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	<title>sydhwaney.com &#187; Interviews</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>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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		<slash:comments>0</slash:comments>
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		<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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		<slash:comments>0</slash:comments>
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		<item>
		<title>TN Krishnan &#8211; A Class Act</title>
		<link>http://sydhwaney.com/tn-krishnan-a-class-act/</link>
		<comments>http://sydhwaney.com/tn-krishnan-a-class-act/#comments</comments>
		<pubDate>Sun, 26 Sep 2010 00:02:16 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[carnatic]]></category>
		<category><![CDATA[Ghatam]]></category>
		<category><![CDATA[mridangam]]></category>
		<category><![CDATA[pallavi]]></category>
		<category><![CDATA[TN Krishnan]]></category>
		<category><![CDATA[Viji Krishnan]]></category>
		<category><![CDATA[violin]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=8742</guid>
		<description><![CDATA[Musicians like him are different. They don’t rely on showmanship infact shy away from it. They don’t have Facebook and My Space accounts. They do not need to or feel the compulsion to produce something new other than music which in its profound simplicity reflects nothing but a Class Act. Their belief brings method to the madness, seeps into their personality, their art and everything they touch. The belief to make music first and music that sits well within the honed walls of this art form. Therefore when he walked into the room,  I was immediately struck by the fact that I was looking at a man whose life spans an immense history rich in Carnatic Music for he had made music with none other than the very greatest of stalwarts such as Chembai, Musiri, Alathur Bros, TR Mahalingam, GNB, SSI, Madurai Mani Iyer, Ariyakudi, Maharajapuram Vishwanatha Iyer. All of whom I have never had an opportunity to listen to live. So it was an awe inspiring moment to be in the presence of Sangeetha Kalanidhi Padma Bhushan T.N. Krishnan. No one befits that title more. Accompanying him with a  prowess and humility was his daughter Viji Krishnan Natarajan, an [...]]]></description>
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		<slash:comments>2</slash:comments>
		</item>
		<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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		<slash:comments>0</slash:comments>
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		<item>
		<title>A Moving Experiment</title>
		<link>http://sydhwaney.com/an-experiment-in-movement/</link>
		<comments>http://sydhwaney.com/an-experiment-in-movement/#comments</comments>
		<pubDate>Thu, 10 Jun 2010 23:09:38 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[annalouise paul]]></category>
		<category><![CDATA[Bobby Singh]]></category>
		<category><![CDATA[collaboration indian spanish]]></category>
		<category><![CDATA[Dance]]></category>
		<category><![CDATA[dance experiments]]></category>
		<category><![CDATA[flamenco dancing]]></category>
		<category><![CDATA[game on]]></category>
		<category><![CDATA[isabel]]></category>
		<category><![CDATA[Miranda Wheen]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[rhythm dance]]></category>
		<category><![CDATA[tabla]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=7982</guid>
		<description><![CDATA[Annalouise Paul is a pioneering dancer and choreographer who has danced for Michael Jackson, Antonio Vargas Co., Simply Red, Los Angeles Opera, Sydney Festival and Australian Dance Awards at the Sydney Opera House. She was assistant choreographer on ‘True Lies’ working with Arnold Schwarzengger and director James Cameron (Titanic, Avatar, Terminator). Annalouise has been the recipient of Arts NSW, Australia Council, Greater London Arts and Critical Path to research and develop her own choreographies. Annalouise has collaborated extensively with Bobby Singh for several years on these works. Bobby is one of Australia’s well-known tabla players, a student of Pandit Nikhil Ghosh and Aneesh Pradhan. Bobby Singh has received numerous awards and performed with musicians all over the world and in many festivals. I watched two shows in 2008 Isabel, a collaboration between Annalouise Paul and Bobby Singh who explore the story of Queen Isabel through Flamenco Dance and tabla Rhythms and Game On, a flirtatious game between dance in movement and tabla rhythms between Miranda Wheen, an agile contemporary dancer and Bobby Singh amongst other musicians at the Parramatta Riverside Theatre. Impressed with their work  I have been trying to arrange an interview with Annalouise Paul for some time now and was [...]]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Sudha Raghunathan the Secret At Last</title>
		<link>http://sydhwaney.com/sudha-raghunathan-reveals-the-secret/</link>
		<comments>http://sydhwaney.com/sudha-raghunathan-reveals-the-secret/#comments</comments>
		<pubDate>Wed, 02 Jun 2010 22:39:42 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[2010 sydney music festival]]></category>
		<category><![CDATA[sudha raghunathan]]></category>
		<category><![CDATA[swaralaya]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=7964</guid>
		<description><![CDATA[Padmasree Sudha Raghunathan, the voice of South Indian Music for over a decade or more has survived the years and still maintains the quality in her voice, her performance and her charming persona on stage. Off stage she is just as much a working mother as you or I juggling the challenges faced by women world over.  She talks to us from Madras where she has returned after a well deserved vacation abroad preparing for her forthcoming concert in Sydney on 14 June 2010. 1. Audiences abroad how do you find them? They are very appreciative and disciplined. But then it’s also that this kind of music is not as freely available here as it is in our country. So, the scarceness also makes it that much more valued and appreciated – a case of the demand and supply theory I guess!! But then, it’s nice to see that as against earlier, there is a lot more of our music available not only in the US but now also in Europe, Australia and the Middle East regions. Otherwise, the response is pretty much the same and I guess it’s also a reflection of the musicians’ commitment! 2. Your favorite raga? [...]]]></description>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>TM Krishna prescribes Silence Solitude</title>
		<link>http://sydhwaney.com/tm-krishna-prescribes-silence-solitude/</link>
		<comments>http://sydhwaney.com/tm-krishna-prescribes-silence-solitude/#comments</comments>
		<pubDate>Fri, 28 May 2010 20:31:59 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[Carnatic Music]]></category>
		<category><![CDATA[Meditative]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[Spiritual]]></category>
		<category><![CDATA[sydney festival]]></category>
		<category><![CDATA[TM Krishna]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=7949</guid>
		<description><![CDATA[TM Krishna answers the questions sent to him in his usual precise manner. He performs on the Monday night, 14 June 2010 at the Ian Turbott Auditorium, UWS, Rydalmere. 1. Audiences abroad how do you find them ? The same as the ones in india. The only diff is that they are willing to hear longer concerts over 3 hours and not impatient. 2. Your favourite raga ? Cannot answers this question 3. Your favourite song ? Changes according to my mood, time of the day, artist etc 4. Your favourite singer ? Many. all the masters of the 40&#8242;s for sure 4a. Your First concert ? 1989 &#8211; spirit of youth series at The music Academy. i was 12 5. What practices did you or do you follow before giving a concert ? Nothing special. I dont practice. I dont like to hear any music. I like a power nap. Prefer to remain silent. Dont like people chattering. 6. In choosing pieces for a concert what are the various things that influence you in selecting those pieces ? I dont choose pieces. I let things happen as they do on stage itself 7. Do you think all artists should [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>OS Arun Sings for SVT</title>
		<link>http://sydhwaney.com/os-arun-sings-for-svt/</link>
		<comments>http://sydhwaney.com/os-arun-sings-for-svt/#comments</comments>
		<pubDate>Sun, 23 May 2010 01:16:05 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[Bhajan]]></category>
		<category><![CDATA[OS Arun]]></category>
		<category><![CDATA[Semi classical]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=7903</guid>
		<description><![CDATA[Click here Sydhwaney&#8217;s Interview of OS Arun The concert of OS Arun last night at the Bankstown Town Hall had all the hall marks of a successful programme held in aid of a noble cause, raising funds for the Brahmotsavam celebrations of the Sydney Venkateswara Temple. OS Arun commenced his concert with a wonderful alapanai in Raag Hamsadhvani followed by a composition of Papanasam Sivam in Adhi thalam. This was followed by Malayamarutham in kanda chapu, the composition of Swathi Thirunal was inviting. What was a surprise was the presentation of Ragam Rasikapriya in Kotiswara Iyer&#8217;s composition Arul Shaiyya Vendum Ayya which was explored rather beautifully with some unusual sangathis [phrases], made for quite a masterpiece of the concert. OS Arun chose the pancharatna krithi &#8220;Entharo&#8221; as his main piece exploring it with his usual pizzazz. The Varamu, which I was told by another connoisseur has a fifth semi flat note to Malkauns in &#8220;thunai purandarul&#8221; a famous kriti of Papanasam Sivam was preceded with a Thanam. OS Arun seemed like he would settle into a full exploration of the thanam however in what appeared to be a &#8216;Jhala&#8217; treatment of the thanam the speed of the thanam was gradually [...]]]></description>
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		<slash:comments>6</slash:comments>
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		<title>Interview with Rajhesh Vaidhya</title>
		<link>http://sydhwaney.com/profound-rajhesh-vaidhya/</link>
		<comments>http://sydhwaney.com/profound-rajhesh-vaidhya/#comments</comments>
		<pubDate>Sat, 13 Mar 2010 20:29:37 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[Carnatic Music]]></category>
		<category><![CDATA[classical music]]></category>
		<category><![CDATA[innovative music]]></category>
		<category><![CDATA[Interview]]></category>
		<category><![CDATA[performance]]></category>
		<category><![CDATA[rajhesh vaidhya]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[veena]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=6726</guid>
		<description><![CDATA[Sydhwaney Interview with Rajhesh Vaidhya BOOK YOUR TICKETS ONLINE GO HERE As most of you will be aware, Kamban Kazhagam Australia promotes the development of the three components of Tamil language in the form of Literature in prose and verse, Music and Theatricals. Following the successful musical concert (‘Isai Velvi 2008’) by, ‘Kalaimamani’ Nithyasree Mahadevan, we now present another enchanting musical program in the form of ‘Singing Strings’ (‘Isai Velvi’) by a great exponent of Carnatic Music of modern days Veena Maestro Rajhesh Vaidhya. Listen to a Traditional Alapanai Here Rajhesh is not new to many of us in Australia. He was brought up in a rich musical environment, where his father Sri K.M. Vaidyanathan was a stalwart both in Mridangam and Ghatam He also had his advanced training from the world-renowned Carnatic Veena maestro Shri Chitti Babu. Rajesh’s previous visits to Sydney have been memorable moments in which he captured the hearts of thousands of music lovers with his blistering speed on Veena, use of electric and amplified strings and scintillating music. Within the Veena and south Indian music tradition, he is undoubtedly one of the most intriguing and technically beguiling artistes. Rajhesh Vaidhya is not only a renowned musician in India, [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Legendary Sonal Mansingh</title>
		<link>http://sydhwaney.com/sonal-mansingh/</link>
		<comments>http://sydhwaney.com/sonal-mansingh/#comments</comments>
		<pubDate>Thu, 21 Jan 2010 17:55:38 +0000</pubDate>
		<dc:creator>Devi Ravi</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[Bharathanatyam]]></category>
		<category><![CDATA[odissi dance]]></category>
		<category><![CDATA[sonal mansingh]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/legendary-sonal-mansingh/</guid>
		<description><![CDATA[For those of you, who have limited exposure to Odissi, it is a beautiful dance form that has sculptural quality. It is uniquely graceful. The poses freeze after rounded motions. Its serene beauty casts a spell on many. Sonal Mansingh, the Legend in Odissi, in fact started learning Bharatanatyam and then after her arangetram, moved on to learning Odissi. She was the first dancer to bring Odissi to South India back in 1969, where Bharatanatyam was the main dance form. Sonal enthralled audience with her performance at Bharatiya Vidya Bhavan, Karthik Fine Arts, Chennai, on 24th December 2009. The opening invocatory piece was on Lord Krishna, whose Rasas were performed with great subtlety. The next item was based on Sabari Moksham, an episode from Valmiki Ramayana. Sonal portrayed the character Sabari who had utmost Shraddha and bhakti for Rama, so beautifully. This was a very well choreographed piece. The final piece was performed with extract from Siva Puranam. In this, Sonal brought out the Navarasa on Lord Shiva. This piece was very unique. With this performance, Sonal Mansingh once again proved to Chennai audience that she is a Legend &#38; a force to reckon with. Excerpts from my short interview with [...]]]></description>
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