There was a time when escaping into the frivolous cost one exactly nothing. The days when one could do that are gone. The world and its warring fragments push their noses into one's life in an unending onslaught.
There is no escape from this onslaught, for one can only protest it or do nothing. A protest or any action invariably leads you into a tangle and doing nothing into a merciless limbo where you cannot even hold together your own self-pride.
Border conflicts and suffering neighbours - you and the other - feasts amidst a land of famine - philosophies and poetry amidst the burning human condition. How true that there is no point in wanting to be creative unless the creation is tied by its own bonds of bruise and blood to the struggles going on all around.
If that is so repulsive one could go for a shameless pursuit of wealth. How repugnant to turn one's back to the cry of life and seek meaning within the synthetic trappings of what the world deems properous!
The forces of this synthetic prosperity are tremendous, the destruction wrought by the resulting blindness of people, humungous, next to these a person's struggle to build up a contrasting meaning is a fragile and feeble little wisp of an effort. This is like a tendril seeking it's support against the onslaught of a Tsunami wave.
Yet there is a dignity, in knowing and seeing the tendril for what it's worth. What a gift if that very tendril should turn out to be the route to a larger space, a greater common good! How grand if one should turn out to be the vehicle of this message of liberation!
But how fortunate if one could at least be a part of this path breaking effort!
08 March 2011
13 January 2011
Sikkil Gurucharan - Article in Deccan Chronicle for Music Festival 2010
Sikkil Gurucharan today literally has the crowds swaying to his tune. He started his career at age six and now, in his early thirties, he is much sought after. From child artiste to full-blown professional and crowd-puller: what a transition! But he feels differently, ‘for me there has been no real transition in those terms, though of course the musical sense has deepened! I like to feel I am in competition with younger musicians, it keeps me on my toes. Yet, technically, a transition happened about 2–3 years back: large audience, papers write about you and secretaries put you on their list. These things push you to the next level’.
He enjoys the pressure, the press interviews, attention and publicity, ‘it’s all enjoyable. Readers sometimes keep track of what you say so there’s a need to say the right things. This pressure even transforms into positive energy on stage’.
Gurucharan has experimented with new concepts. The Anil Srinivasan–Gurucharan duo has hit the records many times, but he does not feel there is a need to innovate, as ‘people come to the concert to hear traditional Carnatic music for what it is’. His collaborations with Anil Srinivasan have brought in a whole set of new listeners, from North India and outside India, who were more into Ravi Shankar or Pop and Rock.
Gurucharan is usually noticeably sensitive to his audience’s mood. How does he manage this, with sabhas asking for predetermined lists of songs to be sung? How does he manage to be spontaneous in this? He says, ‘The list is useful because it saves the audience from accidental repetitions by subsequent performers, but it is not so rigid and can be slightly modified to suit the mood of the singer and the listeners’.
He draws inspiration from the stories his grandmother, Sikkil Kunjumani, used to tell him. For example, about how Semmangudi ‘mama’ used to engage the audience. ‘When the audience looked slack or vague, he would change the tempo with a brisk krithi carrying his trademark kalpana swarams. It is necessary, and even very important, to be in tune and respond when the audience looks vague or looks away’.
He enjoys the pressure, the press interviews, attention and publicity, ‘it’s all enjoyable. Readers sometimes keep track of what you say so there’s a need to say the right things. This pressure even transforms into positive energy on stage’.
Gurucharan has experimented with new concepts. The Anil Srinivasan–Gurucharan duo has hit the records many times, but he does not feel there is a need to innovate, as ‘people come to the concert to hear traditional Carnatic music for what it is’. His collaborations with Anil Srinivasan have brought in a whole set of new listeners, from North India and outside India, who were more into Ravi Shankar or Pop and Rock.
Gurucharan is usually noticeably sensitive to his audience’s mood. How does he manage this, with sabhas asking for predetermined lists of songs to be sung? How does he manage to be spontaneous in this? He says, ‘The list is useful because it saves the audience from accidental repetitions by subsequent performers, but it is not so rigid and can be slightly modified to suit the mood of the singer and the listeners’.
He draws inspiration from the stories his grandmother, Sikkil Kunjumani, used to tell him. For example, about how Semmangudi ‘mama’ used to engage the audience. ‘When the audience looked slack or vague, he would change the tempo with a brisk krithi carrying his trademark kalpana swarams. It is necessary, and even very important, to be in tune and respond when the audience looks vague or looks away’.
Subhiksha Rangarajan - Article in Deccan Chronicle for Music Festival 2010
Subhiksha Rangarajan is a multifaceted artist: performing artist, painter and writer all rolled into one. Having started early, she is deep into different genre of music, even at age 22! In her concert for Karthik Fine Arts, she was using her abilities to the fullest and spun out exquisite strains of Abhogi, Bhairavi and Pantuvarali. Accompanying her on violin was another young talent, Akkarai Swarnalatha. Subhiksha’s strength is being able to build up the mood of the raagam, while Swarnalatha has the ability to first set up an environment and then place one note in its centre. Guru Raghavendra on the mirudhangam smartly added to this harmony.
Apart from her performance in sabhas, Subhiksha also sings for a contemporary Indian music band: Yodhakaa. What is Yodhakaa? Subhiksha says, ‘We compose music for lyrics that are drawn from Sanskrit slokas. Most of these are old songs, but a few lyrics have been written by our friend, Pranav. He also helped us with our other slokas. Our music is influenced by many styles from around the world: Latin, African, Jazz, and so on, but it’s not, ‘in the face’! We take care that the styles are blended into the sloka and other melodies’.
Carnatic music takes pride in being complete, so how are these compositions different? ‘We do not compose for the meaning or mood of the songs, rather we try to highlight the effect of the syllables! In the song, ‘Gnaanam’, for example, rather than stick to one raagam, we stress on the syllable ‘Paap’, and the instruments all try to imitate this sound’.How does she separate the purist carnatic style from such fusion compositions? ‘ It’s not different, really. If you ask any senior musician, they will say that the raagam is more important than the notes it is made of. I always sing thinking of the song as a whole. I always stick to that picture and not always the notes’.
Subhiksha’s approach is new and to be lauded. Art in its growth must also touch a common chord in all people; it is to be hoped that musicians of her generation will be endowed with that liberating gift.
Apart from her performance in sabhas, Subhiksha also sings for a contemporary Indian music band: Yodhakaa. What is Yodhakaa? Subhiksha says, ‘We compose music for lyrics that are drawn from Sanskrit slokas. Most of these are old songs, but a few lyrics have been written by our friend, Pranav. He also helped us with our other slokas. Our music is influenced by many styles from around the world: Latin, African, Jazz, and so on, but it’s not, ‘in the face’! We take care that the styles are blended into the sloka and other melodies’.
Carnatic music takes pride in being complete, so how are these compositions different? ‘We do not compose for the meaning or mood of the songs, rather we try to highlight the effect of the syllables! In the song, ‘Gnaanam’, for example, rather than stick to one raagam, we stress on the syllable ‘Paap’, and the instruments all try to imitate this sound’.How does she separate the purist carnatic style from such fusion compositions? ‘ It’s not different, really. If you ask any senior musician, they will say that the raagam is more important than the notes it is made of. I always sing thinking of the song as a whole. I always stick to that picture and not always the notes’.
Subhiksha’s approach is new and to be lauded. Art in its growth must also touch a common chord in all people; it is to be hoped that musicians of her generation will be endowed with that liberating gift.
Priya Murle- Article in Deccan Chronicle for Music Festival 2010
Rigour helps gain dance versatility
January 8th, 2011
Shubashree Desikan
Priya Murle recalls the roundedness of her training at ShriBharatalaya, under Guru Sudharani Raghupati. Apart from dance, they were taught music, Sanskrit and theory of dance. ‘Our Sanskrit master also told us many stories; after all, dance is visual story-telling! For five years, I only did adavus, much later came solo performances and thematic presentations. Sudha aunty would do the research but always discuss how we should present; she would ask basic questions, “what are you going to highlight here? what swarams and jathis here?” In fact, we never realized we were being trained. I was trained in giving demos, explaining to newcomers through speeches, etc. Even our pronounciation and diction was checked by her. Many people are now surprised that I can handle all aspects: sing, play nattuvangam, do folk-style dance with Anita Rathnam, etc. All my co-students can do all this.’
Priya upholds two performances as special: Amba Shikandhi and the folk-depiction of Indra in Mammudha. ‘In the former, it was a great challenge to depict woman, woman disguised as man and woman becoming a man; especially, doing it sensitively, without being offensive. It would not have been possible without the depth of our training’.
Priya says, ‘I can unconsciously mimick people. Consciously I work at letting go of my ego, for when I portray a character, I have to lose the Priya ego. An important thing is to warm up to the stage quickly and perform instinctively. The body memory should be the guiding instinct, when the dance appears effortless’. Even then, ‘every performance is a test. Losing oneself is rare, and then, but for a moment’.
Conflict between self and the character exists at times, ‘in many cases this lends force to your portrayal’, as for example in One Million Seetas, by Anita Ratnam.
Natyarangam of Naradha Gana Sabha, ‘identify talents and rope them into group activities. They hold camps in Tennangur every year, where daily, we have yoga and lectures, and dance in the temple’. Occasions when one feels down? ‘It is natural to feel a twinge of jealousy sometimes, but I snap out of it very quickly. My family is so supportive, it would be very difficult without that. You must really just reinforce belief in yourself’.
January 8th, 2011
Shubashree Desikan
Priya Murle recalls the roundedness of her training at ShriBharatalaya, under Guru Sudharani Raghupati. Apart from dance, they were taught music, Sanskrit and theory of dance. ‘Our Sanskrit master also told us many stories; after all, dance is visual story-telling! For five years, I only did adavus, much later came solo performances and thematic presentations. Sudha aunty would do the research but always discuss how we should present; she would ask basic questions, “what are you going to highlight here? what swarams and jathis here?” In fact, we never realized we were being trained. I was trained in giving demos, explaining to newcomers through speeches, etc. Even our pronounciation and diction was checked by her. Many people are now surprised that I can handle all aspects: sing, play nattuvangam, do folk-style dance with Anita Rathnam, etc. All my co-students can do all this.’
Priya upholds two performances as special: Amba Shikandhi and the folk-depiction of Indra in Mammudha. ‘In the former, it was a great challenge to depict woman, woman disguised as man and woman becoming a man; especially, doing it sensitively, without being offensive. It would not have been possible without the depth of our training’.
Priya says, ‘I can unconsciously mimick people. Consciously I work at letting go of my ego, for when I portray a character, I have to lose the Priya ego. An important thing is to warm up to the stage quickly and perform instinctively. The body memory should be the guiding instinct, when the dance appears effortless’. Even then, ‘every performance is a test. Losing oneself is rare, and then, but for a moment’.
Conflict between self and the character exists at times, ‘in many cases this lends force to your portrayal’, as for example in One Million Seetas, by Anita Ratnam.
Natyarangam of Naradha Gana Sabha, ‘identify talents and rope them into group activities. They hold camps in Tennangur every year, where daily, we have yoga and lectures, and dance in the temple’. Occasions when one feels down? ‘It is natural to feel a twinge of jealousy sometimes, but I snap out of it very quickly. My family is so supportive, it would be very difficult without that. You must really just reinforce belief in yourself’.
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