Svanubhava - An Experience

Hindu Article

2011-11-07T22:11:00.002+05:30

Knowing the Nuances - The Hindu: Oct. 21, 2011

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Dy 2, 14th October, Svanubhava New Delhi, Gandharva Mahavidyalaya

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Photographs by: Ananyaa Gaur, Deepak Kalra

Reviews: Dy 1, Svanubhava New Delhi, Gandharva Mahavidyalaya

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To the experts,
it was a blissful experience for the Hindi Musical Group-Tarana- of Carmel Convent School. It was an honor for all of us to be present in a concert where so many experts in the field of music were performing.
All in all it was a great learning experience. Thank you for making us a part of this.

Text by: Mahasweta De, Carmel Convent School
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To all the wonderful artistes, it was a truly wonderful experience. It was an honor to be a part of this beautiful concert. Looking forward to learn a lot. Thank you for explaining the perfect meaning of music to us. A truly enjoyable and refreshing experience for everyone, especially, Carmelites!
Thank you :)

Text by Chippy Vinod, Carmel Convent School.
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To all the magnificent dancers and wonderful musicians,
music lies within my soul and learning, it is my never- dying passion. I think this was a golden opportunity for music lovers like me that we experience it here with such renowned maestros. And my dancing idol, Ms. Arushi Mudgal, as well.
I also look forward to more performances throughout the function. This divine music took me to the land of Heavens...with this unearthly feeling of music, I would like to congratulate the musicians and wish that this programme would be a huge success for years to come!!
Thank you for everything, all the best! And Congratulations!

Text by: Ekta Murthy, Carmel Convent School.

Day 1, 13th October, Svanubhava New Delhi, Gandharava Mahavidyalaya

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Photographs by Ananyaa Gaur

Svanubhava Delhi Kicks Off

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The Delhi edition of Svanubhava, presented by Gandharva Mahavidyalaya, is off to a fabulous start! Here is a glimpse of the programs that have taken place so far.Tune in live NOW by clicking the WEBCAST link above to watch the free programs live!

Photos courtesy Bombay S. Hariharan

Watch yesterday's programs now!

2011-10-11T21:27:00.000+05:30

You can watch yesterday's programs at http://svanubhava.blogspot.com/p/on-demand.html now! Please comment or tweet @svanubhava and let us know what you think!

A Grand Start!

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The first day of Svanubhava 2011 was grand! We had well over 1000 students with us throughout the day and over 4000 people watching the programs live online!

If you missed the program, we will be having a FREE on-demand replay TONIGHT from 9:00 pm - 9:00 am IST!

Here are a few photos of the programs of the day. More to come later!

Photos by S. Hariharan & K.V. Gopalakrishnan

Be sure to join us today for Day 2! We have another great line-up for today, starting with a Hindustani vocal concert by Sri Venkatesh Kumar & group. Click here to watch the free live webcast which begins at 9:00 am IST.

Svanubhava 2011 begins tomorrow!

2011-10-09T18:03:00.000+05:30

We'd like to remind you that Svanubhava 2011 begins tomorrow morning at Kalakshetra, Chennai! We hope to see you at 9:00 am for the inauguration by Sri T.N. Krishnan and Sri N. Murali!

CLICK HERE TO VIEW THE WEBCAST

If you are unable to attend in person, you can watch the webcast here on our blog:

FREE Live Webcast daily:
Oct. 10-12th, 9am IST
Oct. 13-15th, 10am IST

FREE Webcast replay:
Oct. 11-16th, 9pm IST

14th October, 10am, Gandharva Mahavidyalaya, New Delhi - Shri Nedunuri Krishnamurthy

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Living legend Shri Nedunuri Krishnamurthy

His list of achievements, awards, honors, felicitations, and recorded music is so long that one can easily mistake it for contribution of two or more artists. Born in 1927, Dr. Nedunuri Krishnamurthy has had an immensely successful musical career spanning across 65 years now.

Apart from being a world renowned Carnatic Vocalist, he has been principal of several prestigious Music and Dance colleges, Dean of Faculty of the Fine Arts, and Chairman of Board of Studies in Music at Sri Venkateswara University and Nagarjuna University. He has done an extensive work on Annamacharya Keerthans, and has set to tune 108 of them. He is ‘Asthana Vidwan’ of the Tirumala Tirupati Devasthanams and also of Sri Kanchi Kamakoti Peetham.

Nedunuri ji has been awarded Sangeet Natak Academy Award, Sri Kala Prapurna, Sangeeta Ratnamara, Hamsa Award, Sangeetha Choodamani, among others. Connoisseur’s delight for his mellifluous music renderings, he has also enriched the world with several prominent and much admired disciples.

It will be an absolute privilege to attend his concert, interact with him, and find out the secret of his long brilliant career.

Written by Ananta Gaur, sketch by Arundhati Prasad

Day 3, 15th October, 10am, Tamil Traditional Theatre-Therukoothu-by Siruvanchipet Group

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Open-Air Musical Opera- Therukoothu

Therukoothu, the village folk drama of Tamil Nadu, is performed on the street junction (theru) and hence it’s called Therukoothu (koothu means play).

Stories from the Ramayana and Mahabharata are brought to life through dialogues, movement, songs and dance. Traditionally, all males enact the roles wearing ankle belts. Stage director/ sutradhar/ narrator, kattaran, explains the play, and is a link between the players and the spectators. A buffoon (komali) provides humour. Musical accompaniment consists of mridangam, mukhaveena, harmonium, cymbals.

Theatrical make-up and costumes are colourful and original. Elaborate and vivid facial make up represents different characters. Towering head dresses and massive shoulder ornaments carved of light wood and decorated with gold paper and bits of coloured glass, are an essential part of the show.

This most widely performed theatrical form of Tamil Nadu, uses no written script, depends mostly on the memorized oral scripts handed down from generation to generation. At times, these vachanams, (prose passages which make up for the dialogues and descriptions) are improvised on the spot.

-Ananta Gaur

2011-10-07T11:44:00.000+05:30

Article in The Hindu - Friday Review: Oct. 7, 2011

Day 3, 15th October, Shri Ajay Pohankar, Hindustani Classical Vocal

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Maestro Pt. Ajay Pohankar

At the tender age of ten, when most of us are happy with the regular school and games routine, this child prodigy made his debut at the Calcutta Music Conference. At the same age, he performed at the famed Sawai Gandharva Festival where he sang with the likes of Pt. Omkarnath Thakur, Hirabai Barodekar, Begum Akhtar, and Pt. Bhimsen Joshi.

Today, with over six decades in this field, Pandit ji has performed in all the major festivals and conferences in India and in the most prestigious venues in Africa, UK, and the US. Holder of a double Master’s degree in English and Music, he has been singing the Kirana, Patiala and Gwalior Gharana gayaki. He’s also rated as one of the finest thumri singers of our country.

-Ananta Gaur

illustrated by Srikant, Hindu College, Delhi University

Day 2, 14th October, 3pm, Shri Yogesh Samsi, Tabla Solo

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The Musician and the Instrument behind the Beats

TABLA
No Hindustani classical music recital in north

India

, be it vocal, instrumental or dance, is complete without it. The most widely known and popular percussion instrument, tabla, is used as an accompaniment and also for solo recitals. The tabla comprises two drums. The larger drum bayan (literally meaning left) produces much deeper bass sound and is made up of metal. It is played with the left hand. The smaller drum dayan (right) is made of hollow wood and is played with the right hand.

Did You Know?

· The first very verifiable player of tabla was Ustad Suddhar Khan of Delhi.

· The tabla drum shells are covered with a head constructed from goat or cow skin.

· The head of each drum has a central dark area called the syahi. This is made using multiple layers of a paste made form starch (rice or wheat) mixed with a black powder ‘gab’.

Tale Behind the Tabla

There are a lot of stories regarding the origin of this instrument and it has been the subject of a lot of heated discussions and debate. My favourite, however, is related to the 13^th century Indian poet Amir Khusro. Once, while he was playing the Pakhawaj, it broke into two. He picked up the two pieces and continued playing while explaining at the same time “toda tab bhi bola-tabla”—when it broke, it still spoke.

Pandit Yogesh Samsi

The personality behind the magical pair of hands that play the tabla with consummate artistry, ease, and perfection – Pt. Yogesh Samsi – is a reputed solo artiste and an accompanist. Son of vocalist Pt. Dinkar Kaikini, Yogesh was initiated by him at the age of four. He later received training from Shri P.H. Taranat Rao and legendary Ustad Alla Rakha.

Besides performing, Yogesh Ji is a teacher and a scholar of the subject. He has held workshops in India, USA, South Africa, UK and Japan. He has also worked on an instructional CD which is now available for learners.

Written by Ananta Gaur, Sardar Patel Vidyalaya
illustrated by Abhiram Awasthi, Jamia Millia Islamia

Day 1, 13th October, 10am, Shri Vyasarpadi Kothandaraman, Naadaswaram

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Weaving Magic With His Naad (Naga) Swaram –Shri Vyasarpadi Kothandaraman

The Instrument

Just like the shehnai in the north, its larger cousin naadswaram is an integral part of most auspicious occasions in the south, be it a wedding or a religious function, or temple music. Considered the king of wind instruments, it belongs to a family known as mangala vadya (literal: mangal: auspicious; vadya: instrument). It is regularly played in temples in South India, to an accompaniment of thavil, a barrel-shaped drum similar to a dholak. The right side is played with the palm, wrist and fingers, while the left side is played with a stout stick. Naadswaram is played solo as well as an accompaniment, with both instrumental and vocal. Due to its intense volume and vigorous sound, this instrument is a popular outdoor choice. Naadswaram has a range of two and a half octaves.

Shri Vyasarpadi G. Kothandaraman

The illustrious son and disciple of Naadaswara Vidvan G. Gopala Swami, Vyasarpadi Ji is an A-Grade artiste with AIR Chennai. He has been bestowed with awards and several prestigious titles such as Naadswara Ratanam and Swaralayamamani among others. Currently he teaches music at the Government Music School at Villupuram, Tamil Nadu.

Written by Ananta Gaur

Illustrated by Abhiram Awasthi, a student of Jamia Millia Islamia

Day 1, 13th October, 3pm, Smt. Sudha Mukopadhyay, Odissi

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Sudha Mukhopadhyay

Growing up to the Pakhawaj beats of her father, Sh. Gandhi Mallik, Sudha started her training very early. A senior disciple of Padmashree Madhavi Mudgal, she is an empanelled artiste of ICCR. She has attended dance workshops conducted by Gurus such as Kelucharan Mohapatra, Leela Samson and Banamali Maharana. She has toured extensively with her guru in India and abroad as part of her dance troupe. Her solo performances at the Udbhav Festival for Young Dancers at IIC New Delhi, the Samyukta Tatvavadhan at Lucknow organized by the ICCR, the College of Arts New Delhi, the Raindrops Festival, Mumbai among others have been received very well. Currently she is a faculty member at Gandharva Mahavidyalaya, New Delhi.

Written by Ananta Gaur,

Illustrated by Abhiram Awasthi a student of Jamia Millia Islamia

Day 2, 14th October, 3pm, Smt. Manjusha Patil, Hindustani Classical Vocal and Natya Sangeet

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Smt. Manjusha Patil

Having trained under several renowned gurus, Smt. Manjusha Patil has blossomed into a much sought after vocalist. A first position holder in MA, Manjusha ji is an A-Grade artiste for classical and semi-classical music on All India Radio. She has performed at prestigious music festivals and has received many awards such as Pt. Jasraj Gaurav Puraskar and Manik Verma Puraskar. At Svanubhava, apart from Hindustani classical vocal, she would also be presenting Natya Sangeet (literally meaning drama music) a popular form of vocal art in Maharashtra and surrounding areas.

Written by Ananta Gaur

15th October, Bharatnatyam, Day 3, New Delhi, Priyadarsini Govind, Svanubhava at Gandharva Mahavidyalaya

2011-10-06T16:32:00.009+05:30

Priyadarsini Govind

‘Whither the hand goes, let the glance follow
Whither the glances lead, there should the mind follow
Whither the mind goes, there the mood follows
Whither the mood goes there is real sentiment born.’
-Abhinaya Darpana

Tall and lissome Chennai-based Priyadarsini Govind exemplifies the above lines perfectly. She has imbibed the best from both her gurus – Smt. Kalanidhi Narayana and Guru Swamimalai K. Rajaratnam. Her performances at various forums such as the Festival of India in Paris, Swarna Samaroh organized by the Sangeet Natak Academy, Khajuraho Dance Festival, among others have left people mesmerized.
A graduate in commerce, a diploma holder in Mass Communication, trained in Kalari Payattu – the martial art form of Kerala – and Nattuvangam from Kalakshetra, but Bharatnatyam has remained her first love.

Bharatnatyam
Have you ever seen Sadir Kacheri? (Sadir- dancer; Kacheri- audience)
How about Chinna Melam? (Small assembly). These are old names by which Bharatnatyam was known in earlier times. Bharatnatyam originated in the ambience of the temples of Tamil Nadu and Karnataka. This dance form is primarily devotional in nature and is meant as an offering to the Gods. It has melody, poem, rhythmic movements, drama and mime.

According to one belief, Bharatnatyam derives its name from the sage Bharata who compiled the ancient text Natya Shastra. Another view suggests that Bharatnatyam derives its name from three essential aspects of the art.
Bha- Bhava (expression)
Ra- Raga (musical mode or melody)
Ta- Taala (rhythm or time mass)
Acronym of the first syllables of bhava, raga, taala, gives Bharata.
Bharatnatyam is rooted in Hindu mythology and customs. It is based on Carnatic system of music and its taala. The instrument accompaniments are mridangam and jatrai (cymbals). Mridangam syllables (tat-dhita, taka-dhimi, naka-jhum etc) are recited or sung in accompaniment to the passage of dance. The first item of the Bharatnatyam performance is Alarippu (invocation or prayer to the Gods, to the Gurus and the audience).

Written By Ananta Gaur,

illustrated by Abhiram Awasthi, Jamia Millia Islamia

Svanubhava Trailer

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Svanubhava is just around the corner...watch the trailer now and be sure to register for free!

Talavadyam (Rhythmic Ensemble) on Day 2

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The soul of music is captured in the rhythm that the Talavadyam brings to the stage.

Sri Srimushnam V. Raja Rao

Sri Srimushan V. Raja Rao was born in Palayamkottai, Tamil Nadu and received his initial training in Mridangam from his father Sri S. Venkataramana Rao. He has trained under some of the most eminent teachers of his time and has performed extensively both in India and abroad, accompanying a number of outstanding Carnatic and Hindustani vocalists. Besides Mridangam, he also plays the Kanjira and Morsing. He has won a number of awards and honors including the prestigious Sangeet Natak Akademi award.

Sri Trichur Narendran

Born at Kunnamkulam, Tirchur district, Narendran is an Economics graduate. From the age of seven, he was having training in mridangam successively under K.P. Namboodri, Koduvayur Radhakrishnan and Palghat Raghu, the renowned artiste. After his debut at the age of ten, Narendran has conducted many concerts and has taught Indian Classical Percussion at the San Diego State University.

Sri K.V. Prasad

Sri K.V. Prasad started learning the mridangam from the age of six from the Late Eranakulam Narayana Iyer. Parassala Ravi, Principal of the Palakkad Music College and Sangeetha Kalanidhi T.K.Murthy further helped him develop. A versatile artist- he can play the tabla, Western drums, chenda, and the Congo drums. He won the first prize in the All India Radio mridangam competitions and the Kerala Sangeeetha Nataka Academy award. Prasad is an A-Grade artiste with All India Radio, Chennai and has provided mridangam accompaniment to several stalwarts.

Profiles by Shreya Ramnath & Preeti Zachariah. Sketches by Mihir Balantrapu

13th October, 4pm, Gandharva Mahavidyalaya, Delhi- Roop-Aroop, A play written and directed by Smt. Tripurari Sharma

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Roop-Aroop

A theatre presentation written and directed by Smt. Tripurari Sharma

Happy Ranajit Sahoo, Gauri Dewal - Actors

Sketch by Urvashi Sohal, Amity School of Design, B.Sc. Interior Design

Villupattu on Day 2

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Sri Subbu Arumugam

Sri Subbu Arumugam coaxes music out of what is essentially a weapon - the bow, garnishing his repertoire with oodles of verve and humour.

He was born in Tirunelveli, Tamil Nadu, home of Villuppatu and grew up engulfed by this art. The great poet Subramanya Bharathi, another native of Tirnunelveli left a deep impression on him. His big break came when he was discovered by N S Krishnan and sent to Chennai where he began propounding his art through various media. He has practiced and taught Villupattu for many years now and today his name is synonymous with the art. Every aspect of life is covered by him with complete spontaneity, conviction and versatility.

The 'World Academy of Arts and Culture', California conferred him with a D. Lit. degree in 1995. He has given performances both internationally and in India and has won many awards for his performances.

13th October, 10am, Svanubhava at Gandharva Mahavidyalaya, Delhi - Recital by Vidushi Vasundhara & Sushri Kalaapini Komkali

2011-09-29T22:13:00.021+05:30

‘Malwa ki Lokdhune’ - FOLK MELODIES FROM MALWA

From Agony to Ecstasy...

He was bedridden and forbidden to sing for five years by the doctors treating him in Dewas, Madhya Pradesh. Any normal mortal would have been shattered, but not Pt. Kumar Gandharva. In these years of enforced silence, he made a continuous and systematic study of the folk music of Malwa region. After deep contemplation and hard work, he brought this music to stage in 1970. Folk melodies, described as songs of the soil, are based on everyday life experiences, but their reach goes much beyond.

Vidushi Vasundhara Komkali

An able torchbearer of Kumar Ji’s music, Smt. Vasundhara Komkali is a leading vocalist of the country. She trained under Professor B. R. Deodhar and her husband, Pt. Kumar Gandharva.

Padmashree awardee Vasundhara Ji has several solo cassettes in her name and regularly performs for AIR and Doordarshan. She has performed at many prestigious music conferences in India and abroad. Her theme concerts such as ‘Aayi Badariya’, ‘Ritu Ek Darshan’, and ‘Malwa Ki Lokdhune’ have been received very well by the audiences. She has also been awarded the Sangeet Natak Akademi Award and the P. L. Deshpande Samman.

Sushri Kalaapini Komkali

The daughter and disciple of the legendary Pt. Kumar Gandharva has also been trained by her illustrious mother, Vasundhara Komkali Ji. Her performances are marked by youthful imagination, artistic thoughtfulness and a mature command over various aspects of classical vocalism.

Many of us would have heard her songs from movies such as ‘Paheli’ and ‘Devi Ahilya’. Apart from classical vocal, her presentations of traditional songs from Malwa, and the sagun-nirgun bhajans are enjoyed and appreciated by all. She has released several cassettes and CDs under well known banners such as HMV, Times Music and Virgin Records.

- Ananta Gaur

Hindustani Music on Day 2

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Sri Venkatesh Kumar

The ancient tradition of Hindustani Music is brought to life by the euphonious renderings of Sri Venkatesh Kumar. This brilliant artiste hails from Lakshmipura, Bellary District. His rural origins exposed him to folk tradition early in life and helped develop a passion for music. One of his strongest influences was his father, a renowned folk artist in his own right. Sri Venkatesh’s immense dedication managed to impress the eminent Hindustani Musician, Puttaraja Gawai who took him on as his pupil. After years of dedication and rigorous training-he has effectively inherited the the Gwalior gharana and mastered all its nuances. His mellow, robust voice holds his audience spell-bound whenever he sings, making him a name to reckon with. He has performed at all major festivals in India and has won a slew of major prizes and titles. Sri Venkatesh Kumar is currently serving as a faculty member at Music College, Dharwad University.

Profiles by Shreya Ramnath & Preeti Zachariah. Sketches by Mihir Balantrapu

Qawwali on Day 1

2011-09-27T00:23:00.002+05:30

Qawwali is a form of Sufi devotional music by a group of professional musicians known as qawwals. Poems in Farsi, Hindi, Punjabi and Urdu are sung in alternating solo and group passages by eight or nine members, traditionally called the Humnawa or party, and are characterized by repetition and improvisation. The vigorous drum accompaniment on the dholak is reinforced by clapping, while the small harmonium, usually in the hands of the lead singer, provides melodic support.

Though songs begin gently, they build steadily to a very high energy level; this crescendo is reached in order to induce a trance-like state both among the musicians and within the audience. With the help of a powerful rhythm suggesting the ceaseless repetition of God's name, the music of Qawwali has a religious function: to arouse mystical love, even divine ecstasy, considered integral to the experience of Sufism. Qawwali is, therefore, a method of worship and a means of spiritual advancement. However secular or even hedonistic the lyrics, qawwali songs are essentially spiritual in character, and revolve around the themes of love, devotion and longing of man for God.

Though the roots of Qawwali can be traced to 8th century Persia, this genre of music originally performed mainly at Sufi shrines or dargahs, has now gained mainstream popularity.

Warsi Brothers

The renowned Warsi brothers, Nazeer Ahmed Khan Warsi and Naseer Ahmed Khan Warsi, who perform along with eight accompanists, are popularly touted the torchbearers of their art, and have performed the world over. Sons of Zaheer Ahmed Khan Warsi, who along with his father, Aziz Ahmed Khan Warsi, constituted the previous incarnation of the Warsi Brothers, the internationally acclaimed artistes are known for their classicism -- purity of ragas, measured tones and the use of rhythm integral to the Delhi Gharana, in which they are trained. Recipients of the Sangeet Natak Akademi award, the Warsi brothers are known for performing the Qawwalis of the iconic Sufi mystic, Amir Khusro, often referred to as ‘the
father of Qawwalis.’

Thevaram on Day 1

2011-09-24T00:29:00.002+05:30

Thevaram refers to Tamil Shaivite devotional poetry, and denotes the first seven volumes of the Tirumurai, a twelve-volume set of verses written extolling the virtues of the Shaivite tradition. ‘Varam’ is a type of traditional composition known to be rich in both music and poetry, and 'The' means God; Thevaram is, therefore, that which is sung in praise of God. These are credited to Appar, Sundarar and Sambanthar, three renowned Tamil poets, collectively known as the Nayanars, who are said to have travelled through the state, singing songs and giving discourses on Shaivism. Though written between the 7th and 8th centuries, a collection of these songs, believed to be lost forever, were unearthed in an old temple during the reign of Rajaraja Chola I two centuries later.

In order to avoid allowing the texts and song to fade into oblivion yet again, the king appointed a special group of people in all Shiva temples. These people, known as Odhuvars, taught the hymns of the Thevaram, facilitating the transmission of this knowledge from generation to generation. These songs are regarded as some of the earliest musical compositions available to historians.

The Thevaram is usually chanted or sung to the accompaniment of percussion instruments like the Udukkai and the Maddalam, and are believed to be in sets of ten. They continue to be part of temple liturgy, and are sung in Ganesh, Muruga and Shiva temples across South India.

Yakshagana on Day 1

2011-09-22T18:22:00.002+05:30

Yakshagana

A traditional theatre that finds its origins in Karnataka, Yakshagana is believed to have evolved from pre-classical music and theatre during the Bhakti movement in the 11th century. Traditionally performed in paddy fields in rural areas, Yakshagana performances begin at twilight and can last an entire night as performers travel from village to village. They recount tales from the Ramayana, Mahabharata and the Puranas, and are a unique combination of Sanskrit drama, music that has its origin in local tunes, and elaborate fight sequences, thus making it difficult to slot it as an exclusively classical or folk art form. A narrator (Bhagavata) usually knits the story together, singing and reciting dialogues, accompanied by a group of musicians (himmela) and a group of dancers and actors (mummela). Improvisation is integral to Yakshagana performances; most dialogues are extemporaneous and variations in dance and music are common too. Performances typically use close to thirty artistes, and are characterized by the use of vibrant costumes, resplendent headdresses (Kirita / Pagade) and elaborate face paint. They are marked by high energy and are rich in colour.

Shivananda Hegde and troupe

Sri Keremane Shivananda Hegde has Yakshagana in his blood — his grandfather, Shivarama Hegde, started a Yakshagana troupe in 1934, Idagunji Mahaganapathi Yakshagana Mandali, which has survived three generations. Hailing from a family of Yakshagana exponents, Hegde was exposed to the art form very early. With a diploma in Choreography and training in several folk dances, he has been the dance director for several dramas, and is also exposed to modern theatre. He has toured extensively as a choreographer and performer, and was also invited to participate in the Asia-Pacific Performance Exchange (APPEX) workshop held in the University of California, Los Angeles. Hegde performs both male and female characters of Yakshagana. Sri Hegde has been widely recognized for his cultural contributions to the art of Yakshagana.

Carnatic Flute Concert on Day 1

2011-09-18T12:02:00.000+05:30

Sri N.Ramani

Sri N.Ramani is a highly acclaimed Carnatic flautist, and is known for his brilliance and mastery over both sruti and laya. A disciple of the legendary T.R. Mahalingam, he has a distinctive style, one which is famed for its imitation of the characteristics of the human singing voice. Also proficient in Hindustani music, he has performed many jugalbandhi concerts in the local and international arena. Sri Ramani is popular for having introduced duet flute concerts and having pioneered the playing of the North Indian bansuri flute in Carnatic music concerts. Sri Ramani is currently involved in improving flute-playing technique by experimenting with the sizes of the instrument's finger holes and the length of the flutes, and is engaged in extensive music research.

Sri M. Chandrasekharan (violin)

Sri M. Chandrasekharan’s connection with music was firmly established over 60 years ago, when he began playing the violin at the age of 11, after which he went on to accompany many great stalwarts in the field of Carnatic music. Deeply appreciative of the importance of not just the lyrics, but also its melody and bhava, the prolific violinist is known for his success in bringing out the subtlest of musical nuances. He is also considered an expert in the laya aspects, recognizing and adapting to intricate rhythmic patterns with ease and grace. Sri Chandrasekharan also presents vocal concerts, and sometimes sings along during his solo violin recitals. He has composed various musical forms in different languages, and has travelled the world performing, enthralling audiences all over.

Sri T.K. Murthy (mrdangam)

Veteran mridangist Sri T.K. Murthy has behind him a career spanning over seven decades. A disciple of Thanjavur Vaidyanatha Iyer, he has accompanied several generations of some of the greatest classical musicians across generations. The recipient of several awards, Sri Murthy has toured the world, playing for a variety of art forms, ranging from street theatre to puppetry performances. Apart from being renowned for his technique and his sense of anticipation, Sri Murthy is also known for his mastery over konnakol.

Sri V. Suresh (ghatam)

Sri Vaidyanathan Suresh is a percussionist famed for his speed, precision and his ability to adapt to and respond to percussionists on stage. A specialist in Double Gumki, Sri Suresh is a musician who adheres to tradition, yet believes in innovation - his album, “Yathi,” even features jazz compositions. Sri Suresh has accompanied some of the greatest musicians and shared the stage with many great percussionists across the world. He has learnt the techniques of playing a variety of percussion instruments such as the mridangam, kanjira, thavil and dolki.

Profiles by Shreya Ramnath. Sketches by Mihir Balantrapu

2011-09-11T09:10:00.000+05:30

Registration for Svanubhava 2011 is now open!

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View the full schedule here.

Svanubhava 2011

2011-08-12T16:20:00.001+05:30

Guys this year Svanubhava is between the 10th and 15th of October

10th - 12th - Chennai - in partnership with Kalakshetra

13th - 15th - New Delhi - in partnership with Gandharva Maha Vidyalaya

One festival in two cities

more details very soon

see you all soon

Namaskaram

2010-06-29T22:28:00.002+05:30

At the outset, we would like to thank the student community for making this festival a grand success over the last 2 years! We are really overwhelmed which has motivated us to bring Svanubhava to you on a larger scale this year!

Latest Updates: What's new?

Schedule for Svanubhava 2010 finalised
Preparation work at all the 6 venues have begun
Fliers and Posters have just been sent for printing

More updates coming soon. Please do check back for details.

Thank you

Svanubhava '08 - A Grand Success

2008-09-27T15:10:00.001+05:30

By Rithvik Raja
President, YACM

Svanubhava, meaning ‘self experience’, was a festival conducted exclusively for the students of classical dance and music. As we all know, music and dance form an integral part of our culture, especially in South India. For the students who learn this great form of art, there are institutions all over the world and music is available in abundance these days. Apart from this, we also have a huge festival during December for music and dance. Then where is the need for such a festival as Svanubhava? But this festival is indeed unique.

There were many echoes from these students during the music season (December Season) that the prices of the tickets are too high and that the senior concerts are placed during the evenings where it gets too late for the students to go back home. Some students even say that they feel intimidated by the amount of music the people around them know. With all these problems in mind, Matrka came forward and approached YACM and said that something needs to be done for these students of music. This is when we realized that it is not enough if just some of us, as part of YACM (Youth Association for Classical Music) are able to benefit from a number of concerts, musical games and lec-cons conducted by us, but that our fellow music students must also be given an equal platform to exchange their views and raise questions.

Hence, after several meetings and discussions, we came up with Svanubhava, a festival targeted at making students enjoy the music while at the same time, learn and benefit from it. Here, as this was for the benefit of the students, we gave them the freedom to choose whatever they wanted – right from the concerts, lec-dems, and discussions to the artistes and decoration at the venues. So, the whole festival was conceived by the students themselves! Matrka and YACM acted as mere catalysts that brought all their needs together and gathered the resources required for the festival. This festival was also a medium through which students from different schools, institutions, and gurus came under one roof. Therefore, this acted as a platform for them to interact with each other and imbibe other angles and views on Carnatic Music.

As the initiative was to involve as many students as possible, we decided to approach the 3 institutions of music and dance in Chennai, each housing a considerable number of students – Kalakshetra, The Tamilnadu Government College of Music and The Teachers’ College of Music, The Music Academy. Apart from the students of these colleges, we also invited the students of private teachers to come forward and participate in the festival. A spot registration facility through other students can come and register directly was also arranged.

The festival was formatted in such a way that the students were given the freedom to ask questions after every event. There were concerts, lec-dems, discussions and quiz events. Apart from this, there were listening sessions where a leading artist of today came and spoke to the students about a legend and the aspects of their music they must pay attention to. There were documentary films on great masters presented for the student and a photo gallery put up by Sruti Magazine for the welfare of the students to view the great past masters whose names were heard but never seen. We also had interesting PowerPoint presentations covering lives of several past masters in order to make the students identify with the lives of great musicians and dancers alike.

In this festival, all the logistics were also handled by the students. Whether it was receiving the artists, preparing the stage, making the banners or arranging the tables, all were the students’ duty, in coordination with YACM volunteers. This gave the students an innate sense of responsibility and belonging. The six-day festival (5th to 10th August) was conducted over three venues. The first two days were at Kalakshetra, the next 2 days were at the Government Music College and the last two days were at the Music Academy. This change in venues also gave the students a chance to experience different atmospheres for music and dance and lent the festival freshness. Kalakshetra with an open air theatre atmosphere, The Government Music College Shamiana with a “pandhal” effect and the Music Academy having a formal and the usual closed auditorium atmosphere.

During the six days, we had an average attendance of about 800 students each day. This included students from the three institutions, students who registered online, students who appeared on the spot and students who were sent by their gurus individually. The response was simply overwhelming and the atmosphere was absolutely electrifying with the students being very curious, eager to learn and question. Each concert, lec-dem, interactive session was charged with excitement. There was a spark in the eyes of every student with the urge to learn and absorb more. Students have never been given so much importance during a festival or a concert. They exchanged notes with each other, helped each other understand concepts, and even sometimes translated from Tamil to English to foreign students who did not understand the language. We got the feeling, soon after a few hours into the festival, that maybe this was what they all have been waiting for!!! The artistes were very patient and encouraged questions even after concerts in the green rooms etc.

Each performance was filled with information and depth. Performing in front of so many young faces was a totally different experience for the artistes and most artistes were simply taken aback by the love and affection of these students. There were even tears of joy and happiness amongst many artistes! Without the support of these artistes (85 in total!!!!!), this festival would not have been possible.

After 6 days, though all of us were physically and mentally drained, the joy we derived by pulling off something as huge as this and the feeling of doing something for music in return was immense. The reaction of the students was something we never expected – They wrote poems, gave us small cards, and came upto us and gave us their heart felt wishes for the success of their festival. All these were such spontaneous gestures of love and happiness that we will never forget. This festival has more than achieved what we set out to do. The festival is now up and running with a great momentum with the students. By the end of the festival the students all unanimously declared that they would see us all next year for Svanubhava 2009. “Svanubhava” has come to life! Some felt that a year was too long a time to wait. The festival ended with the 800 students singing the 3 theme tunes of the festival (composed by K. Arun Prakash) which was such a big hit.

This has been a great boost for us. We are thinking of taking this festival to other cities and we want to make this a movement. I feel that this festival is a must for music students like us to learn so much which is in offer from so many great minds. We are trying to make them develop a serious ear for Carnatic music so that some of them can become teachers, some can become connoisseurs, sponsors, rasikas or even patrons. Everyone has a role in this process, but in order to create the above, we need the strong foundation and base today.

Introduction!!!

2008-07-01T23:04:00.010+05:30

Hello!

This is an event (first of its kind) by Matrka(an organisation founded by Bombay Jayashri and T.M.Krishna) in association with YACM ( Youth Association for Classical Music), exclusively for students of this great form of art. Here, as part of the event, will be concerts, lec-dems, lec-cons, educative programmes, movie reels, panel discussions, face to face conversations with artists, listening sessions etc.

Through this event, we wish to expose music students to more programmes, both educative and fun. This also gives students of music an opportunity to meet and interact with each other and enjoy the experience. Every programme will be very interactive in nature giving the students an opportunity to ask questions and learn from many great artists.

All the events organized are from the ideas that were received from the music students of the three institutions, hence, they get an opportunity to listen to their favorite artistes exclusively for themselves.

This is event, which is open to ALL music students. Lunch will also be provided on all 6 days.

The first 2 days (5th and 6th August) will be held at Kalakshetra, the next 2 days (7th and 8th) at The Adyar Government Music College, and the last 2 days (9th and 10th) at The Music Academy, Madras. The timings for the event will be from 9:00 AM to 3:00 PM.

Please keep checking for regular updates on event schedules and look out for your favorite artistes performing and kindly do leave your comment and views behind. Thank You!!!

Event Schedule for the festival

2008-07-01T23:01:00.026+05:30

5th August-10th August 2008, 9:00 AM – 3:30 PM (daily)

5th August : Kalakshetra

Prayer

Inauguration

Kalakshetra Performance

Concert
N Vijay Siva, with RK Shriram Kumar, J Vaidhyanathan

Lecture Concert- 'Major Ragas Handled by legends in concerts'
Neyveli Santhanagopalan with Pakkala Ramdass, Mannarkoil J Balaji, BS Purushotham

Lunch

Listening Time - The 'Lalgudi Bani'

By Lalgudi GJR Krishnan

Nityasree Mahadevan and writer Shivashankari in conversation

Movie Reel

6th August : Kalakshetra

Prayer

Brhadhwani Programme

Concert
S Sowmya with Embar S Kannan, Neyveli Narayanan

Padam, Javali- Lecture Demonstration
Kalanidhi Narayanan and Rama Ravi with RK Shriram Kumar, Thanjavur Kumar

Lunch

Listening Time - 'The music of DK Jayaraman and KV Narayanaswamy'

By N Vijay Siva

Fun Event

7th August : Adyar Music College

Prayer

Music College Programme

Thaala Vadhya Kutchery
Haridwaramangalam AK Palanivel with S Karthick, BS Purushotham

Explanatory Concert - 'Importance or otherwise of Melas and Mela Ragas'
SR Janakiraman, with VL Kumar, Thanjavur Ramdass

Film Reel

Lunch

Listening Time - The legends - 'Madurai Mani Iyer and TN Rajarathnam Pillai'

By Neyveli Santhanagopalan

Sudha Ragunathan and Gowri Ramnarayan in conversation.

8th August : Adyar Music College

Prayer

Madras University College Programme

Concert
Padma Bhushan Sangita Kalanidhi
Madurai TN Seshagopalan

Lunch

Listening Time - inspirations - 'Maharajapuram Vishvanatha Iyer and Alathur Brothers'

By S Sowmya

Y.Gee.Mahendran in conversation with
Mannargudi A Eashwaran, Embar S Kannan, S Karthick

9th August : Music Academy

Prayer

Music Academy Programme

Concert
Parur Quartet
Parur MS Anantharaman
MA Sundareswaran
MA Krishnaswamy
MS Ananthakrishnan
with Srimushnam V Raja Rao, Vaikom R Gopalakrishnan

Niraval- Lecture Demonstration
R Vedavalli, with RK Shriramkumar, K Arun Prakash

Pallavi in rare ragas and thalas
Suguna Purushothaman, with Usha Rajagopal, K Arun Prakash

Lunch

Listening Time - 'Veena Bani'

By Jayanthi Kumaresh

Lecture Concert - 'The Beauty of Accompaniment'
Sangita Rathnakara Guruvayoor Dorai, with S Varadarajan, K Arun Prakash

10th August : Music Academy

Prayer

CARVA Performance

Concert
Padma Bhushan Sangita Kalanidhi
TV Shankaranarayanan, with Mullaivasal G Chandramouli, B Harikumar and Anirudh Atreya

Concert
Jayanthi Kumaresh, with Neyveli Narayanan and Giridhar Uduppa

Lunch

Listening Time - Percussion Styles by Ghatam V.Suresh

Comparative Study on Hindustani and Carnatic Music
Sriram Parasuram, with Umakanth Puranik, Rajendra Nakod, KV Prasad

Movie Reel

Valedictory

Everyday there will be

• Sruti Foundation presents photograph exhibition dedicating each day to different artists

• Movie Screening – viewing of films and documentaries on the Legends of Carnatic music

• Powerpoint Presentations – presentations consisting of rare photographs and manuscripts taking a journey into the life of great musicians