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	<title>sydhwaney.com &#187; Art Gallery of NSW</title>
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	<description>Sounds From Sydney - Your portal of Indian Classical Music and Dance in Australia</description>
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		<title>Art Gallery Attractions &#8216;Manjiri and Ramani&#8217;</title>
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		<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>

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		<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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		<title>Art Gallery of NSW</title>
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		<pubDate>Fri, 03 Apr 2009 05:15:29 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[Art Gallery of NSW]]></category>
		<category><![CDATA[Arts Asia]]></category>
		<category><![CDATA[classical dance]]></category>
		<category><![CDATA[dress]]></category>
		<category><![CDATA[indian dress]]></category>
		<category><![CDATA[Most Expensive Saree]]></category>
		<category><![CDATA[Saree]]></category>

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		<description><![CDATA[Arts of Asia &#8216;Decoding Dress&#8217; series at the Art Gallery of New South Wales on Tuesday 31 March 2009 brought Tara Rajkumar OAM back from Melbourne. Tara Rajkumar&#8217;s  talk ‘Saluting the Gods in Silken Splendour&#8217; received a splendid applause from a hall full of curious Australians. In moving away from her usual topic of Kathakali and Mohiniattam, Tara said she was reaching new horizons. She explored the relationship between ancient Hindu temple architecture and sculpturing to that of the various styles of dance and its dress prevailing in different parts of India. In tracing the history of dance to natya shastra she embarked on the journey of the dress, the jewellery, distinctive to classical dance forms.  The minute differences in color,  fabric, to the manner in which it is adorned. Not forgetting the jewellery and head gear worn in various styles of dance that uniquely resembled the sculptures of the temples Tara explained that symbolism of the sometimes gory masks worn in Kathakali. Dancers spend three to four hours getting ready with their make up painted in intense colors at the end of which the dancer siezes to remain a mere mortal transforming in body mind and soul to that of  a God, an entire group of entranced audience watched her bring the costume, the fabric, [...]]]></description>
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