Welcome to Insieme Arti-Journal for Performing Arts

Insieme Arti-Journal for Performing Arts emerges from the culturally vibrant city of Mysore, the illustrious Cultural Capital of Karnataka, where centuries-old artistic traditions continue to flourish amidst royal palaces and temple courtyards. Founded in 2024, this distinguished journal stands as a beacon for the performing arts community, creating a dynamic confluence where ancient wisdom meets contemporary innovation.

Rooted in the rich tapestry of Indian classical traditions yet embracing global artistic expressions, the journal serves as an intimate stage where diverse forms of creative expression find their voice. From the intricate footwork of classical dance that echoes through heritage halls, to the melodic ragas that have resonated for generations, from experimental theatre that challenges conventional boundaries to cinema that captures the human experience in motion—every facet of the performing arts finds scholarly exploration within these pages.

Our mission transcends mere academic publication; we endeavor to weave together the threads of rigorous research with the passionate voices of practitioners who breathe life into their art forms. The journal celebrates the symbiotic relationship between theory and practice, inviting contributions that illuminate the profound cultural, social, and aesthetic dimensions of performance.

With an unwavering commitment to originality, inclusivity, and cross-cultural dialogue, Insieme Arti-Journal embraces perspectives from every corner of the artistic world. We seek to amplify voices that have long deserved recognition alongside established scholars, fostering a global conversation that honors both traditional mastery and bold innovation.

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Journal Title	Insieme Arti-Journal for Performing Arts	Initials	Insieme Arti-Journal for Performing Arts	Join as Reviewer Register
Abbreviation	Ins Art	Frequency	Quarterly
DOI	Prefix: 10.63984	Online ISSN	ISSN: 3048-9849 (Online)
Print ISSN		Editor-in-Chief	Vid. Pushpa V Shankar
Publisher	Laasya Media	Managing Editor	Vid. Sneha V
Language of Publication	English \| Hindi \| Kannada \| Tamil	Indexing Database	Google Scholar, Crossref

Recent Publication: Volume: 2,Special Issue: 1

Articles

Special Issue

Scope: Special Issue

Publication Date: December 30, 2025

Contribution of Lesser Known Composers of 19th and 20th Century in Carnatic Music

Ms. Vilasini Subraveti Muralikrishnan

Views: 27 / Downloads: 0

Mysuru Shyli Baani Bharatanatya Guruparampare Composers and Choreogrhers during the 18th and 19th century

Mrs Sushmitha TS

Views: 41 / Downloads: 0

Nala Najan - Art and the Artist

Mrs. Poornima Kaivar Gururaja

Views: 18 / Downloads: 0

Rhythmic patterns and musicality in the Bharatanatyam choreographic works of Adyar K Lakshmanan

Dr Sahana selvaganesh

Views: 30 / Downloads: 0

Structural Analysis of TillÄnÄs Composed by Sri M. D. Ramanathan: A Brief Study

Dr Lakshmi Surya Teja Bhavaraju

Views: 41 / Downloads: 0

Comprehension of Hasta Mudras: Exploring the Application of Abhinaya Hasta Mudras in Mohiniattam Choreography

Prof. Vrinda Sadasivan

Views: 34 / Downloads: 0

Analysis of choreography by Guru Bharatakalamani Dr. C. Radhakrishna, of the Kolar tradition of Karnataka

Mrs. Roopa Vijay

Views: 24 / Downloads: 0

CHALLENGES IN DOCUMENTING THE LEGACY OF YAKá¹¢AGÄ€NA ARTIST V.M. JOSHI

Ms. Pallavi G Gayatri

Views: 31 / Downloads: 0

ANALYZING Ä€Aá¹„GIKA AND Ä€HÄ€RYA OF SELECT CHARACTERS IN RUKMINI DEVI ARUNDALEâ€™S KÅªRMÄ€VATÄ€RAM DANCE DRAMA

Ms.Anvitha K M Anvitha K M

Views: 56 / Downloads: 0

A study of select varnas of tiger varadachariar

Ms. Vaishnavi Harish and Vijayasri G

Views: 45 / Downloads: 0

Analytical study in the composition of Amba Neelambari of Ponniah Pillai

Mrs Megha Pillai

Views: 42 / Downloads: 0

Analysis of select Karnatak music compositions of Sri N.Ch.Krishnamacharyalu

Ms. Padmavathi Saranathan

Views: 29 / Downloads: 0

á¹¢aá¸kÄla GÅvinda MÄrÄr - A study

Mr. George Joseph C

Views: 42 / Downloads: 0

Vaggeyakara C. Rangayyanavara Sangeetha Rachanegalallina Prayogasheelathe

Vijaya

Views: 26 / Downloads: 0

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Call for the Articles - Edition -October-December 2025, Volume 2, Isuuse 4

Insieme Arti - Journal for Performing Arts invites researchers, scholars, and practitioners to submit original and high-quality papers for the Edition- Oct-Dec 2025, Volume 2, Issue 4. This is an excellent opportunity to showcase your work and contribute to the advancement of Performing Arts. Why Publish with Us? Global Reach: Expand your audience through our widely accessed platform. Quality Review: Rigorous peer review process by esteemed experts. Diverse Topics: Open to a wide range of subjects and perspectives. Submission Details Submission Deadline:30-11-2025 Publication Date:31-12-2025 Guidelines: Visit https://insiemearti.com/submissionguide.aspx for detailed submission guidelines.

07-Oct-2025

RECENTLY ACCEPTED ARTICLES

Title :Vaggeyakara C. Rangayyanavara Sangeetha Rachanegalallina Prayogasheelathe
Volume :2 / Special Issue / 1
ಸಂಗೀತದ ಪರಂಪರೆ ಜಗತ್ತಿನ ಸಂಸ್ಕೃತಿಯಲ್ಲೇ ಅತ್ಯಂತ ಶ್ರೀಮಂತ ಹಾಗೂ ವೈವಿಧ್ಯಮಯ ಸಂಪ್ರದಾಯಗಳಲ್ಲಿ ಒಂದಾಗಿದೆ. ಭಾರತದ ಶ್ರಾವಣ ಸಂಪ್ರದಾಯವು ಅನೇಕ ಶತಮಾನಗಳ ಕಾಲ ಸಾಹಿತ್ಯ, ಸಂಸ್ಕೃತಿ, ಭಕ್ತಿ ಮತ್ತು ಕಲಾತ್ಮಕತೆಯ ನೆಲೆಯಲ್ಲಿ ಬೆಳೆದುಬಂದಿದೆ. ಕರ್ನಾಟಕ ಸಂಗೀತ ಪರಂಪರೆ ಈ ಪರಂಪರೆಗಳಲ್ಲೇ ವಿಶಿಷ್ಟ ಸ್ಥಾನ ಹೊಂದಿದೆ. ಸಂಗೀತ, ಭಾವನೆ ಮತ್ತು ಭಕ್ತಿಯ ತ್ರಿಮೂರ್ತ ತತ್ವವನ್ನು ಮುನ್ನಡೆಸಿ ಬಂದ ಸಂಗೀತ ತ್ರಿಮೂರ್ತಿಗಳನ್ನು ಅನುಸರಿಸಿದ ಅನೇಕ ವಾಗ್ಗೇಯಕಾರರು ತಮ್ಮ ಸೃಜನಶೀಲತೆಯಿಂದ ಕೀರ್ತನೆಯನ್ನು ಮತ್ತಷ್ಟು ಸಮೃದ್ಧಗೊಳಿಸಿದ್ದಾರೆ. ಈ ವಾಗ್ಗೇಯ ಪರಂಪರೆಯ ಪೈಕಿ 19-20ನೇ ಶತಮಾನಗಳಲ್ಲಿ ಮೈಸೂರು ರಾಜ್ಯದಲ್ಲಿ ರೂಪುಗೊಂಡ ಸಂಗೀತ ವಾಗ್ಗೇಯ ಪರಂಪರೆ ಅತ್ಯಂತ ಶ್ರೀಮಂತ ಮತ್ತು ಕಂಗೊಳಿಸುವ ಪರಂಪರೆಯಾಗಿದೆ. ಈ ಪರಂಪರೆಯಲ್ಲಿ ತಮ್ಮ ಅನನ್ಯ ಪ್ರತಿಭೆ ಮತ್ತು ರಚನಾಶೈಲಿಯಿಂದ ಖ್ಯಾತರಾದವರು ಶ್ರೀ ಸಿ. ರಂಗಯ್ಯ. ರಂಗಯ್ಯರವರು ತಮ್ಮ ಸಂಗೀತ ರಚನೆಗಳಲ್ಲಿ ಬಳಸಿದ ರಚನಾ ವೈವಿಧ್ಯ, ರಾಗಭಾವದ ನಿರೂಪಣೆ, ಸಾಹಿತ್ಯದ ಸಂವೇದನೆ ಮತ್ತು ಸಂಗೀತದ ತತ್ತ್ವಭಾವನೆ—all combine to reflect their originality and depth. ರಂಗಯ್ಯರ ಪದರಚನೆಗಳಲ್ಲಿ ಕಾಣಸಿಗುವ ಪ್ರಾಸಸೌಂದರ್ಯ, ಭಾವಮಾಧುರ್ಯ, ರಾಗಾನುಸಂಧಾನ ಮತ್ತು ಭಕ್ತಿಸ್ಫೂರ್ತಿ—ಇವನ್ನೆಲ್ಲಾ ಸಂಶೋಧನಾ ದೃಷ್ಟಿಯಿಂದ ಪರಿಶೀಲಿಸಿದಾಗ, ಅವರು ಕರ್ನಾಟಕ ಸಂಗೀತದ ಪರಂಪರೆಯಲ್ಲಿ ಗಣನೀಯ ಮತ್ತು ವಿಶಿಷ್ಟ ವಾಗ್ಗೇಯಕಾರರಾಗಿ ಹೊರಹೊಮ್ಮಿದ್ದಾರೆ ಎಂಬುದು ಸ್ಪಷ್ಟವಾಗುತ್ತದೆ.
Authors: Vijaya	Arts Type :
View Article	Submitted on : 29-Oct-2025

Title :Comprehension of Hasta Mudras: Exploring the Application of Abhinaya Hasta Mudras in Mohiniattam Choreography
Volume :2 / Special Issue / 1
Mudras, the codified hand gestures intrinsic to Indian classical dance, serve as powerful tools for expression, narrative, and symbolism. In the context of Mohiniattam, the classical dance form of Kerala known for its graceful movements and emotive storytelling, Abhinaya Hasta Mudras hold a particularly vital place. This paper explores the application and significance of these mudras in Mohiniattam choreography, emphasizing their role in conveying Bhava (emotion) and enhancing Abhinaya (dramatic expression). Rooted in ancient treatises such as Bharataâ€™s NÄá¹yaÅ›Ästra and the Hastha Lakshana Deepika, these gestures have been adapted over centuries to suit the lyrical and emotive ethos of Mohiniattam, evolving into an expressive vocabulary that bridges tradition and innovation. The study undertakes a comprehensive examination of selected mudras through both textual analysis and practical application. It investigates how these gestures contribute to the evocation of Rasa (aesthetic sentiment), define character identities, and support thematic and narrative structures within solo and group choreographies. Employing methodologies such as observation, interviews with seasoned performers and gurus, and critical analysis of choreographic compositions, the research contextualizes the use of hasta mudras in both traditional repertoires and contemporary adaptations. Key findings reveal the fluidity and adaptability of mudras in Mohiniattam. While certain gestures remain close to classical prescriptions, others have undergone subtle transformations to align with changing aesthetics and performance contexts. The study highlights how Angikabhinayaâ€”expression through body movements, including the handsâ€”operates in synchrony with facial expressions (Mukhabhinaya), torso sways (Torso Abhinaya), and rhythmic footwork to create a nuanced and layered narrative experience. Additionally, it uncovers regional and stylistic variations in mudra usage and presentation, reflecting the diversity within the tradition itself. This research affirms that hasta mudras are not static symbols but dynamic components of Mohiniattamâ€™s expressive core. Their continued relevance is evident in the way contemporary practitioners incorporate them to articulate new themes while preserving the form's cultural authenticity. By tracing the lineage, transformation, and function of Abhinaya Hastas, this study contributes to a deeper understanding of Mohiniattamâ€™s aesthetic richness and the enduring power of gesture in classical Indian dance. It invites further exploration into under-researched mudras and supports the revitalization of forgotten gestures, enriching the pedagogical and performative dimensions of the art form.
Authors: Prof. Vrinda Sadasivan	Arts Type :
View Article	Submitted on : 16-Sep-2025

Title :CHALLENGES IN DOCUMENTING THE LEGACY OF YAKá¹¢AGÄ€NA ARTIST V.M. JOSHI
Volume :2 / Special Issue / 1
This paper examines the life and artistic contributions of Sri Vighneshwar Mahabaleshwar Joshi (1916â€“1983), widely known as "Actor Joshi," a prominent figure in the traditional Indian theater form, Yaká¹£agÄna. With a career spanning thirty-five years, Joshi's early immersion in Vedic studies and interactions with scholars in GÅkará¹‡a significantly influenced his development as a distinguished VÄgmÄ« (orator) in Yaká¹£agÄna performances. Beginning his theatrical journey at the age of 11 with the Ishashraya Nataka Company, he later collaborated with esteemed drama troupes, including Garuda SadÄshivaraya NÄtaka Company, Gubbi Veeranna, Shastri Company, and the SÄhitya Sevaka Sangha of GÅkará¹‡a. Under the mentorship of renowned artists such as Moodkani Narayana Hegde, Murur Devaru Hegde, and Keremane Shivaram Hegde, Joshi mastered the fundamentals of Yaká¹£agÄna, particularly the Baá¸Ä Baá¸agu style, emphasizing adherence to Å›ÄstrÄ«yate (classical rigor). His unique approach to dance, characterized by original choreography and personalized makeup for each character, set him apart in both strÄ« vÄ“Å›a (female roles) and puruá¹£a vÄ“Å›a (male roles). Joshi's performances were marked by a clear distinction between MÄtu (dialogues) and Naá¹ane (acting), achieving remarkable coordination between ná¹›tta (pure dance) and bhÄva (expression). Throughout his career, he portrayed approximately 28 vÄ“Å›a-s (roles) across various melÌ¥a-s (troupes) and established his own troupe, the Sri BhadrakÄlÌ¥i KrÌ¥pÄpoá¹£ita Yaká¹£agÄá¹‡a Maá¹‡á¸ali in GÅkará¹‡a. Despite his significant contributions, there is a notable lack of documentation, posing challenges to preserving and studying his legacy. This paper aims to explore Joshi's artistic innovations, character portrayals, and the obstacles faced in chronicling his impact on Yaká¹£agÄna.
Authors: Ms. Pallavi G Gayatri	Arts Type :
View Article	Submitted on : 16-Sep-2025

Title :Analysis of choreography by Guru Bharatakalamani Dr. C. Radhakrishna, of the Kolar tradition of Karnataka
Volume :2 / Special Issue / 1
Introduction - Most of the dance Gurus in India, have been into choreography as they have been conducting performances since centuries, at temples, palaces, halls, auditoriums. Bharatakalamani Dr. C. Radhakrishna, the great Guru of the 20th century, who belonged to the family of Naá¹á¹uvanÄrs of the Kolar Parampara, was an excellent bharatanatyam dance composer but also well-known for his dance and drama choreography. The Kolar SampradÄya is a part of Mysore School of Bharatanatyam and this was pioneered by Yajaman Kolar Kiá¹á¹anna at the end of 19th century during the reign of King Sri Chamaraja Wodeyer X of Mysore. Need â€“ While several people have known Guru Dr. Radhakrishna, who even had an honourary Doctorate in Bharatanatyam from Gangubai Hangal University, he has been a hidden gem to many. He had been one of the torch-bearers of Karnataka Nartana Parampara. The researcher would like to increase awareness about him. Being one of the chief disciples of Guru Bharatakalamani Dr. C. Radhakrishna and Guru Smt. Meenakshi Radhakrishna for more than four decades, following the Kolar parampara of Karnataka and having received valuable information from them, the researcher would definitely wish to throw light upon his creations, regarding their tradition, compositions and choreography. . Scope â€“ The scope is endless. Kolar style reprotoire is very vast, having a rich heritage. Even if explanation of three types- Nrutta, Nrutya and NÄá¹ya are considered, it would take much more time and space than expected. Guruji had ably served the dance field for over seven decades, guiding hundreds of students, innumerable nrutyabandhas. So, in this paper, the researcher limits herself to brief explanation of three topics giving one example for each type. Objective - This paper focuses on the analysis of one example of Nrutta â€“ Swarapallavi and one example of Nrutya - á¹¬hÄya and of NÄá¹ya â€“one his famous dance-dramas, â€˜NÄtyarani ShantalÃ©â€™ â€“ the way he expressed these via dance and also the various techniques, technologies, way the artists were used to bring ultimately an effective presentation Method â€“ Methodology is descriptive. There are very few books written about him. Having studied under him from the age of 10 and until even 2 years back and gained extensive knowledge about it, the researcher would like to analyse the ideas in choreography based on self-experience. The news paper reviews as well as matter about him have been given occasionally by great critics and they portray his greatness. Findings â€“ After writing about the nrutyabandha or nÄá¹ya, it is analysed under various headings like the movements, pattern of entry and exit, music, voice used, tÄla, rÄga, costumes and make up, stage dÃ©cor and lighting and other aspects. This paper has been written to give all the background information about the Guru as well as his ideas. Conclusion - It can be concluded that the results of the study can be used by people, in future. This makes the readers realize Guru Radhakrishnaâ€™s greatness and can get motivated to learn and continue our parampara.
Authors: Mrs. Roopa Vijay	Arts Type :
View Article	Submitted on : 16-Sep-2025

Title :Mysuru Shyli Baani Bharatanatya Guruparampare Composers and Choreogrhers during the 18th and 19th century
Volume :2 / Special Issue / 1
Mysuru Shyli Baani Bharatanatya Guruparampare Composers and Choreogrhers during the 18th and 19th century
Authors: Mrs Sushmitha TS	Arts Type :
View Article	Submitted on : 16-Sep-2025

Title :Rhythmic patterns and musicality in the Bharatanatyam choreographic works of Adyar K Lakshmanan
Volume :2 / Special Issue / 1
Adyar K. Lakshmanan remains a pivotal figure in Bharatanatyam, celebrated for his inventive choreography deeply rooted in musicality and expressive depth. His profound dedication to the classical dance idiom and his extensive repertoire of choreographic masterpieces have consistently resonated with audiences and stood the test of time. This research endeavors to dissect and evaluate the rhythmic frameworks, compositional strategies, and inherent musicality present within Lakshmanan Sir's choreographic creations, aiming to elucidate the core principles that define his enduring artistic impact. The study undertakes a thorough examination of diverse segments within the traditional Margam structure, encompassing introductory pieces, abstract dance forms (Jathiswarams), narrative-driven compositions (Varnams), and concluding pure dance sequences (Thillanas). Through the analysis of specific works such as Nandi Chol, Mallari, Stuti Pancharathnam, Jathiswarams set in Abhogi and Hemavati ragas, Varnams exemplified by "Nee indha maayam" and "Enthanine thelupudura," alongside his approach to Thillanas, this investigation seeks to uncover the fundamental tenets that informed his creative methodology. Within his Varnam choreographies, a deep-seated reverence for the composer's original intentions was consistently observed, with movement vocabulary meticulously aligning with the musical rhythm. Furthermore, his resourceful employment of varied rhythmic flourishes within Varnams introduced elements of surprise and complexity. A notable technique in his Varnam presentations involved the continuous vocalization of lyrical lines during the narrative elaborations (Sancharis), ensuring temporal and musical cohesion. His discerning application of contrasting movement patterns in Varnam rhythmic passages, informed by the musical register and meter, further highlights his acute sensitivity to musical nuance. Finally, his Thillanas consistently incorporated the five fundamental rhythmic patterns (Pancha Nadais), integrated within the rhythmic frameworks (Korvais) or connecting dance units (Usi-adavus), imbuing his concluding pieces with a distinctive rhythmic identity. This research underscores Lakshmanan Sirâ€™s profound skill in seamlessly fusing rhythmic intricacy with melodic beauty, offering valuable insights for emerging choreographers and enriching the understanding of his significant contributions to the art of Bharatanatyam.
Authors: Dr Sahana selvaganesh	Arts Type :
View Article	Submitted on : 16-Sep-2025

Title :Structural Analysis of TillÄnÄs Composed by Sri M. D. Ramanathan: A Brief Study
Volume :2 / Special Issue / 1
The 20th Century Composer, Sri M D Ramanathan, was a Stalwart Musician and Composer who has a very unique musical presentation in terms of voice as well as style. He is fondly called as MDR and was the disciple of Sri Tiger Varadachari. He composed over 300 compositions, according to available sources, in multiple languages. He composed in varied number of RÄgÄs and TÄá¸·Äs. Especially the TÄá¸·Äs used were Ä€di, RÅ«paka, TriputÌ£a, JhamÌ‡pe, CÄpu and TriÅ›ra gati patterns. The musical form TillÄna is highly rhythm-based and often highlighted for the intricate laya patterns and regarded as a fast-paced energetic compositions. Sri M D Ramanathanâ€™s style of music mostly follows the Viá¸·amÌ‡bita laya presenting a calm and relaxed feel throughout. The point to reflect is that he chose to compose TillÄnÄs very beautifully in his style. This manuscript includes investigating the compositional form TillÄna focusing on the unique characteristics and contributions by Sri MDR. This manuscript focuses on the analysis of the few selected TillÄnÄs composed by him. The objective is to analyse the structure of the composerâ€™s TillÄnÄs, reflecting its scope on the analysis of the rhythm, rÄga and emotional aspects produced. This study is based on the methodology which is done by the analytical approach through the available audio and text sources. The analysis includes the structure, framework, rhythmic highlights and patterns, raga significance, the rasa aspect of the TillÄnas etc, aiming at the findings on Sri MDRâ€™s composing style, addition on the knowledge of music mathematical aspects like the muktÄyi patterns which leads to gain command over laya.
Authors: Dr Lakshmi Surya Teja Bhavaraju	Arts Type :
View Article	Submitted on : 16-Sep-2025

Title :ANALYZING Ä€Aá¹„GIKA AND Ä€HÄ€RYA OF SELECT CHARACTERS IN RUKMINI DEVI ARUNDALEâ€™S KÅªRMÄ€VATÄ€RAM DANCE DRAMA
Volume :2 / Special Issue / 1
This paper studies the use of Ä€á¹…gika and Ä€hÄrya Abhinaya in selected characters from the dance drama KÅ«rmÄvatÄram, choreographed by Rukmini Devi Arundale. The research focuses on how Rukmini Deviâ€™s creative choices in choreography and aesthetics are seen in the body movements and costume design of the characters. The aim is to understand how her artistic vision shaped the presentation of these characters and contributed to the storytelling of the dance drama. The study uses a qualitative and analytical method, based on the viewing of a 2006 video recording of the performance and discussions with alumni of Kalakshetra who have witnessed the production. The characters selected for detailed analysis are MahÄbali, Mohini, VÄsuki, HÄlahala, and Laká¹£mÄ«. Each of these characters is studied for how their emotional and narrative qualities are expressed through movement vocabulary, hand gestures, body language, and costume. The research observes how Ä€á¹…gika Abhinaya aligns with the characters' roles and how Ä€hÄrya Abhinaya helps support their symbolic meaning in the narrative. The study also notes the influence of Kathakaá¸·i, especially in the portrayal of male characters, and how this added a dramatic quality to the performance. The findings show Rukmini Deviâ€™s innovative approach in integrating traditional elements with her personal style. The symbolic staging, attention to detail in costuming, and clarity in character presentation reflect her deep understanding of classical art. The dance drama KÅ«rmÄvatÄram, as performed at Kalakshetra, continues to preserve her legacy. This research highlights Rukmini Devi Arundaleâ€™s role in shaping BharatanÄá¹yam as a composite classical art form and her efforts in reviving temple-based dance traditions for modern stage presentation.
Authors: Ms.Anvitha K M Anvitha K M	Arts Type :
View Article	Submitted on : 16-Sep-2025

Title :A study of select varnas of tiger varadachariar
Volume :2 / Special Issue / 1
KarnÄtÌ£aka classical music is known for its rich and diverse repertoire, shaped by centuries of contributions from composers, most notably the Trinityâ€”TyÄgarÄja, MuddusvÄmi DÄ«ksÌ£ita, and ÅšyÄmÄ ÅšÄstriâ€”and their disciples. In the 20th century, Tiger Varadachariar emerges as a significant figure whose multifaceted role as a musician, scholar, teacher, and composer merits closer attention. While his varnÌ£a-s are relatively more popular in performance practice compared to his krÌ£ti-s and tillÄna-s, they still remain underexplored in the concert repertoire, indicating the need for renewed focus on his compositions. The varnÌ£a holds a unique place in KarnÄtÌ£aka music, serving as a bridge between practice and performance. Through its structured form, it captures the essential features and characteristic phrases of a rÄga, making it a vital tool in both pedagogy and artistic presentation. This paper aims to bring Tiger Varadachariar's select varnÌ£a-s to the forefront and analyse his portrayal of rÄga-s through this compositional form. The study is based on published notations and select recordings available in the public domain. By examining the melodic structures and key phrases evident in these varnÌ£a-s, the study sheds light on the composerâ€™s innovative approach to rÄga delineation. His varnÌ£a-s, while adhering to the traditional frameworks of rÄga grammar, also exhibit his distinct creative imprint, reflecting a deep understanding of both theoretical frameworks and aesthetic expression. By undertaking this analysis, the study not only contributes to a greater appreciation of Tiger Varadachariarâ€™s compositional style but also underscores the importance of revisiting and reviving lesser-performed works of the 20th century. In doing so, it aims to enrich the contemporary understanding of KarnÄtÌ£aka musicâ€™s compositional heritage.
Authors: Ms. Vaishnavi Harish and Vijayasri G	Arts Type :
View Article	Submitted on : 16-Sep-2025

Title :á¹¢aá¸kÄla GÅvinda MÄrÄr - A study
Volume :2 / Special Issue / 1
There are many known and unknown Kará¹‡Äá¹ik music composers in KÄ“raá¸·a. Among them, á¹¢aá¸kÄla GÅvinda MÄrÄr is a prominent and multi-talented music composer in MalayÄá¸·am. He was born and raised in RÄmamaá¹…galam, a small village in MuvÄá¹á¹upuzha TÄluk, Erá¹‡Äkuá¸·am District. He used to sing SÅpÄna Saá¹…gÄ«ta, formerly known as TyÄá¹‡i, in the temples around his birthplace. GÅvinda MÄrÄr was blessed with an amazing voice and his range was extraordinary. Although the number of compositions is limited in his repertoire, he was known as á¹¢aá¸kÄla GÅvinda MÄrÄr because of his distinct singing style. He was one of the singers in the court of SvÄti TirunÄá¸· MahÄrÄja of Tiruvanantapuram along with other court singers Kaá¹‡á¹‡aiyya (a disciple of Saint TyÄgarÄja) and HaripÄá¸u RÄmasvÄmi BhÄgavatar. They taught MÄrÄr the famous Ká¹›ti-s of TyÄgarÄja. After learning some Ká¹›ti-s, he travelled to TiruvaiyyÄá¹Ÿ to meet TyÄgarÄja in person and he had sung â€˜Candana Caá¹Ÿcita NÄ«la Kaá¸·Ä“baraâ€™, an Aá¹£á¹apati by JayadÄ“va in RÄga PantuvarÄá¸·i, in 6 kÄla-s or speeds. Saint TyÄgarÄja, realising the talent of MÄrÄr, honoured by making his students sing the evergreen PaÃ±caratna Ká¹›ti â€˜EntarÅ MahÄnubhÄvuluâ€™ as a mark of respect to him.
Authors: Mr. George Joseph C	Arts Type :
View Article	Submitted on : 16-Sep-2025

Title :Analysis of select Karnatak music compositions of Sri N.Ch.Krishnamacharyalu
Volume :2 / Special Issue / 1
Sriman N Ch Krishnamacharyalu was a multifaceted genius from Vijayawada who was born in 1924 and belonged to Sathguru Sri Thyagaraja Swamyâ€™s Sishya Parampara/lineage. He had the rare distinction of being ï‚· A Performing artist in Carnatic Vocal, Violin and Harikatha ï‚· An Ashtavadhani in Sanskrit as well as Telugu (Ashtavadhanam is a form of extempore ï‚· poetic debate) ï‚· A Vaggeyakara (composer) who could spontaneously compose masterpieces even based on ad-hoc requests combining his linguistic genius with his musical creativity Shriman N. Ch Krishnamachari has composed beautiful pieces in Karnatic style, in Telugu as well as Sanskrit and was awarded the Vaggeyakara award by the Madras Music Academy in 2005. Unique features of his compositions ï‚· Rare ragas: Examples- Nama Narayani, Natakapriya ï‚· Laya and Sahitya complexity: Examples- Garbha kritis ï‚· Swarajathi/pancharatna style kriti on Thyagarajaswami ï‚· Features like Ragamudra, Madhyamakala and Anthadi in the madhyamakala ï‚· Different genres: Kriti, Swarajathi/Pancharathna format, Thillana, Varnam Unfortunately, only two or three of his compositions are being presented on concert stages today. This study is an effort to highlight the beauty of these compositions and help in creating awareness about them amongst academicians as well as performing artists.
Authors: Ms. Padmavathi Saranathan	Arts Type :
View Article	Submitted on : 16-Sep-2025

Title :Contribution of Lesser Known Composers of 19th and 20th Century in Carnatic Music
Volume :2 / Special Issue / 1
The research article aims at analyzing Contribution of Lesser known Composers of the 19th and 20th Century in terms of the exploring new ragas and rhythmic structures, the compositional forms handled, expanding the linguistic and thematic space, adaptation to current trends while still preserving the traditions and enriching the contemporary Carnatic repertoire, documentation and propagation of their works.
Authors: Ms. Vilasini Subraveti Muralikrishnan	Arts Type :
View Article	Submitted on : 16-Sep-2025

Title :Nala Najan - Art and the Artist
Volume :2 / Special Issue / 1
The objective of this paper is to bring to light Nala Najan, a lesser known American practioner, choreographer and performer of Indian classical dance. Travelling to India in 1950 he trained in several Indian classical art forms from the grand masters of the art at a time when the abolition act of 1929 had shaken the foundations and practice and performing structures of Indian classical dance in India. The paper focuses on his learning the art form as well as imbibing with a great passion the culture and tradition that went with the art. The paper details his teaching methodology and his philosophy behind creating new choreographies basing them on a strong foundation of his learnings India. The paper also looks into the various dimensions Nala invented for documenting an oral tradition. It included the documentation of the dance itself, not excluding the documentation of the thought process before and after composition of a piece. At a time when non-Indian practioners of the art were presenting Indian classical dance as â€œExoticâ€, Asian dance, here was an ardent disciple of Indian classical dance who propagated it in its most pristine form and also elevated it though his deep understanding of the Hindu thought and philosophy. The methodology for this research is qualitative. Phenomenological and participative methods of observation were involved. The phenomenological study involved systematic study and documentation of facts from a seven -volume publication by Nalaâ€™s disciple Padma Chittampalli, without any manipulation. The participative method was enabled by Nala Najanâ€™s prime disciple Smt. Padma Chittampalli from New York, USA. She had learned Nalaâ€™s choreography directly from him for over 23 years. She did not travel or perform in India or elsewhere, thus preserving Nalaâ€™s choreographies in their most pristine form. The researcherâ€™s interaction and learning from Ms. Chittampalli, enabled the participative methodology. Nala Najan is one of the pioneers in establishing what the diaspora and Americanâ€™s understand as authentic Indian classical dance today. His documentation is a precise and exhaustive approach to the documentation of a purely oral tradition of dance.
Authors: Mrs. Poornima Kaivar Gururaja	Arts Type :
View Article	Submitted on : 16-Sep-2025

Title :Analytical study in the composition of Amba Neelambari of Ponniah Pillai
Volume :2 / Special Issue / 1
Abstract:-Raga is the main milestone in the history of Carnatic Music. Each raga has its own flavor and bhava. Neelambari is such a raga starts from pre-historic period. The lullaby of a mother is mostly depicted or constructed by the raga Neelambari only. Neelambari is meant for vatsalya bhava, karuna rasa and bhakti rasa. This article analysis the theoretic and musical aspects on the rasa in the Carnatic kriti "Amba Neelambari". â€¢ The main theme of the kriti is the pleading request of a daughter to the Goddesss Neelambari. The composition exemplifies how musical and lyrical elements together evoke deeply personal and spiritual emotions. Hence, â€¢ The request to Goddesses evokes Bhakti rasa, â€¢ For Bhakti rasa the lyrical analysis has been done â€¢ The pleading to the mother of the world exhibits the Vatsalya rasa and the Karunaya bhava of a mother from the daughter exposes the Karuna Rasa. â€¢ Karuna rasa and vatsalya rasa both are taken for analysis in two aspects â€¢ Raga and rasa analysis â€¢ Raga and rasa with the lyric has been analysed
Authors: Mrs Megha Pillai	Arts Type :
View Article	Submitted on : 16-Sep-2025

Title :Āhāryā Abhinaya in Bharatanatyam: Aesthetic Dimensions and Performative Relevance
Volume :
Āhāryā Abhinaya, one of the four modes of expression elaborated in the Nāṭyaśāstra, occupies a vital place in the performative grammar of Bharatanatyam. More than a decorative adjunct, it operates as a powerful aesthetic medium that bridges performer, performance, and audience. Costumes, ornaments, makeup, stage properties, and scenic arrangements together constitute the visual vocabulary through which the dancer embodies character, mood, and rasa. The selection of colors, textures, and symbolic accessories is never arbitrary; rather, it emerges from deep-rooted cultural codes that have evolved over centuries. This paper examines the aesthetic dimensions and performative relevance of Āhāryā Abhinaya in Bharatanatyam, highlighting its role in enhancing rasa realization (rasānubhava), supporting character portrayal, and intensifying the theatrical impact of performance. Drawing from classical texts, contemporary practice, and lived traditions, the study situates Āhārya within both historical and modern contexts. Furthermore, it emphasizes how Bharatanatyam dancers negotiate authenticity and innovation in costume and stage design to connect with diverse audiences while preserving classical ethos. By exploring this dimension of abhinaya, the paper underscores the integral relationship between external appearance and internal expression, reaffirming that in Bharatanatyam, the aesthetic is inseparable from the spiritual and the performative.
Authors: Ms Dhwani Bharatkumar Shah	Arts Type : Bharatanatyam / Classical Dance / India
View Article	Submitted on : 31-Aug-2025

Title :Aesthetics and philosophy of characterization in a few chosen Bhakti works of Rāmāyaņa - Dancer’s Perspective
Volume :
India has been a country which has been a home to diversity, yet constantly being guided by the universality of Sanātana Dharma - the eternal religion . Though the intensity of the spiritual fostering varies in individuals, the basic spiritual and cultural foundation laid in a Bhāratíya as a part of the system strengthens the cognitive and emotional aspects of a human mind. This has made India withstand many challenges and crises starting from Islamic invasion to the most recent covid crisis. Time and again, unity that has been developed and nourished in such a diversified country has transcended all religious barriers by acquiring its sustenance through“faith in the supreme power”. The ideology of Bhakti has been serving as a profound vehicle to experience the path of faith. Rāmāyaņa and Mahabhārata are the two classics which have been a household name initially in India and now globally too. Prominent characters of Rāmāyaņa have a multi-dimensional identity in India. These identities are highly layered in nature. On one hand, these identities are often shaped by diverse philosophical doctrines, human idealistic aspirations take the form of attributions through these characters and on the other hand, each character serves as a medium to explore the complexity of human nature unveiled through the poetic eye. While reflecting the above thought through Rāmāyaņa, it is an Indian work that is staunchly worshiped till date and it is also a work that is artistically celebrated as the first classic poetry of India (Ādikāvya). One might prompted to wonder whether the poetic imagery of the protagonist in Vālmīki’s Rāmāyaṇa (the one embodying the 16 ideal guṇas of an ideal human) to be more a fictional character than realistic one? Can such a confluence of virtues truly manifest in a single individual? Wouldn’t it be appropriate to address this ideal Human of Vālmiki as the Daiva or the supreme being or, as is widely practiced, to revere him as God? What would be the purpose of crafting a narrative around such a figure who has continued to be venerated as the ideal human on till date? Well one can possibly answer these ever existing questions is the conscious interweaving of aesthetics and philosophy throughout Rāmāyaņa as a poetic work. Rāma emerges as not merely the protagonist (nāyaka) but as an embodiment of aesthetic grace shaped by philosophical conviction . He is explored implicitly through his inner alignment with svadharma through the epical poem, while his noble attributes are celebrated more explicitly in the vast corpus of Bhakti literature that followed. In this dual portrayal, Rāma transcends the boundaries of narrative to become both a literary ideal and a spiritual archetype. Nevertheless, an impersonalized artistic representation of various poetic expressions of Bhakti through the medium of dance simplified the process of establishing a personalized connect between a Bhakta and his deity due to its entertainment value (ranjakatva). A visual experience of Bhakti through the Bhakti narrative succeeded in transporting a bhakta into a momentary state of transcendence trance and thus providing the joy of experiencing temporary proximity to the divine. In the Indian context, such an experiential mode of devotion became an integral part of the Bhakti movement wherein Indian classical arts became a potent medium for visually manifesting Rāma Bhakti. Rama Bhakti is embedded with a multi layered fabric revolving around the most powerful emotion of “sharanagti” or surrender to the ideal. This paper seeks to explore the characterization in the Vālmīki Rāmāyaṇa through select Bhakti poetic traditions, examining how these expressions embody the philosophical and aesthetic dimensions of Rāma as both an ideal and a divine presence.
Authors: Mrs Deepthi Radhakrishna, Dr.Shobha Shashikumar	Arts Type : Bharatanatyam / Classical Dance / India
View Article	Submitted on : 23-Jul-2025

Title :ಗಾಯಕ ಶಿಕಾಮಣಿ ಡಾ. ಎಲ್.‌ ಮುತ್ತಯ್ಯ ಭಾಗವತ‌ರ್ ಅವರ ಕೃತಿ ವಿಶೇಷತೆ
Volume :2 / Regular / 2
ಮುತ್ತಯ್ಯ ಭಾಗವತರು ತಮಿಳುನಾಡಿನ ರಾಮನಾಥಪುರಂ ತಾಲ್ಲೂಕಿನ ತಿರುನಲ್ವೇಲಿಯಲ್ಲಿ ನವಂಬರ್ 15-1877ರಲ್ಲಿ ಜನಿಸಿದರು. ತಮ್ಮ ಜೀವಿತದ ಕೊನೆಯ ದಿನಗಳನ್ನು ಮೈಸೂರಿನಲ್ಲಿ ಕಳೆದರು. ತ್ಯಾಗರಾಜೋತ್ತರ ಕಾಲದಲ್ಲಿ ಕರ್ನಾಟಕ ಸಂಗೀತವನ್ನು ಸಂಪದ್ಭರಿತವಾಗಿಸಿದ ವಿದ್ವಾಂಸರಲ್ಲಿ ವಿಶಿಷ್ಟಸ್ಥಾನ ಹೊಂದಿರುವ ಮುತ್ತಯ್ಯಭಾಗವತರು, ತಮ್ಮ ಜೀವಿತದ ಕೊನೆಯ ದಿನಗಳನ್ನು ಮೈಸೂರಿನಲ್ಲಿ ಕಳೆದರು. ವಂಶವಾಹಿಯಾಗಿ ಬಂದ ಸಂಗೀತ ಮತ್ತು ವೇದಾಧ್ಯಯನಾದಿ ವಿದ್ವತ್‌ಗಳೊಂದಿಗೆ ಮುಂದೆ ಇವರು ಹರಿಕಥಾ ಕಾಲಕ್ಷೇಪದ ಮಾರ್ಗದರ್ಶನವನ್ನೂ ಪಡೆದರು. ಹೀಗೆ ಲಭ್ಯವಾದ ಸಂಗೀತ, ಸಾಹಿತ್ಯ, ವೇದಾದಿಗಳ ಉತ್ಕೃಷ್ಟ ಹಿನ್ನೆಲೆಯಿಂದಾಗಿ ಭಾಗವತರು ಬಹುಮುಖ ಪ್ರತಿಭಾವಂತರಾದರು. ಮುಂದೆ ಗಾಯಕರಾಗಿ, ಕೀರ್ತನಕಾರರಾಗಿ, ವಾಗ್ಗೇಯಕಾರರಾದ ಭಾಗವತರು, ಸ್ವಾತಿತಿರುನಾಳ್ ಅಕಾಡೆಮಿ ಆಫ್ ಮ್ಯೂಸಿಕ್ ಸಂಸ್ಥೆಯಲ್ಲಿ ಐದು ವರ್ಷ ಕಾಲ ಪ್ರಾಂಶುಪಾಲರಾಗಿ ಸೇವೆ ಸಲ್ಲಿಸಿದರು. ಆಗ ಸ್ವಾತಿತಿರುನಾಳ್ ಮಹಾರಾಜರ ಕೃತಿಗಳಿಗೆ ಪುನರುಜೀವ ಬರುವಂತೆ ಅವುಗಳನ್ನು ಅಧಿಕವಾಗಿ ಬಳಕೆಗೆ ತಂದರು. ಇಲ್ಲಿರುವಾಗಲೇ ಅವರು ರಚಿಸಿದ ಸಂಗೀತಕಲ್ಪದ್ರುಮ ಗ್ರಂಥವು ವಿಶ್ವವಿದ್ಯಾನಿಲಯದಿಂದ ಮಾನ್ಯವಾಗಿ ಇವರಿಗೆ ಡಿ. ಲಿಟ್ ಪದವಿ ಪ್ರಾಪ್ತವಾಯಿತು. ವಿಶೇಷವೆಂದರೆ ಇಡೀ ಭಾರತದೇಶದಲ್ಲೇ ಸಂಗೀತ ಕಲಾವಿದರೊಬ್ಬರಿಗೆ ಲಭ್ಯವಾದ ಪ್ರಪ್ರಥಮ ಪದವಿ ಇದಾಗಿದ್ದಿತು. ಮುತ್ತಯ್ಯ ಭಾಗವತರ ಪಾಂಡಿತ್ಯವನ್ನು ಮೆಚ್ಚಿದ ವಿವಿಧ ರಾಜ್ಯದ ರಾಜರು, ಕಲಾರಸಿಕರು, ಪೀಠಾಧಿಪತಿಗಳು, ಶ್ರೀಮಂತರು ಹಾಗೂ ವಿಶ್ವವಿದ್ಯಾನಿಲಯಗಳೂ ಇವರನ್ನು ವೈವಿಧ್ಯಮಯವಾಗಿ ಗೌರವಿಸಿತು. ಒಟ್ಟಾರೆ ತಮ್ಮ ವಿದ್ವತ್ಪದರ್ಶನದಿಂದಾಗಿ ಅತ್ಯಂತ ಜನಾನುರಾಗಿಯಾದ ಭಾಗವತರು ಅತಿ ಪ್ರಧಾನ ಪಾತ್ರ ವಹಿಸಿದರು.
Authors: Mrs Pushpa Vidya Shankar ( Editor In Chief)	Arts Type : Carnatic Classical Music / Music / India
View Article	Submitted on : 25-Jun-2025

Title :Intersection of Gender and Pedagogy in Bharatanāṭyam: Analyzing Cross-Gender Teaching Practices and Exploring Gender Inclusive Training Methods
Volume :2 / Regular / 2
Bharatanāṭyam is one of the oldest classical dance forms which originated from the rich tapestry of South India. The dynamics that are prevalent in gender, play a very important role in Bharatanāṭyam where the dancers are required to portray both the male and female roles. This research paper will look into the intersection of gender and pedagogy in Bharatanāṭyam by analyzing the cross gender teaching practices and exploring the gender inclusive training methods. The objectives, of this research, are to examine the impact and understanding the nuances prevailing in male teachers teaching female students and vice versa. This research also aims to explore the strategies used by Bharatanāṭyam teachers to bring about gender inclusivity while teaching, the thought process and experiences of students who are learning from their opposite gender teachers.
Authors: Mrs Gaayathri H	Arts Type : Bharatanatyam / Classical Dance / India
View Article	Submitted on : 08-Apr-2025

Title :ಪ್ರದರ್ಶನ ಕಲೆ ಮತ್ತು ಮೂಢನಂಬಿಕೆ
Volume :2 / Regular / 1
ಮೊದಲಿಗೆ ಮೂಢನಂಬಿಕೆ ಹಾಗೂ ಪವಾಡದ ವ್ಯತ್ಯಾಸವನ್ನು ತಿಳಿಯೋಣ. ಮೂಢನಂಬಿಕೆಯೆಂದರೆ ಮನುಷ್ಯನ ಮನಸ್ಸಿನಲ್ಲಿ ಯಾವುದಾದರು ಒಂದು ವಿಷಯದ ಬಗ್ಗೆ ಸತ್ಯ ಅಸತ್ಯದ ಹೊರತಾಗಿ ಉಂಟಾಗುವ ಧೃಡವಾದ ನಂಬಿಕೆ. ಪವಾಡವೆಂದರೆ ಸಿದ್ದಿಪುರುಷರಲ್ಲಿರುವಂತಹ ಶಕ್ತಿ. ಅದರಿಂದ ಅವರು ಎಲ್ಲಾ ಕಾರ್ಯಗಳನ್ನು ಸಿದ್ದಿಸಲು ಶಕ್ತರಾಗಿರುತ್ತಾರೆ. ಕಲೆಯಲ್ಲಿ ಮೂಢನಂಬಿಕೆಯೆಂಬುದು ಆದಿ ಮಾನವನ ಕಾಲದಿಂದಲೂ ಪ್ರಯೋಗದಲ್ಲಿದೆ. ಪ್ರತಿಯೊಬ್ಬರೂ ಯಾವುದಾದರೊಂದು ಮೂಢನಂಬಿಕೆಯಲ್ಲಿ ಇರುವುದು ಸಾಮಾನ್ಯ. ಕೆಲವರು ತಮ್ಮ ವೈಯಕ್ತಿಕ ವಿಷಯದಲ್ಲಿ ಮೂಏನಂಬಿಕೆಯನ್ನಿರಿಸಿಕೊಳ್ಳುತ್ತಾರೆ. ಕೆಲಚರು ಕಲೆಯಲ್ಲಿ ಅಂದರೆ ಸಂಗೀತದಲ್ಲಿ ಕೆಲವು ರಾಗಗಳನ್ನು ಹಾಡಿದರೆ ತಮಗೆ ತೊಂದರೆ ಉಂಟಾಗುತ್ತದೆ ಎಂಬ ಮೂಢನಂಬಿಕೆಯನ್ನಿರಿಕೊಳ್ಳುವಿದನ್ನು ಕಾಣುತ್ತೇವೆ. ಸಂಗೀತ ಕ್ಷೇತ್ರದಲ್ಲಿ ದಿಗ್ಗಜರಾದ ತ್ಯಾಗರಾಜರು, ಮುತ್ತುಸ್ವಾಮಿ ದೀಕ್ಷಿತರು ತಮ್ಮ ಸಿದ್ದಿಯಿಂದ ಅನೇಕ ಪವಾಡವನ್ನು ಮಾಡಿದ್ದಾರೆ. ದೀಕ್ಷಿತರು ಅಮೃತವರ್ಷಿಣಿ ರಾಗ ಹಾಡಿ ಮಳೆ ಬರಿಸಿರುವುದು, ತ್ಯಾಗರಾಜರು ಸತ್ತಿದ್ದವರನ್ನು ಸಂಗೀತದಿಂದ ಬದುಕಿಸಿದ್ದು, ತಾನ್ ಸೇನರು ಅಕ್ಬರರ ಆಸ್ಥಾನದಲ್ಲಿ ದೀಪಕರಾಗ ಹಾಡಿ ದೀಪವನ್ನು ಉರಿಯುವಂತೆ ಮಾಡಿದ್ದರು. ಈ ರೀತಿಯ ವಿಷಯಗಳು ಕುತೂಹಲ ಹೆಚ್ಚಿಸುವಂತಹದು. ಅವರು ಸಿದ್ದಿ ಪುರಿಷರಾದ ಕಾರಣ ಅವರಿಂದ ಈ ರೀತಿಯ ಪವಾಡವು ಆಗಲು ಸಾಧ್ಯ. ಯುವ ಪೀಳಿಗೆಯವರು ಕರ್ನಾಟಕ ಸಂಗೀತ ಹಾಗೂ ಪಾಶ್ಚಾತ್ಯ ಸಂಗೀತ ಎಲ್ಲವನ್ನೂ ಆಸಕ್ತಿಯಿಂದ ಕಲಿತು ಯಾವುದೇ ಮೂಢನಂಬಿಕೆಯು ಇರದೆ ಸಂಗೀತ ಕ್ಷೇತ್ರದಲ್ಲಿ ಮುಂದುವರಿಯುತ್ತಿರುವುದು ಸಂತೀಷದ ವಿಷಯವೇ ಆಗಿದೆ. ಎಲ್ಲಾ ವಿಷಯಗಳಲ್ಲಿಯೂ, ಕ್ಷೇತ್ರಗಳಲ್ಲಿಯೂ ನಂಬಿಕೆ ಇರಬೇಕು ಆದರೆ ಮೂಢನಂಬಿಕೆ ಇರಬಾರದರು.
Authors: Mrs Pushpa Vidya Shankar ( Editor In Chief)	Arts Type : Carnatic Classical Music / Music / India
View Article	Submitted on : 30-Mar-2025

Title :भारतीय सुगम संगीत में रिकॉर्डिंग की भूमिका
Volume :2 / Regular / 1
भारतीय सुगम संगीत संस्कृति एवं परंपरा का महत्वपूर्ण अंग है जिसमें रिकॉर्डिंग तकनीक की भूमिका अत्यंत महत्वपूर्ण है। यह संगीत को संरक्षित करने, विस्तारित करने और श्रोताओं तक पहुंचाने का एक प्रमुख माध्यम बन गया है।भारतीय सुगम संगीत में रिकॉर्डिंग तकनीक ने समय के साथ बड़े बदलाव किए हैं। प्रारंभ में ग्रामोफोन रिकॉर्डिंग सीमित साधनों के साथ की जाती थी जिससे कलाकारों को बिना संपादन के लाइव प्रदर्शन करना पड़ता था। बाद में टेप रिकॉर्डिंग,एनालॉग रिकॉर्डिंग तथा संपादन की सुविधा प्रदान की जिससे गुणवत्ता में सुधार हुआ। रिकॉर्डिंग तकनीक का विकास ग्रामोफोन युग से लेकर डिजिटल स्ट्रीमिंग तक हुआ है। संगीत उद्योग ने नई ऊंचाइयों को छुआ है ।यह संगीत को वैश्विक स्तर पर पहुंचाने ,संरक्षण करने, व्यावसायिक लाभ प्रदान करने में मदद करता है। भारतीय सुगम संगीत अपने विकास की एक लंबी यात्रा में अनेक परिवर्तन देख चुका है ।इसकी प्रस्तुति और संरचना में समय के साथ कई बदलाव आए हैं। आज के कंप्यूटर के युग के चलते रिकॉर्डिंग पद्धति में क्रांतिकारी बदलाव आ चुके हैं जिसकी सहायता से रिकॉर्डिंग बहुत आसान हो चुकी है। आज के समय में किसी भी गीत की रिकॉर्डिंग करने के लिए गीत में प्रयोग होने वाले सभी गायकों और वादकों को एक साथ एक ही रिकॉर्डिंग स्टूडियो में एक साथ बैठकर रिकॉर्डिंग करने की आवश्यकता नहीं है। सभी गायकों और वादकों की अलग-अलग समय पर रिकॉर्डिंग संभव है।रिकॉर्डिंग तकनीक की प्रगति ने भारतीय सुगम संगीत को नई दिशा दी है। पहले जहां लाइव प्रस्तुतियां और पारंपरिक रिकॉर्डिंग मुख्य माध्यम थी वहीं अब डिजिटल रिकॉर्डिंग, ऑटो ट्यूनिंग, स्ट्रीमिंग प्लेटफॉर्म्स जैसे नवाचारों ने संगीत की दुनिया को पूरी तरह बदल दिया है। रिकॉर्डिंग तकनीक ने जहां संगीत को संभाला,वहीं संगीत की गुणवत्ता को बरकरार रखने में और विभिन्न गायन शैलियों और विभिन्न विधाओं को नए युग में पहुंचाने के लिए एक महत्वपूर्ण रोल अदा किया है। आधुनिक रिकॉर्डिंग तकनीक जैसे ऑटो ट्यून ,वोकल प्रोसेसिंग और होम स्टूडियो सेटअप आदि कलाकारों को स्वतंत्र रूप से उच्च गुणवत्ता वाली रिकॉर्डिंग की सुविधा प्रदान करती है। इसके अलावा ऑनलाइन स्ट्रीमिंग प्लेटफार्म ने संगीतकारों को वैश्विक स्तर पर अपनी पहचान बनाने का सुअवसर प्रदान किया है। डिजिटल युग के आगमन के साथ संगीतकार, निर्माता और रिकॉर्डिंग तकनीशियन ने पारंपरिक तरीके से हटकर नई तकनीक का उपयोग शुरू कर दिया है।
Authors: Mr ARPIT SHARMA	Arts Type : Hindustani Classical Music / Music / India
View Article	Submitted on : 22-Feb-2025

Title :Dance and Literature: A study of aṣṭanāyakas in the Navōdaya poetry of Maisūru Mallige
Volume :2 / Regular / 1
"Maisūru Mallige" stands as a significant work in Kannada literature, and KSN's collection of poems has left a lasting impact on the readers. The emotional depth and reflective quality of Narasimhaswamy's poems make "Maisūru Mallige" a timeless piece of literature. The simplicity of the language, combined with a good lyrical quality and evocative imagery, allows readers and performers to connect with the verses on a personal and emotional level. The exploration of love between a husband and wife in the poems adds a universal appeal to "Maisūru Mallige". The use of metaphors and vivid descriptions further enhances the readers' experience, creating a rich tapestry of emotions that resonates with them. The Nāṭyaśāstra mentions and explains the various avasthās of the heroine, terming them as aṣṭanāyikās. To the existing heroine of different emotional states, Dr. Shatavadhani R Ganesh has named the aṣṭanāyakas. Taking the research forward with the help of the already existing nāyakas in the kāvyās and śāstras, Dr. DwarithaViswanatha has classified the nāyakas as parallels and counterparts of the aṣṭanāyikās. The proposed literary work, focusing on the emotional nuances of the nāyaka (hero) and their avasthās (emotional states), presents an exciting avenue for analysis. By examining the intricacies of these nāyakas and their emotional journey, the study can uncover the layers of meaning embedded in Narasimhaswamy's verses.
Authors: Ms Varsha K J	Arts Type : Bharatanatyam / Classical Dance / India
View Article	Submitted on : 16-Feb-2025

Title :A Comparative Study of Svāti Tiruṇāl’s Maṇipravāḷa Padams with Kṣetragna’s Padams
Volume :0 / Regular / 0
The term ‘pada’ is generally used to denote a musical monologue, closely resembling a kīrtana in structure, replete with the sentiment of love for the diety; with slow music meant to accompany dancing. In the interpretation of the emotional content of the sāhitya, immense scope for imagination is afforded to the dancer, who displays her creative talents by using many attractive mudrās as and when. The musical potentialities of padams are realized when they are presented in dance concerts, as it is more of a dance form. Typically, the constituent aṅgās of a pada are svara, biruda, and tāḷa. Biruda means lyrics in the praise of a supreme being, in this case the Nāyaka. Padams are tṛidhātu in nature and have the structure of Pallavi, Anupallavi and Caraṇa. Sometimes the piece commences from the Anupallavi, following the Prabandha structure as seen in Aṣṭapadīs. Equal emphasis is laid on both sāhitya and music. Due to prominence of melody, rhythm is not very rigid this compositional form. Though many studies have been done individually on Svāti Tiruṇāl’s Padams and Kṣētragna’s Padams, they have not dealt with a detailed comparative analysis of such compositions by both composers. This study is the first of its kind and hopes to bring out a complete picture in terms of structure, melody, rhythm and prosody.
Authors: Mr Bhargav R Ranganath	Arts Type : Carnatic Classical Music / Music / India
View Article	Submitted on : 15-Feb-2025

Title :“ಆಧುನಿಕ ಪರಿಕಲ್ಪನೆಯಲ್ಲಿ ಕರ್ನಾಟಕ ಶಾಸ್ತ್ರೀಯ ಸಂಗೀತ” – ಒಂದು ಚಿಂತನೆ
Volume :2 / Regular / 1
ಅಮೂರ್ತ : ಪ್ರಪಂಚದಾದ್ಯಂತ ಸಾಂಸ್ಕೃತಿಕ ಕಲೆಗಳಲ್ಲಿ ಸಂಗೀತವು ಒಂದು ಮುಖ್ಯವಾದ ಕಲಾಪ್ರಕಾರವಾಗಿದೆ. ಲಲಿತಕಲೆಗಳಲ್ಲಿ ಶ್ರೇಷ್ಠವೆಂದು ಪರಿಗಣಿಸಲಾದ ಈ ಕಲೆಯು ಆಯಾ ದೇಶ, ಕಾಲ, ಜನಜೀವನ ಶೈಲಿ, ಪರಿಸರ, ಹವಾಮಾನ, ಮುಂತಾದವುಗಳಿಂದ ಪ್ರಭಾವಿತವಾಗಿರುತ್ತದೆ. ಹೀಗಾಗಿ, ಯಾವುದೇ ದೇಶದ ಸಂಸ್ಕೃತಿಯನ್ನು ತಿಳಿಯಬೇಕಿದ್ದರೆ ಆ ದೇಶದ ಸಂಗೀತ ಮತ್ತು ಇತರ ಲಲಿತ ಕಲೆಗಳ ಕಡೆಗೆ ಗಮನ ಹರಿಸುವುದು ಮುಖ್ಯವಾಗುತ್ತದೆ. ಭಾರತೀಯ ಸಂಗೀತವೂ ಇದಕ್ಕೆ ಹೊರತಲ್ಲ. ವಿಸ್ತಾರವಾದ ಭಾರತ ದೇಶದಲ್ಲಿ `ಅನೇಕತೆಯಲ್ಲಿ ಏಕತೆ` ಎಂಬ ಸಂಸ್ಕೃತಿಯು ವಿಶಿಷ್ಟವಾದದ್ದು. ಇದಕ್ಕೆ ಅನುಗುಣವಾಗಿ ಭಾರತದ ಎಲ್ಲ ರಾಜ್ಯಗಳಲ್ಲಿಯೂ ಅವುಗಳದ್ದೇ ಆದ ವಿಶೇಷವಾದ ಸಂಗೀತ ಪ್ರಕಾರಗಳು ಕಂಡುಬರುತ್ತವೆ. ಅವುಗಳಲ್ಲಿ ಶಾಸ್ತ್ರೀಯ, ಜಾನಪದ, ಧಾರ್ಮಿಕ, ಲಘು ಶಾಸ್ತ್ರೀಯ, ಸುಗಮಸಂಗೀತ, ಚಲನಚಿತ್ರ ಸಂಗೀತ, ಮುಂತಾದ ಅನೇಕ ಪ್ರಕಾರಗಳ ಸಂಗೀತವನ್ನು ಕಾಣಬಹುದು. ಭಾರತೀಯ ಶಾಸ್ತ್ರೀಯ ಸಂಗೀತದ ಪರಿಧಿಯಲ್ಲಿ ಮುಖ್ಯವಾಗಿ ಉತ್ತರಭಾರತದಲ್ಲಿ ಔತ್ತರೇಯ ಸಂಗೀತ ಪದ್ಧತಿ- ಎಂದರೆ, ಹಿಂದೂಸ್ತಾನಿ ಸಂಗೀತ ಪದ್ಧತಿ; ದಕ್ಷಿಣ ಭಾರತದಲ್ಲಿ ದಕ್ಷಿಣಾದಿ ಸಂಗೀತ -ಎಂದರೆ ಕರ್ನಾಟಕ ಸಂಗೀತ ಪದ್ಧತಿ ರೂಢಿಯಲ್ಲಿದೆ. ಪ್ರಸ್ತುತ, ಕರ್ನಾಟಕ ಶಾಸ್ತ್ರೀಯ ಸಂಗೀತ ಪದ್ಧತಿಯ ಬಗ್ಗೆ ಈ ಲೇಖನ ಗಮನ ಹರಿಸುತ್ತದೆ. ಆಧುನಿಕ ಯುಗದಲ್ಲಿ ನಮ್ಮ ಶಾಸ್ತ್ರೀಯ ಸಂಗೀತದ ಪರಿಕಲ್ಪನೆ ಹೇಗೆಲ್ಲ ಬೆಳೆದಿದೆ, ಮಾರ್ಪಾಡು ಹೊಂದುತ್ತಿದೆ ಎಂಬ ವಿಷಯದ ಬಗ್ಗೆ ಕೆಲವು ಪರಿವೀಕ್ಷಣೆಗಳನ್ನು ಹಂಚಿಕೊಳ್ಳುವ ಪ್ರಯತ್ನ ಈ ಲೇಖನದಲ್ಲಿ ಮಾಡಲಾಗಿದೆ.
Authors: Dr Manjula M R	Arts Type : Carnatic Classical Music / Music / India
View Article	Submitted on : 05-Feb-2025

Title :ವೀಣೆಯ ಇತಿಹಾಸ ಮತ್ತು ಬೆಳವಣಿಗೆ
Volume :1 / Regular / 1
ಭಾರತೀಯ ಸಂಗೀತ ವಾದ್ಯಗಳಲ್ಲಿ ವೀಣೆಗೆ ಸರಿಸಮನಾದದು ಬೇರೊಂದು ಇಲ್ಲ. ಇದು ಹಿಂದಿನ ಕಾಲದಿಂದ ಭಾರತೀಯ ಸಂಗೀತದ ಮಾರ್ಗದರ್ಶಕ ನಕ್ಷತ್ರವಾಗಿದೆ. ಬಹಳ ಪುರಾತನ ಕಾಲದಲ್ಲಿ ಮಾನವನು ಬೇಟೆಯಾಡಲು ಬಾಣಪ್ರಯೋಗ ಮಾಡಿದಾಗ ಬಿಲ್ಲಿನಿಂದ ಹೊರಟ ಮಧುರವಾದ ಘೋಷವೂ ವೀಣೆಯನ್ನು ರೂಪಿಸಲು ಪ್ರಚೋದಿಸಿತು. ವೀಣೆಯಲ್ಲಿ ಹಲವು ವಿಧಗಳಿವೆ. ನಕುಲ, ಕಿನ್ನರಿ, ಚಿತ್ರ, ಪರಿವಾದಿನಿ, ವಿಪಂಚಿ ಮುಂತಾದವು. ಸರಸ್ವತಿ ದೇವಿಯು ಕಚ್ಛಪಿ ಎಂಬ ವೀಣೆಯನ್ನು ಮತ್ತು ನಾರದರು ಮಹತೀ ಎಂಬ ವೀಣೆಯನ್ನು ನುಡಿಸುತ್ತಿದ್ದರಿಂದ ಉಲ್ಲೇಖವಿದೆ. ಅನೇಕ ಲಾಕ್ಷಣಿಕರು ತಮ್ಮ ಲಕ್ಷಣ ಗ್ರಂಥದಲ್ಲಿ ವೀಣೆಯ ಬಗ್ಗೆ ಒಂದು ಅಧ್ಯಾಯವನ್ನೇ ರಚಿಸಿದ್ದಾರೆ. ಸುಮಾರು ೧೨ನೇ ಶತಮಾನದವರೆಗೆ ವೀಣೆಯು ಬೆರಳುಗಳಿಂದ ಅಥವಾ ಕಡ್ಡಿಗಳಿಂದ, ಕಮಾನುಗಳಿಂದ ನುಡಿಸಲಾಗುತ್ತಿತ್ತು. ನಂತರ ೧೬ನೇ ಶತಮಾನದಲ್ಲಿ ಪ್ರಗತಿಪಥದಲ್ಲಿ ಸಾಗಿದ ವೀಣೆಯು ೧೭ನೇ ಶತಮಾನದಲ್ಲಿ ಗೋವಿಂದ ದೀಕ್ಷಿತ ರಿಂದ ಈಗಿನ ವೀಣೆಯ ರೂಪ ಪರಿಪಕ್ವವಾಗಿ ಮೂಡಿಬಂದಿತು.
Authors: Mrs Sreelaxmi H S	Arts Type : Veena / Instrumental Music / India
View Article	Submitted on : 22-Oct-2024

Title :INDIAN CLASSICAL DANCE AND PRESENT-DAY CHALLENGES IN PRESERVING ITS ORIGINALITY 1
Volume :1 / Regular / 1
Art being an integral part of evolution of mankind, has occupied an important role in the life and culture of the modern human being and his society. Dance, which is considered an important part of performing arts genre, is classified into two categories viz., Classical and Folk forms. The classical dance form as its name suggests, has a particular system of learning, presentation and its own theory and practice. Classical dance must have certain aspects to it in terms of learning, tradition and presentation in order for it to be called classical. It is quite evident that it got influenced by the culture, society and tradition of the communities as well as geography where it evolved. Thus, classical dance forms got classified into 8 types majorly. As we go through the scriptures, Vatsayana in his scripture mentioned about 64 art forms or the skill activities. Among them classical dance is the one which fits in the category of Performing Arts. As the name suggests it is a presentation in the form of a repertoire. This involves the main artiste, supporting artistes and the audience along with the various settings required to become a repertoire. Once we look into the structure of repertoire we need to understand the various aspects of it. In this, repertoire maybe of traditional type or a contemporary one. Being an art form of Guruparampara tradition, classical dance has its essence based on the Rasa concept mentioned in the ancient scriptures, its Do’s and Don’ts as per the tradition and so on. But as the time changes and marches on, everything in nature and the world changes, and it is not an exception in the field of art too. In this regard, we being the artiste fraternity of our country have a great responsibility to preserve and propagate it without altering the originality of the same. Ancient scriptures are an important source to understand the traditions of our culture as well as art forms. Over a period of time, we Indians got influenced by western culture, especially the present younger generation, and it has had a lot of influence in the field of classical dance as well. It is the responsibility of each one of us to educate younger generation to understand the depth of our culture and tradition through our Art forms. Among the five senses a human being is endowed with, the eyes are the most sensible and have a better effect on the brain than other senses. Audio-Visual effects have more influence in learning than just listening or reading. Thus, being an audio-visual art form, classical dance has more potential to attract, influence, refine and elevate a human being. The problem occurs when a Guruparampara based art, that is classical dance, comes under the academic ambit such as a university where it would be a subject in the curriculum. The entire system of academics in the university is completely different compared to the system of Guruparampara. Here one can find it difficult to cope up with the system and it is true especially for the performing artists. We can mention here that many have become artists by imbibing the art through Guruparampara system only. So, till about the 20th century the classical dance had the strong foundation of learning and practice in Guruparampara system only. As it demands many hours and days of practice or ‘Abhyas', it won’t fit into an academic system like in a university or a college. In the academic system time will be limited for practice or ‘Abhyas’ as there will be pressure both on the faculty and students on covering other common subjects also. Practically it doesn’t meet an artist’s need to be an expert on the subject with deep practice and contemplation. This aspect will be of high priority to look into, when one considers how to create a really good professional in the field through academic education. In this process there will be a danger of either losing originality or altering the tradition by the practitioners, as well as the younger generation. In this system one can become either a performer or an academician only and combining both will be a real challenge for the artists. In this regard this paper tries to offer an analysis to finding solutions to this problem.
Authors: Mrs Nayana Shivaram	Arts Type : Bharatanatyam / Classical Dance / India
View Article	Submitted on : 15-Oct-2024

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