National Choreography Festival, Impresario.Blending the aesthetics of tradition with modern fusion music, she has created a choreography "SPECTRUM" relating colours to sentiments.Choreographed dance choreography on the theme of 'KABIR' at Lucknow Mahotsava.

·  She conducted Kathak dance workshop at Kota, Rajasthan sponsored by SPIC-MACAY for spreading her Art form and to create awareness among children towards classical heritage.Monisa has rendered some of the poems of Rabindranath Tagore under the direction of Smt. Madhavi Mudgal as a solo and duet (with Odissi) for the Tagore Festival, India International Centre, New Delhi.As part of a mission to promote Classical Art in rural areas, she presented Lec-Dems in Gondia and Panna district for enriching tribal youth.

·  She has also combined her dance experimentally with other art forms like fashion design, retaining, all through, its classical vocabulary. To depict the moods of rain created a fusion of traditional Kathak with fashion show executed by designers Ashima-Leena.

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