Sampradaya is like a broad river and the bani is a tributary. It is born out of creativity and sustained when creativity combines with novelty, while based on the core principles. It should be aesthetically beautiful and serve as something new for present and future generations to work upon. I learnt from four great masters: Arupathi Natesa Iyer, Thanjavur Vaidyanatha Iyer, Palghat Mani Iyer, and Kumbakonam Sakottai Rangu Iyengar. On that base I formed my own distinctive style, something novel, attractive and worthy of emulation. Bani is about everything — accompaniment, mridangam solo, giving pauses, creating a lot of nada, and new moras and korvais, complex mathematical creations. It is like Ariyakudi’s music; it may seem simple, but when you attempt it, it’s impossible until you work at it. That is what I have created. It has complete clarity, with or without mic. As my father taught me, I coax the mridangam, I don’t beat it. Another principle of my bani: First, you become a rasika of the main artiste, whether vocal or instrumental. You must become the first rasika. And you must go into the music, so that it affects your psyche, your playing. The tempo, the voice, the volume, the mellifluousness, everything enters your body, and it reacts in the mridangam. Then, your reactions and movements will be in advaita bhava with the main artiste.
Read the full interview: “Umayalpuram Sivaraman: ‘I have not even touched the tip of the iceberg’” by Vaishna Roy (The Hindu, 6 May 2021)
Sannidi Academy of Music and Arts, (SAMA) a nonprofit organaisation established in the year 2011 by carnatic musician T.R. Sundaresan. Sannidi, helps young talents to come together and also provides them a platform for team work, learning and performing. Sannidi Academy of Music and Arts welcome all like minded musicians and artists to come forward and be a part of its future endeavors.
Carnatic Wave is an aural journey into the Karaikudi Veena tradition, a centuries old practice of Southern Indian classical music being carried on by a group of musicians in Portland, Oregon. This short documentary offers a glimpse into their world of Carnatic music, highlighting the importance and challenge of teaching traditional art forms in our modern society. – Documentary maker David Van Auken
Concert on 31.12.2020 by Vidwan J.A.Jayanth – Flute, Vidwan L.Ramakrishnan – Violin , Vidwan N.C.Bharadwaj – Mridangam , and Vidwan Chandrasekara Sharma – Ghatam. For Daily Informations refer to Our Blog : https://naadainbam.wordpress.com/
Jayanth, still in his late twenties, is the most recognisable and sought after flautist in contemporary Carnatic music who also commands a considerable cross-over following in India and abroad. He’s a prime time performer in Chennai’s prestigious Sabhas and also a regular fixture in Indian musical festivals in Europe and the US. He enthrals his audiences with an arresting gayaki style, riveting wizardry on his instrument, and rare musical wisdom. | Read the full interview by G Pramod Kumar on Jayanth’s musical background, the Carnatic bamboo flute, and the challenges it poses in the Indian Express (December 12, 2020) >>
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NEW FORTUNE TELLER (PUDIYA KONANGI)* by Mahakavi Bharati
Gudu gudu gudu gudu gudu gudu gudu gudu Happy days ahead for the people! Caste feelings are no more. No more are there any conflicts. Shakti ! Maha Kali! Speak up. Predict good times for the people of Vedapura !
Poverty is gone. Prosperity is in. Knowledge is ushered in. Sins have vanished in the thin air. If the educated try to deceive the simple men, they will be ruined in no time.
Commerce and industry are being learnt. Workers flourish. Shastras and skills are being learnt. Fear is gone. Justice prevails. The hour of awakening is come. The magic of incantations is working all around us.
Source: Full text of “Poems Subramania Bharati” (National Council of Educational Research and Training, 1982), pp. 147-151 in the text version provided by Archive.org; and from p. 160 in the embedded version displayed above.
* The fortune teller is traditionally depicted as shaking a small hourglass-shaped drum called kudukuduppai in Tamil, and as damaru across India. Two beads attached to it by strings produce the characteristic rattling “kudu kudu” sound evoked in this poem as harbinger of a bright future for all.
More about the poet Subramanya Bhaaratiyaar (1882-1921)
Bharati was determined to abolish the caste system in India. He selected an untouchable boy, to prove his principle of “equality” to the society.
When Bharati’s vision as a poet went to work upon the sober knowledge of national and world affairs derived from his journalistic labors, the result was compelling political poetry of a kind that is rarely found in twentieth-century literature – with, fittingly enough, Russian literature being a notable exception.
Subramanya Bharathiyar is a renowned poet from Southern India. … His poetry is known for its appeal to the liberty and strength of the people. … His national integration songs earned him the title “DEsiya Kavi” (National Poet). He composed Tamil keertanais on love, devotion, fearlessness, mysticism. | Learn more on karnatik.com >>
Yet another proof and a delightful one (if any were needed), that “Music is the purest form of art, and therefore the most direct expression of beauty, with a form and spirit which is one, and simple, and least encumbered with anything extraneous. … No one of its notes is final, yet each reflects the infinite.” – Rabindranath Tagore (Sadhana, the Realisation of Life)
Vidwan TS Sankaran was Flute Mali’s favorite and most trusted disciple. Apart from imbibing many of his guru’s techniques, he has created several of his own. His music also sometimes reflects his passion for the other great genius piper of the 20th century, TN Rajaratnam Pillai, who hails from the same village as Shri Sankaran. His legacy, and that of his guru Mali, is fortunately being continued through his grandson, Flute Jayanth.
Live recording made on 31 December 1988 – shared by Ludwig Pesch under Creative Commons
The flute has played a key role in India’s artistic life since antiquity. This is evident from writings on dance-drama, mythology, sculptures and paintings. Its playing technique must have been highly developed for a very long time. Different names are used for it, for instance kuzhal (pronounced like “kulal” or “kural”) in Tamil speaking regions; and bansuri in northern India. In poetry, song lyrics, classical dance items and films, words like venu and murali evoke its association with Krishna, the ‘dark skinned’ cowherd and flute player. […] Tagore’s poetry reminds us of the fact that reed and bamboo flutes are the world’s most “democratic” to this very day, both literally and figuratively:
Very often I think and feel that I am like a flute – the flute that cannot talk but when the breath is upon it, can sing. – Rabindranath Tagore whose pioneering institution Santiniketan inspired Kalakshetra | Read more >>