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

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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, Issue: 2

Articles

April - June 2025

Scope: In this issue, we explore the evolving contours of gender and pedagogy within the realm of Bharatanāṭyam, alongside a critical spotlight on a pioneering contribution to Karnataka's musical heritage. The article "Intersection of Gender and Pedagogy in Bharatanāṭyam" engages with the nuanced dynamics of cross-gender teaching practices and questions the traditional binaries in dance training, offering perspectives on creating more inclusive learning spaces within classical frameworks. Complementing this contemporary inquiry is the article on ಗಾಯಕ ಶಿಕಾಮಣಿ ಡಾ. ಎಲ್. ಮುತ್ತಯ್ಯ ಭಾಗವತ‌ರ್ ಅವರ ಕೃತಿ ವಿಶೇಷತೆ, which revisits the enduring musical legacy of the distinguished composer and teacher, Dr. L. Muthayya Bhagavatar. Through an in-depth examination of his compositions, the study reflects on the pedagogical and aesthetic values embedded in his work, thereby bridging tradition and innovation. Together, these contributions aim to deepen our understanding of both progressive practices and rich legacies in the field of Indian performing arts.

Publication Date: June 30, 2025

📖 Open Journal

Intersection of gender and pedagogy in bharatanāṭyam: analyzing cross-gender teaching practices and exploring gender inclusive training methods

Mrs Gaayathri H

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ಗಾಯಕ ಶಿಕಾಮಣಿ ಡಾ. ಎಲ್.‌ ಮುತ್ತಯ್ಯ ಭಾಗವತ‌ರ್ ಅವರ ಕೃತಿ ವಿಶೇಷತೆ

Mrs Pushpa Vidya Shankar ( Editor In Chief)

Views: 78 / Downloads: 0

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Latest Announcements

Call for the Articles - Edition - July-September 2025, Volume 2, Isuuse3

Insieme Arti - Journal for Performing Arts invites researchers, scholars, and practitioners to submit original and high-quality papers for the Edition- April-June 2025, Volume 2, Issue 3. 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:31-08-2025 Publication Date:30-09-2025 Guidelines: Visit https://insiemearti.com/submissionguide.aspx for detailed submission guidelines.

08-Jul-2025

RECENTLY ACCEPTED ARTICLES

Aesthetics and philosophy of characterization in a few chosen Bhakti works of Rāmāyaņa - Dancer’s Perspective
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

ಗಾಯಕ ಶಿಕಾಮಣಿ ಡಾ. ಎಲ್.‌ ಮುತ್ತಯ್ಯ ಭಾಗವತ‌ರ್ ಅವರ ಕೃತಿ ವಿಶೇಷತೆ
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

Intersection of Gender and Pedagogy in Bharatanāṭyam: Analyzing Cross-Gender Teaching Practices and Exploring Gender Inclusive Training Methods
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

ಪ್ರದರ್ಶನ ಕಲೆ ಮತ್ತು ಮೂಢನಂಬಿಕೆ
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

भारतीय सुगम संगीत में रिकॉर्डिंग की भूमिका
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

Dance and Literature: A study of aṣṭanāyakas in the Navōdaya poetry of Maisūru Mallige
"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

A Comparative Study of Svāti Tiruṇāl’s Maṇipravāḷa Padams with Kṣetragna’s Padams
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

“ಆಧುನಿಕ ಪರಿಕಲ್ಪನೆಯಲ್ಲಿ ಕರ್ನಾಟಕ ಶಾಸ್ತ್ರೀಯ ಸಂಗೀತ” – ಒಂದು ಚಿಂತನೆ
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

ವೀಣೆಯ ಇತಿಹಾಸ ಮತ್ತು ಬೆಳವಣಿಗೆ
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

INDIAN CLASSICAL DANCE AND PRESENT-DAY CHALLENGES IN PRESERVING ITS ORIGINALITY
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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