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	<title>sydhwaney.com &#187; sydhwaney</title>
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	<link>http://sydhwaney.com</link>
	<description>Sounds From Sydney - Your portal of Indian Classical Music and Dance in Australia</description>
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		<title>Kshetram&#8217;s Evening of Dance Enthralls</title>
		<link>http://sydhwaney.com/kshetrams-evening-of-dance-enthralls/</link>
		<comments>http://sydhwaney.com/kshetrams-evening-of-dance-enthralls/#comments</comments>
		<pubDate>Mon, 06 Jun 2011 06:39:44 +0000</pubDate>
		<dc:creator>sydhwaney</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[Balaji Jagannathan]]></category>
		<category><![CDATA[Bharathanatyam]]></category>
		<category><![CDATA[Dr Ramanathan]]></category>
		<category><![CDATA[kshetram]]></category>
		<category><![CDATA[violin]]></category>
		<category><![CDATA[vocals]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=9394</guid>
		<description><![CDATA[[Article Contributed by VKS Manian] We, with our origins from South Asia, always try our best to instil in our children, the grand culture &#38; tradition of Hindu religion and philosophy. What better way that could have been depicted than KSHETRAM, a Bharatnatyam program in the form of a Ballet, conceived and presented in a stunning way by Smt Manjula Vishwanath, the Artistic Director of Rasika Dance Academy, along with her students, on the night of 14th May at the Auditorium in PLC at St Ives. Stunning it was when you imagine a non-stop hour-and-a-half ballet, riveting in its speed and eye-pleasing in its participants’ performance and its colourful costumes, and that’s the veritable feast the viewers enjoyed on that evening. The novel way in which the audience was led through was heart-warming – an Indian dance teacher who has a surprise visit from her 2 grand-daughters (born &#38; bred in Australia) and takes them through a journey of prominent South Indian places of worship and the religious story behind each. To start with, the program was staged to collect funds and donate to AIM-Seva, an initiative by Shri Dayananda Swamigal to bring education to the underprivileged in India. The [...]]]></description>
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		<item>
		<title>A tribute to Padma Bhushan CV Chandrasekhar</title>
		<link>http://sydhwaney.com/a-tribute-to-cv-chandrasekhar/</link>
		<comments>http://sydhwaney.com/a-tribute-to-cv-chandrasekhar/#comments</comments>
		<pubDate>Tue, 29 Mar 2011 18:12:11 +0000</pubDate>
		<dc:creator>sydhwaney</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[aruna subbiah]]></category>
		<category><![CDATA[Award]]></category>
		<category><![CDATA[Bharathanatyam]]></category>
		<category><![CDATA[C V Chandrasekhar]]></category>
		<category><![CDATA[classical dance]]></category>
		<category><![CDATA[India]]></category>
		<category><![CDATA[padma bhushan]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=9237</guid>
		<description><![CDATA[&#160; &#160; &#160; &#160; &#8220;Arched brows, beautiful red lips sporting a broad smile with dreadlocks of hair and a perfect body shining like a jewel, standing up on his toe with one foot lifted&#8221;,  in describing Lord Shiva in a composition of  &#8221;Kunittha Puruvamum&#8221; Veteran Guru and Teacher Padma Bhushan CV Chandrasekhar brought Bharathanatyam alive in Sydney,  flying in to give the performance the very next day of receiving the highest civilian award in India the Padma Bhushan in Delhi. &#8220;Perhaps there are not a lot of people in the audience who are older than me, yet I seek your blessings and thank you for joining me in my journey of dance to which I have dedicated my life&#8221;,  said Padma Bhushan Prof Chandrasekhar totally at ease after a three hour performance of simply mesmerizing pure bharathanatyam. Classicism spelt in every movement, posture, placement, coverage, angle in today&#8217;s dance.  Each time the audience sat breathless through a complicated jati and stood up to applaud only to be drowned and moved by yet another improvised expression through the evening. A world class communicator in action, he made bharathanatyam inspiring reaching out to all in the audience. &#160; Dedicating the programme to [...]]]></description>
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		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Interview with Padma Bhushan CV Chandrasekhar</title>
		<link>http://sydhwaney.com/interview-with-padma-bhushan-cv-chandrasekar/</link>
		<comments>http://sydhwaney.com/interview-with-padma-bhushan-cv-chandrasekar/#comments</comments>
		<pubDate>Mon, 14 Mar 2011 00:15:20 +0000</pubDate>
		<dc:creator>sydhwaney</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[classical dance]]></category>
		<category><![CDATA[CV Chandrasekhar]]></category>
		<category><![CDATA[Hamsa Venkat]]></category>
		<category><![CDATA[indian classical arts]]></category>
		<category><![CDATA[sydney classical]]></category>
		<category><![CDATA[sydney festival]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=9154</guid>
		<description><![CDATA[&#160; &#160; &#160; Here is an Excerpt of an Interview with Prof CV Chandrasekhar which he gave, before his performance this evening, on the way to receiving his Padma Bhushan Award in India: Q: You have performed Bharathanatyam to Hindustani music and even Gujarati poetry and reached a wider audience. Can we see something choreographed specially for the Australian trip ? Prof CV Chandrasekhar: I shall be dancing to the compositions of the three tamil composers, called the Tamil Moovar, [trinities] Muthu Thandavar, Marimutthu Pillai and Arunachala Kavirayyar. The performance shall also embrace compositions of Papanasam Sivam, poets such as Nakkirar, Thevaram and a Thillana composed by me. The dances will be performed to live music of local musicians. Q.Is there a particular manner in which you tailor your programmes for a foreign audience ? If So, How do you choose your pieces..? Prof CV Chandrasekhar: A demonstrative lecture is what I find helps with a foreign audience. I also like taking poetry from foreign languages like Japanese and present it in the grammar of Bharathanatyam steps and abhinaya. If the audience is predominantly Tamil, then I proceed in the usual manner 4. How do you feel about receiving the [...]]]></description>
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		</item>
		<item>
		<title>Indian n Balinese Dance in Seymour Centre</title>
		<link>http://sydhwaney.com/indian-n-balinese-dance-in-seymour-centre/</link>
		<comments>http://sydhwaney.com/indian-n-balinese-dance-in-seymour-centre/#comments</comments>
		<pubDate>Wed, 24 Nov 2010 21:10:48 +0000</pubDate>
		<dc:creator>sydhwaney</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[Balinese Dance]]></category>
		<category><![CDATA[indian dance]]></category>
		<category><![CDATA[Seymour]]></category>
		<category><![CDATA[Vimala Sarma]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=8979</guid>
		<description><![CDATA[Indian Dance played to a full house at the Seymour Theatre on 18 November.  It was a program of classical Indian dances with a few surprises, like the chanting of the names of the 24 single hand gestures in Sanskrit from the Natyasastra text the Balinese mask dance, depicting characters from the Ramayana,  and a Katha told in English with singing in Sanskrit about how the epic poem the Ramayana came to be written in a new verse form, the sloka, by the poet, Valmiki. One member of the audience, Pamela Schuttler, who has been coming to Nayika Indian Dance performances over a number of years, had this to say about the show. “The first dance by Vimala, Gajah Vadana Beduve, was beautifully mimed.  It was very expressive dancing with beautiful costume &#8211; just like a temple dancer.  Her second piece was an Annamacharya song, Muthugare Yasoda.  Even though we did not understand the words, we loved the melodic song, and Vimala mined the roles of characters in the stories told in the dance very convincingly.   The chanting of the Sanskrit verses with the names of the single hand gestures, from the theatrical text, the Natyasastra, written in about the 2-5th centuries, by students Carol Ng and Evgenia Titova, was [...]]]></description>
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		<item>
		<title>Multicultural Award for Veena Artists</title>
		<link>http://sydhwaney.com/multicultural-award-for-veena-artists/</link>
		<comments>http://sydhwaney.com/multicultural-award-for-veena-artists/#comments</comments>
		<pubDate>Thu, 07 Oct 2010 13:05:43 +0000</pubDate>
		<dc:creator>sydhwaney</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=8835</guid>
		<description><![CDATA[-Multi Cultural Awards for Excellence 2010 By Pathmapriya Melbourne based Veena exponents, Shri Ramnath Iyer and Shri Gopinath Iyer, popularly known as the Iyer Brothers were presented with a Service Delivery to Multicultural Victoria Award in the category of Arts at the annual ceremony organised by the Victorian Multi Cultural Commission held on 21 Tuesday 2010 at the Government House. The well organised and well attended event was honoured by the presence of Premier of Victoria and the Minister for Multi-cultural Affairs, Hon. John Brumby and Governor of Victoria Prof. David de Kretser. Ramnath and Gopinath are twin brothers, born in India moved to Melbourne nearly 20 years ago. They are Australia’s leading exponents of the Veena, a traditional ancient stringed instrument and have made a name for themselves in Australia and overseas as a unique duo in Carnatic (South Indian classical) music. Their music is exciting and complex, beautiful and challenging. Ramnath and Gopinath are disciples of Veena maestros Shri R. Pichumani Iyer and Trivandrum Late Shri R.Venkataraman. Ramnath and Gopinath established the Pichumani School of Carnatic Music in 1990. They have been teaching veena and vocal music to a dedicated group of 40 plus students. The brothers are [...]]]></description>
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		</item>
		<item>
		<title>Third Day Struck by TM Krishna</title>
		<link>http://sydhwaney.com/third-day-struck-by-tm-krishna/</link>
		<comments>http://sydhwaney.com/third-day-struck-by-tm-krishna/#comments</comments>
		<pubDate>Tue, 15 Jun 2010 00:15:22 +0000</pubDate>
		<dc:creator>sydhwaney</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[carnatic concert]]></category>
		<category><![CDATA[flute carnatic]]></category>
		<category><![CDATA[shashank]]></category>
		<category><![CDATA[sriram kumar]]></category>
		<category><![CDATA[sudha raghunathan]]></category>
		<category><![CDATA[TM Krishna]]></category>
		<category><![CDATA[trichy sankaran]]></category>
		<category><![CDATA[violin carnatic]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=8115</guid>
		<description><![CDATA[This is the third exhausting day of the festival but I now feel alive after listening to TM Krishna [TMK] who struck a Master&#8217;s stroke with a concert of unusual proportion and arrangement. Getting straight into it with a solid Shankarabharanam in &#8216;Akshayalinga&#8216;. A soulful Karaharapriya in Raama Ni Samaanam Yevaru in Adhi thalam also a thyagaraja Kriti followed by &#8216;Kaalai Thukki&#8217; in an exquisite Yadhukula Kambhoji. TMK&#8217;s imaginative flights framed with the poetry of the Shriram Kumar&#8217;s Violin and exhalted by the rhythm of Trichy Sankaran, shall be remembered by Sydney in years to come. With the sensitive touch of  Trichy Sankaran&#8217;s &#8220;left hand&#8221;  on the mridangam, TMK&#8217;s voice rose and ebbed as tides of sangathis hit the shores of the Auditorium. By this time we were 45 minutes into the concert. Then came Bhairavi.  Just when I thought a Thanam would ensue, a shock of amazement rippled through the audience as he started back from where every Carnatic Music Student begins at the Varnam in Ada Thalam &#8220;Viriboni&#8221;. The older musicians in the audience exchanged glances and raised eyebrows. Slowly but surely TMK then went first second speed. A few smiled at the rocking ways of TMK and [...]]]></description>
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		</item>
		<item>
		<title>Second Day of Sydney Music Festival</title>
		<link>http://sydhwaney.com/second-day-of-sydney-music-festival/</link>
		<comments>http://sydhwaney.com/second-day-of-sydney-music-festival/#comments</comments>
		<pubDate>Sun, 13 Jun 2010 20:50:50 +0000</pubDate>
		<dc:creator>sydhwaney</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[Dikshidar]]></category>
		<category><![CDATA[Embar Kannan]]></category>
		<category><![CDATA[festival]]></category>
		<category><![CDATA[Kanyakumari]]></category>
		<category><![CDATA[Malladi Brothers]]></category>
		<category><![CDATA[Mannargudi Eashwaran]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[south Indian]]></category>
		<category><![CDATA[Thillai]]></category>
		<category><![CDATA[Thyagaraja]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=8066</guid>
		<description><![CDATA[The second day proved to be Embar Kannan Day. The morning brought the artists together with the Thyagaraja Aradhanai when all international and the local artists came together with more people on the stage than off. This was followed by several local singers commanding their stake on the stage for an hour or two. The concerts began with Manimaran who sang accompanied by Embar Kannan and Mannargudi Eashwaran to the theme of &#8216;Thillai&#8217;. His main ragam Keeravani in &#8216;Innamum Sandheha Padalamo&#8217; a composition of Gopalakrishna Bharathi was well received. Violin Duo Kanyakumari and Embar Kannan again was beautiful. The Guru and Shishya were accompanied by three percussion instruments Thavil by TG Muthukumarasamy, Mrid K Murugaboopathi and Ghatam SV Ramani. Whilst the soulful strings of the violin enthralled audiences with a traditional number popularised by MSS, &#8216;Mamava Pattabhirama&#8217; in ragam Manirahngu set to Mishra Chapu and Suryakantam where swara elaborations took place, the thavil was a sharp reminder of its presence. Ragams such as Nasika Bhushini and Sama in the song &#8220;Annapoorne Visalakshi&#8221; were pleasant reminders of the artists ability to indeed produce music so sweet. The natabhairavi ragam in &#8216;Sri Valli Deva Senapathe&#8217; was explored in depth and the ragam [...]]]></description>
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		<item>
		<title>First Day of Sydney Music Festival</title>
		<link>http://sydhwaney.com/first-day-of-sydney-music-festival/</link>
		<comments>http://sydhwaney.com/first-day-of-sydney-music-festival/#comments</comments>
		<pubDate>Sat, 12 Jun 2010 13:42:23 +0000</pubDate>
		<dc:creator>sydhwaney</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[online guru]]></category>
		<category><![CDATA[Sumi's Musings]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=8014</guid>
		<description><![CDATA[Unexpected fine weather welcomed the array of international musicians here in Sydney today. The first day of the Festival commenced with cheer. The  C3 Church Auditorium in Silverwater great acoustic surroundings added to the experience. The Festival commenced with a talk given by Sudha Raghunathan who spoke about her esteemed guru ML Vasanthakumari and Carnatica Bros who talked about GNB. Later I did ask Shashi Kiran whom he considered the GNB of today to which I received the reply not surprisingly, &#8220;I wont go there&#8221;. Manasi Prasad a noted Bharathanatyam dancer and singer, sang as she portrayed the life of Meera in a unique dance which had influences of the Kathak and  Bharathanatyam. Carnatica Brothers concert accompanied by Murugabhoopathy on the mridangam and Sriram Kumar on violin and SV Ramani on Ghatam had all the ingredients of a great concert with the main item being a Ragam Thanam Pallavi set to two ragams, Vasantha and Bhairavi to a 9 per cycle thalam, which progressed to a Swara Ragamalika introducing ragams such as Anandha Bhairavi  Salaga Bhairavi and Sindhu Bhairavi amongst others. Carnatica Brothers were ably accompanied by Sriram Kumar and the thani avarthanam, to 9 counts per cycle, was played with prowess [...]]]></description>
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		<item>
		<title>Art Gallery Attractions &#8216;Manjiri and Ramani&#8217;</title>
		<link>http://sydhwaney.com/art-gallery/</link>
		<comments>http://sydhwaney.com/art-gallery/#comments</comments>
		<pubDate>Mon, 23 Nov 2009 17:53:47 +0000</pubDate>
		<dc:creator>sydhwaney</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[art]]></category>
		<category><![CDATA[Art Gallery of NSW]]></category>
		<category><![CDATA[classical]]></category>
		<category><![CDATA[complex ragas]]></category>
		<category><![CDATA[energetic]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[soul searching]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=5572</guid>
		<description><![CDATA[    LISTEN TO MANJIRI HERE - Please double click to listen and continue reading.. Seen above performing at the Royal Albert Hall in Proms 2009, interviewing Manjiri Asanare-Kelkar   a Hindustani vocalist was easy from the word go. Unpretentious and modern, Manjiri is very much a persona of the upcoming musician in India today. She shall in an act supported by her accompanying artists on percussion tabla and the Harmonium similar to a Trio ensemble present vocal music within the subtle dimension of a raga, a melodic stretch of musical notes so intricately arranged and extemporized that it is entrancing and momentous. Sydhwaney asked Manjiri which ragas she likes to sing and what is about a raga that she loves ? Manjiri said: There are some basic ragas that are her favourites like Bihag, Bhoop, Yaman etc. But there are also some complex ragas or melodic schemes that are stimulating to deal with. When asked to elaborate what and how she defines a complex raga Manjiri said that complex ragas can be a combination of two ragas such as Bhoop Nat are easy to understand. The other variety of complex ragas are those where one can see many shades of many different [...]]]></description>
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		<item>
		<title>New Year with Raag Yaman</title>
		<link>http://sydhwaney.com/musings-the-new-year-with-yaman/</link>
		<comments>http://sydhwaney.com/musings-the-new-year-with-yaman/#comments</comments>
		<pubDate>Thu, 01 Jan 2009 00:39:06 +0000</pubDate>
		<dc:creator>sydhwaney</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[Add new tag]]></category>
		<category><![CDATA[Galaxy of Musicians]]></category>
		<category><![CDATA[Kalyani]]></category>
		<category><![CDATA[New Year 2009]]></category>
		<category><![CDATA[north indian]]></category>
		<category><![CDATA[Raga]]></category>
		<category><![CDATA[soulful]]></category>
		<category><![CDATA[south Indian]]></category>
		<category><![CDATA[Yaman]]></category>

		<guid isPermaLink="false">http://sydhwaney.wordpress.com/2009/01/01/musings-the-new-year-with-yaman/</guid>
		<description><![CDATA[Lets start at the very beginning! Yaman. There is enough and more been said about this Raga however I feel drawn to this sequence of notes time and again and what a better start to the New Year but to enfold myself into the comfort of its familiarity. Yaman seen through the mind of the great Ustad Amjad Ali Khan who describes and shows a beautiful excerpt of the raga here A common bhajan sung by the Sydhwanies that can be heard under lyrics above is Shree Rama Chandra that is set to the same raga. The sequence of notes are the same as a major scale except that the fourth is sharp which creates a handsome picture. Listen to a Violin and Cello combination of this bhajan here Kishori Amonkar one of the great singers of our time has a unique and exceptional way of introducing the Fourth note or Tivra madhyam for which Kishori&#8217;s Yaman is truly special. Listen to her below: http://au.youtube.com/watch?v=rGOUMg0UnyI&#38;feature=related Considered to be an easy raga for no matter what combination of notes one mixes the likelihood of it sounding like any other raga is close to nil. With this confidence in mind Hindustani teachers [...]]]></description>
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