Hindola is one of my favourite rāgas. The equivalent of Hindola in the Hindustani system is a rāga called Malkauns. Many feel that the manner in which it is rendered in South Indian classical music is different. In my opinion, however, Hindustani musicians have used Malkauns in a more aesthetic, mature, and creative manner as compared to the Carnatic musicians, barring a fewlike Dr. M Balamuralikrishna and Dr. Nagavalli Nagaraj.
For a cricket-crazed nation like India, we do not have to wait long before a cricket series starts, grooves us in to a sway of emotions, and causes a deluge of frenzied reactions to the victories or the defeats. Even as the cricket World Cup follows each other, every two years in the shortened 20-20 format and every four years in the longer version, the cricketing nations, a good number of them, are treated to a veritable swing of emotions from euphoria to depression following their team’s wins or losses.
Around 1925-26, I had been to Delhi to undertake a political study--to gain knowledge about the condition, status, and the future of India's Princely States. I met Captain Ajab Khan to gather information about the army and other personnel employed by the Princely States. Ajab Khan hailed from Punjab. He had served as a Commander of one of the units engaged in the First World War (1914-18). He had been nominated as a Member of the then Rajya Sabha.
This is the second part of the two-part article published on the occasion of the 2018 Tyāgarāja Ārādhana Utsavam, which falls on today's date. — Editors
Prekshaa is glad to bring out a special two-part article on the occasion of Tyāgarāja Ārādhana 2018, which falls on January 6th this year. This also happens to be Tyāgarāja's 250th birth anniversary year. — Editors
Śrī Tyāgarājāya Namaḥ
vyāso naigama-carcayā mrudugirā valmīka-janmā muniḥ
vairāgye śuka eva bhaktiviṣaye prahlāda eva svayaṃ |
brahmā nārada eva cāpratimayoḥ saṅgīta-sāhityayoḥ
yo rāmamṛtapāna-nirjita-śivastaṃ tyāgarājam bhaje ||
This article is based on Ramaa Bharadvaj’s illustrative talk on June 18, 2017 at the workshop on Vyāsa, Vālmīki, Kālidāsa, and Guṇāḍhya at Chinmaya International Foundation, Veliyanad, Kerala.
It is presented in two parts for Prekshaa readers.
This article is based on Ramaa Bharadvaj’s illustrative talk on June 18, 2017 at the workshop on Vyāsa, Vālmīki, Kālidāsa, and Guṇāḍhya at Chinmaya International Foundation, Veliyanad, Kerala.
It is presented in two parts for Prekshaa readers.
A reasonable place to assess the overall contribution of K Viswanath to Indian cinema is the 1976 musical and social blockbuster, Siri Siri Muvva. That film in a way marks a clean break and is the line that clearly demarcates Viswanath’s cinematic oeuvre as Sankarabharanam and post Sankarabharanam.
The period also plays a significant role in this assessment.
Art, the creator of art, the final product of this creative process, and the relationship among the three has fascinated and has been explored by artists and aestheticians since ancient times.
The myth-legend of Pygmalion in Ovid’s Metamorphoses where a brilliant sculptor falls in love with his own creation and ends up marrying her has passed through countless interpretations. It continues to appeal to artists even today and will do so even in future.