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	<title>sydhwaney.com &#187; Sydney</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>Strong and Vibrant Shakthi and Ojas</title>
		<link>http://sydhwaney.com/strong-and-vibrant-shakthi-and-ojas/</link>
		<comments>http://sydhwaney.com/strong-and-vibrant-shakthi-and-ojas/#comments</comments>
		<pubDate>Fri, 10 Jun 2011 23:33:25 +0000</pubDate>
		<dc:creator>Hamsa Venkat</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[aruna iyengar]]></category>
		<category><![CDATA[aruna parthiban]]></category>
		<category><![CDATA[aruna subbiah]]></category>
		<category><![CDATA[Bharathanatyam]]></category>
		<category><![CDATA[gayatri krishnamurthy]]></category>
		<category><![CDATA[Hamsa Venkat]]></category>
		<category><![CDATA[Hindustani music]]></category>
		<category><![CDATA[kathak]]></category>
		<category><![CDATA[monica smith]]></category>
		<category><![CDATA[natyanjali australia]]></category>
		<category><![CDATA[south Indian]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[vocals]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=9432</guid>
		<description><![CDATA[“A woman is like a tea bag. She only knows her strength when put in hot water.” said Nancy Reagan, and three women very passionate about their art form, Indian classical dancing, came together on the 4th of May at Seymour Centre under the auspices of Natyanjali to realize and express the power of women, the Shakthi that helps one survive the roller coaster ride, in common parlance referred to as life&#8230;..the flutter of excitement, the furnace of fear, the pinnacle of pleasure and the pangs of pain. &#160; &#160; Aruna Iyengar started the performance in the Kuchipudi style extolling the beauty and strength of the Pandya princess Parvathi. Fleet footed movements typical to the Kuchipudi style was very cleverly incorporated and executed. The impersonification of the demon and Devi and the battle of wits between the two to expand on the phrase chamundeswari was very effectively presented. This was followed by Monica Singh performing in the Odissi style, Monica made a strong impression the minute she walked in with a slight sway of the hips so typical of the Odissi style of classical dance. The curvaceous movements and tribhanga posture dominated Monica’s item in contrast to the quick, crisp [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Two Legends In Town</title>
		<link>http://sydhwaney.com/the-two-legends-in-town/</link>
		<comments>http://sydhwaney.com/the-two-legends-in-town/#comments</comments>
		<pubDate>Mon, 19 Jul 2010 20:18:57 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[Hari Prasad Chaurasia]]></category>
		<category><![CDATA[Hindustani music]]></category>
		<category><![CDATA[indian classical music]]></category>
		<category><![CDATA[Sydney]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=8447</guid>
		<description><![CDATA[Two Living Legends will come together on the 15th August in Sydney at the John Clancy Auditorium. Impossible, Unfathomable, but it is happening. They will give two solo performances accompanied by Pandit Vijay Ghate on the Tabla, a North Indian percussion instrument, that was used and seen at a recent Akram Khan Concert. The two great musicians, Pandit Shivkumar Sharma and Pandit Hariprasad Chaurasia are noted for their ability to have carved a pathway in music for themselves. The blazing trail of their music marks time in the era of history for its unique unsurpassed beauty. Just as there is only one Bill Gates, one Michael Jackson, one Renoir, there is only one Santoor player in the world today as there is only one Hari Prasad known for their divine music. Their paths and their backgrounds are very different. While Shivji comes from the Valleys of Kashmir, Hariji spent most of his time learning music in Benaras. Shivji&#8217;s father played an important role in being the first to introduce him to the Santoor, Hariji&#8217;s father was a famous wrestler and did not welcome Hariji&#8217;s musical ventures. The Santoor at the time was a little known instrument only used to accompany Sufiana [...]]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Akram Khan Breaks Barriers</title>
		<link>http://sydhwaney.com/akram-khan-breaks-barriers/</link>
		<comments>http://sydhwaney.com/akram-khan-breaks-barriers/#comments</comments>
		<pubDate>Tue, 29 Jun 2010 11:26:56 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[akram khan]]></category>
		<category><![CDATA[cello]]></category>
		<category><![CDATA[collaborations]]></category>
		<category><![CDATA[japanese drums]]></category>
		<category><![CDATA[kathak]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[Sydney Opera House]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=8276</guid>
		<description><![CDATA[The curtain rises. We are at the prestigious Opera Theatre of the Sydney Opera House. A still silence befalls. Anticipation sitting in the wings takes flight. The stage is dressed in black dark but for the silhouetted features of the musicians and their instruments. The sounds of the tanpura slowly fills the auditorium and the dim lights move joined by the sonorous base notes of the cello and the sounds of the sarod burst into Raag Yaman. The dancer centre stage slowly comes to life. The melodious raag seductively caresses the dancer’s feet. His hands and body move in harmony. The dancer begins his story. He is Shiva, Nataraj, the Lord of Dance. The solemn sounds burst into a powerful chant on Shiva in a sonorous chorus of “Shiv Jay Jay Jay”. The music, the rhythm and the dancer’s feet gain tempo, energy and strength. The audience is entranced with the dancer’s agility. The dancer is none other than, a UK based Bangla Deshi, born a Muslim, taught by a Hindu Guru, dancing to the Hindu Chants of Shiva in Sydney. The all powerful Shiva and compassionate Shakti take turns, twists and finish into a fast paced melting rhythm. Akram Khan, [...]]]></description>
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		<slash:comments>4</slash:comments>
		</item>
		<item>
		<title>A Study in Contrasts</title>
		<link>http://sydhwaney.com/a-study-in-contrasts/</link>
		<comments>http://sydhwaney.com/a-study-in-contrasts/#comments</comments>
		<pubDate>Fri, 16 Apr 2010 05:40:45 +0000</pubDate>
		<dc:creator>Hamsa Venkat</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[brave]]></category>
		<category><![CDATA[hanuman]]></category>
		<category><![CDATA[indian classical dance]]></category>
		<category><![CDATA[seran]]></category>
		<category><![CDATA[Sydney]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=7215</guid>
		<description><![CDATA[Anjaneyam &#8211; A study in contrasts Devotion and daring, honour, wisdom and valour, mark the character of Hanuman which was explored with energy and elegance in the dance production ANJANEYAM by Seran Sribalan and his team of dancers Lavaniya Thevaraja and Hareeshan Elankovan. Experimenting in a myriad ways Seran did justice to the character he presented. Starting with a Pushpanjali in Vijaya Vasantham the three dancers covered the stage with leaps signifying the energy of Hanuman and fluid hand movements portraying Vayu the sire of the great monkey lord. The choreography was very original and set the tone for the evening. The kauthuvam that followed in ragam Panthuvarali brought out the brilliance and humility of Hanuman and Seran danced this item solo touching on how the 5 elements made up the form of Hanuman using some kalaripayittu (martial art form from Kerala) movements to bring out the the quality of veeram . The piece the resistance of the evening was the varnam in Keeravani, almost an hour long but kept the audience spell bound with its intense narrative. Seran drew inspiration from mythological stories and with co dancers Lavanya and Hareeshan presented a wide gamut of characters in the narrative [...]]]></description>
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		</item>
		<item>
		<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>A Rare Tabla Arungetram</title>
		<link>http://sydhwaney.com/a-rare-tabla-arungetram/</link>
		<comments>http://sydhwaney.com/a-rare-tabla-arungetram/#comments</comments>
		<pubDate>Sat, 06 Mar 2010 20:35:53 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Sumi's Musings]]></category>
		<category><![CDATA[arungetram]]></category>
		<category><![CDATA[Iyankaran]]></category>
		<category><![CDATA[Kala Ramnath]]></category>
		<category><![CDATA[solo]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[tabla]]></category>
		<category><![CDATA[Yogesh Samsi]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/a-rare-tabla-arungetram/</guid>
		<description><![CDATA[The debut performance of Iyankaran under the watchful eyes of Guru Yogesh Samsi and Pandit Ramchandra Suman had all the hall marks of a success story that is derived only with thorough dedication and interest. Iyankaran maintained the interests of his audiences through out an evening that weaved magic. Showing great potential and some exemplary layakari in the first half accompanied by Sandeep Mishra on the Sarangi, the programme commenced with the blessings of Ramchandra Suman who said that this artform only comes to those who show &#8220;Shakti, Bhakti and Gyaan&#8221;. Iyankaran rhythmic composition, a &#8216;Peshkar&#8217; was rendered to the accompaniment of  Sandeep Mishra&#8217;s Sarangi set to a melodic theme in Raag Vachaspati in madhya laya Teen Taal that progressed in tempo with several Kayadhas and Reylas. Iyankaran&#8217;s rhythmic demo of the jumping deer, the lazy boy who was cajoled into getting out of bed by his mother and other similar expressions will hopefully endear many more to this artform. MORE PHOTOS HERE The second half consisted of Iyankaran showing his capacity to be equally efficient as an accompanist to the internationally renowned Kala Ramnath of Mewati Gharana. This innovative violinist is not new to Australia. She was credited by [...]]]></description>
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		<slash:comments>2</slash:comments>
		</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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		<slash:comments>0</slash:comments>
		</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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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Gift of Plaited Notes and more</title>
		<link>http://sydhwaney.com/plaited-notes/</link>
		<comments>http://sydhwaney.com/plaited-notes/#comments</comments>
		<pubDate>Tue, 09 Jun 2009 12:25:46 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Demonstration]]></category>
		<category><![CDATA[Guru]]></category>
		<category><![CDATA[laya]]></category>
		<category><![CDATA[neyveli]]></category>
		<category><![CDATA[practical]]></category>
		<category><![CDATA[practice]]></category>
		<category><![CDATA[shashikiran]]></category>
		<category><![CDATA[soulful]]></category>
		<category><![CDATA[sriram parasuram]]></category>
		<category><![CDATA[swara]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[workshop]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=3274</guid>
		<description><![CDATA[  A delightful demonstration given by Guru Neyveli Santhanagopalan of &#8216;Pinnal Swarams&#8217; or plaited musical notes during the informal session conducted by KN Shashikiran with panel members Veenai Venkataraman, Sriram Parasuram and MS Sheela. Neyveli Santhanagopalan says that the following  type of pinnal swarams should be attempted and internalised by students of Carnatic music in every raga. This is done by understanding the rhythmic jati or pattern behind the swarams. Similarly he says there are many other jathis that should be practiced regularly to develop a friendliness and oneness with the swaras. This type of grouping of swaras he says anecdotally, is like a village or township of swaras. The workshop lead efficiently by Shashikiran and answered by the panel members was perhaps the most valuable and precious event at the Festival in Sydney. Neyveli Santhanagopalan, a teacher extraordinaire would be a gift to learn from. He runs regular e-classes on the net. For more information look here In the following clip Shashikiran and Sriram Parasuram talk about the essence of practising the basic notes on a regular basis:   WHAT SANJAY SAYS: Sanjay Subrahmanyam was missed at this discussion and would have completed this panel. However I stumbled upon a post that [...]]]></description>
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		</item>
		<item>
		<title>TM Krishna Speaks to Sydhwaney</title>
		<link>http://sydhwaney.com/marghazhi-raagam-interview-with-its-producer/</link>
		<comments>http://sydhwaney.com/marghazhi-raagam-interview-with-its-producer/#comments</comments>
		<pubDate>Tue, 17 Mar 2009 22:21:32 +0000</pubDate>
		<dc:creator>Sumathi</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Bombay Jayashree]]></category>
		<category><![CDATA[Carnatic movie]]></category>
		<category><![CDATA[film on music]]></category>
		<category><![CDATA[Margazhi Raagam]]></category>
		<category><![CDATA[movie]]></category>
		<category><![CDATA[nalini sankar]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[TM Krishna]]></category>

		<guid isPermaLink="false">http://sydhwaney.com/?p=2356</guid>
		<description><![CDATA[    Sydhwaney Exclusive &#8211; Interview with Star of Margazhi Raagam TM Krishna The internet is a dynamic place. Unimaginable it may seem in years bygone but as a new medium of communication the possibilities are endless however there are also seeming pitfalls in the abyss of which many fall only to realize extraordinary lengths of wasted time either caused by distracting elements or replying to anonymous mud slinging comments by undesirables. Honesty is all important while communicating says TM Krishna in Krishna Uvacha on his website. Drawn by the outspoken extroverted approach of this upcoming musician cum singer turned Star of the movie Margazhi Raagam, I shooted off an email to him and with in a day got a reply. The email was ofcourse about yet another emerging medium of communication The Music at the Movies and ofcourse we are talking about &#8217;Margazhi Raagam&#8217;. Sydhwaney took the opportunity to ask the man himself what he thought and experienced in the making of the music in Margazhi Raagam. Sydhwaney asked : What motivated you to sing in Jayendra&#8217;s movie? How did it feel ? or was it more like a sit down lets sing today with Bombay Jayasree. ? TMK answers: In the beginning we [...]]]></description>
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		<slash:comments>2</slash:comments>
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