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	<title>sydhwaney.com &#187; music</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>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>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>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>The Book Carnival</title>
		<link>http://sydhwaney.com/the-book-carnival/</link>
		<comments>http://sydhwaney.com/the-book-carnival/#comments</comments>
		<pubDate>Sat, 08 May 2010 11:55:10 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[book review]]></category>
		<category><![CDATA[history india]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[nine lives]]></category>
		<category><![CDATA[pakistan]]></category>
		<category><![CDATA[william dalrymple]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/the-book-carnival/</guid>
		<description><![CDATA[NINE LIVES LIVE &#8220;So my mind touches the lotus feet of Ranga&#8217;s Lord, Delights in his fine calves, clings, To his twin thighs and, slowly, Rising reaches, The navel. It stops for a while on his chest, Then after climbing His broad shoulders Drinks the nectar of his lovely face [Tamil Poem, Chapter 7 of Nine Lives] There are writers who write and then there are writers who bring their writing to life, drawing their readers from the confined pages of their book to a real life experience on stage. The characters of their story carrying their legendary messages may awaken you to a world never imagined. For this they enrol artists and writers. The book suddenly is no longer a book but a travelling carnival. This approach to books can only be related to the musical practices that were once prevalent in India centuries ago. Age old religious practices where poetry, scriptures and sacred texts were celebrated through the attractive medium of poetry, music and dance extending the life of a text beyond the text itself. William Dalrymple the author of Nine Lives plans to do exactly that and more at the Sydney Opera House during the Sydney Writers [...]]]></description>
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		</item>
		<item>
		<title>Ragas and Royal Paintings</title>
		<link>http://sydhwaney.com/ragas-and-paintings/</link>
		<comments>http://sydhwaney.com/ragas-and-paintings/#comments</comments>
		<pubDate>Sun, 06 Dec 2009 04:33:14 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[art gallery sydney]]></category>
		<category><![CDATA[indian summer]]></category>
		<category><![CDATA[jodhpur]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[night music]]></category>
		<category><![CDATA[ragas to royal paintings]]></category>
		<category><![CDATA[royal paintings]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=5684</guid>
		<description><![CDATA[Indian Summer Night’s Music At Art Gallery By Sumi Krishnan The Royal Paintings of Jodhpur is open at the Art Gallery of New South Wales straight from the British Museum. As part of the exhibition with the help and sponsorship of the Indian Council of Cultural Relations [ICCR] and Natraj Arts the evening at the Art Gallery was dressed with music that was as ancient in time as its exhibits. Invited for this purpose was Natesan Ramani a renowned flautist and Manjiri Kelkar an upcoming singer whose beautiful voice moulded itself to the paintings that dressed the walls of the gallery. The Garden and Cosmos Paintings from Jodhpur fell primarily into two categories. One of them created under the patronage of Maharaja Vijai Singh (1752-93), and another Maharaja Man Singh (r. 1803-43). The first consisted of popular themes taken from the mythological stories of ‘Krishna and the gopis (cowgirls)’ and the ‘adventures of Rama and Sita’ from the classic Ramayana. A famous painting was the artist’s depiction of numerous Krishna playing and dancing with several gopis in the forest showing the celebration of life. The second set of paintings gave the spiritual message of Yoga and Vedas. Created under the [...]]]></description>
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		</item>
		<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>Toying with Desh</title>
		<link>http://sydhwaney.com/desh/</link>
		<comments>http://sydhwaney.com/desh/#comments</comments>
		<pubDate>Thu, 12 Nov 2009 11:04:29 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[blue mountains]]></category>
		<category><![CDATA[desh]]></category>
		<category><![CDATA[indian music]]></category>
		<category><![CDATA[leuralla]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[rashid khan]]></category>
		<category><![CDATA[songs]]></category>
		<category><![CDATA[sydney podcast]]></category>
		<category><![CDATA[tagore]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=5528</guid>
		<description><![CDATA[     I recently visited the Toy and Railway Museum in the Blue Mountains. The view from the top of the historic house of Leuralla brought all sorts of mixed feelings within me. Was I standing where other great people like the Queen might have stood and gazed at the view outside ? Its old world charm was captivating. On my way back downhill I landed up toying with the idea of  Raag Desh. A Raga that is prevalent and popular both in the North and South of India. It is sort of universal well almost to most Indians. This raga binds both the South and North in a manner that no other political and or socialist party has been able to. It forms the fabric of almost all styles of music prevalent in that part of the world.  Bollywood songs to bhajans, to folky to chants and more. The limitless natural pleasantness of the raga is the reason for it popularity. Most classical musicians shrug the importance of Desh away however never forget to include it in their repertoire. What cream does to cake is what Desh does to a classical concert. Desh raag is used also in Tumri and Kajri in the North and  Tukada and Jaavali&#8217;s in the South. Its mood some say is decidedly romantic. [...]]]></description>
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		</item>
		<item>
		<title>Unity in Dualism</title>
		<link>http://sydhwaney.com/unity-in-dualism/</link>
		<comments>http://sydhwaney.com/unity-in-dualism/#comments</comments>
		<pubDate>Sun, 04 Oct 2009 23:47:46 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[debapriya]]></category>
		<category><![CDATA[Dhwani]]></category>
		<category><![CDATA[duet]]></category>
		<category><![CDATA[jugalbandhi]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[raag marwa]]></category>
		<category><![CDATA[samanwaya]]></category>
		<category><![CDATA[sitar]]></category>
		<category><![CDATA[soulful]]></category>
		<category><![CDATA[south Indian]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[vocals]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=4873</guid>
		<description><![CDATA[Debapriya and Samanwaya engaged the audience with their blissful presentation of Raag Marwa accompanied on the tabla by Sydney’s very own tabla player Nikhil Harishchandrakar. The programme while sparsely attended made for a cosy evening at the Canada Bay Civic Hall in Drummoyne on the 4th October 2009. Organised by a budding organization Syd-Kol Inc and the Bharatiya Vidya Bhavan, the programs dated surroundings lent a helping hand as the vocals of the Debapriya and the Sitar sounds of Samanwaya wafted above the high vaults of this auditorium. Raag Marwa a difficult raag to treat at times was given the required touches on vocals by Debapriya as Samanwaya on the Sitar sometimes accompanied and sometimes played a complimenting idea to the vocal rendition. The rendition was presented in an instrumental format with a raga exploration in the beginning followed by a wonderful vocal nom-tom. The druth bandhish set to a twelve beat cycle brought out the mood of the raga accompanied by the accompaniment of Nikhil Harishchandrakar on a tabla that had a rather wide faced bhaayan!! the right component of the tabla. They followed this piece with Jhanana Mori Bhaje in Teen Taal which was riveting layakari. Powered by [...]]]></description>
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		</item>
		<item>
		<title>Time Never Sleeps</title>
		<link>http://sydhwaney.com/time-never-sleeps/</link>
		<comments>http://sydhwaney.com/time-never-sleeps/#comments</comments>
		<pubDate>Tue, 15 Sep 2009 20:26:06 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[Carnatic Music]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[Nusrat Fateh Ali]]></category>
		<category><![CDATA[run]]></category>
		<category><![CDATA[sangamam]]></category>
		<category><![CDATA[Sanjay Sub]]></category>
		<category><![CDATA[Sanjay Subrahmanyam]]></category>
		<category><![CDATA[Sleeps]]></category>
		<category><![CDATA[soulful]]></category>
		<category><![CDATA[south Indian]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[Time]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=4611</guid>
		<description><![CDATA[  Boring !! is a word which has no place in the dictonary of a creative mind for their battle is only with one thing Time !!  To catch up with time. For how can one catch up with time that never sleeps, never stops for any one.  As I stay awake one morning this very theme strikes me as something many poets may have written about and so I take you on a journey of timeless pieces that talk about time.. Time that never sleeps !! Sanjay Subrahmanyam one of the foremost classical carnatic singers in India today steals the show for his intuitive rendition of this wonderful poetry written in Tamil by V Pillai. The poet simply commences by saying:  &#8220;The country side sleeps quietly, while you are awake; You with your running shoes on do not stop, with careless disregard for others you run ; do you care about who lives or dies and or what is happening around you !  You who are hated by those indebted knee deep!  You! Oh Time ! Oh Time !   This Full Song can be downloaded here A talented group of artists Sandy Evans on Saxophone, Satsuki Odamura on Koto and Tony Lewis on rhythms present their Jazzy interpretation of  &#8216;Time that never Sleeps&#8217;. [...]]]></description>
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		</item>
		<item>
		<title>The Buck Stops Here !!</title>
		<link>http://sydhwaney.com/the-buck-stops-here/</link>
		<comments>http://sydhwaney.com/the-buck-stops-here/#comments</comments>
		<pubDate>Fri, 28 Aug 2009 00:32:50 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[Bollywood]]></category>
		<category><![CDATA[channel]]></category>
		<category><![CDATA[indian music radio]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[popular]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/2009/08/the-buck-stops-here/</guid>
		<description><![CDATA[A popular Australian channel in Sydney in one of its featured programmes did a segment on Indian Dance. The only recommendation they could provide its millions of viewers is of a particularly westernised bollywood dance school. Whilst there is nothing wrong per se with bollywood dancing, what makes me turn your toes, purse your lips and flare my nostrils with an increasing annoying feeling is this careless portrayal of Indianism and Indian Music and Dance. There are today numerous qualified well talented and dedicated Bharathanatyam, Kathak, Odissi, Kathakali dancing schools and  Carnatic, Hindustani, Instrumental music Schools in Australia.  There are visiting professors, talented musicians who are willing to offer their esteemed services at very nominal amounts to come to Australia to educate, perform, upskill, develop better understanding of the Indian Arts which receives no main stream media recognition, bar a few sparsely sponsored programmes, if at all.      Well I think the Buck stops here.  What is holding us back ? Why do we want to continue to keep our classical arts in ghettos and closed corners ? At the expense of sounding arrogant which I have been criticised for, this cloak of humility and humbleness gets us no where. [...]]]></description>
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