Latest news with #Dhrupad
New Indian Express
4 days ago
- Entertainment
- New Indian Express
Dhrupad notes stir soulful peace in Hyderabad concert
HYDERABAD: Dhrupad, a serene and meditative form of Hindustani Classical music, goes beyond entertainment to evoke inner peace. This essence was beautifully captured on June 28 at Ravindra Bharati, during a soulful performance by students of the Dhruvpad Gurukulam Foundation. The event marked the sixth anniversary of the foundation, established in 2019 by Manish Kumar, a noted Dhrupad musician, and art enthusiast Vijaya L Ramam. Accompanied by Dnyaneshwar Deshmukh on the pakhawaj, the students delivered a three-hour musical journey that immersed the audience in the spiritual depth of Dhrupad. The programme began with a Ganesh Vandana in Raag Bhupali, introduced through a calming alaap by Sindhu Rajesuryah, followed by the bandish Sankara Suta Ganesha and Sur Laya Bhed Ko Bakhan. Senior students then took the stage: Supriti Chakraborti presented Saghana Bana Chhaayo in Raag Bhairav, while Shivali Shukla sang Tero Daras Se in Raag Yaman. Premlatha Zaveri performed Kahaan Se Tum Mad Pi Aaye Ho in Raag Bihaag, followed by Sannihita Murthy's powerful Jab Kartaar Karam Kare in Raag Pardeep. Raag Chandrakauns came alive with Vamsi Madhavi and Mahati's rendition of Chalo Sakhi Braj Mein Dhoom Machi and Hey Shiva Shankara. The concert concluded with Hriday Bhushan's emotive Aayi Hai Ghata and Shambu Bholanath in Miyan ki Malhaar. Manish, who has been teaching Dhrupad for over a decade, expressed pride as he spoke about his students: 'They are of different ages and from diverse occupations but are still so dedicated to Dhrupad.' Vijaya, who is 81, revealed that she started learning the Dhrupad style when she was 70. She told TNIE, 'In a world with digital dominance, I urge more youngsters to take up music. Dhrupad, in particular, brings peace to a listener. However, not many Dhrupad concerts have been taking place in Hyderabad. So, Manish and I have been promoting it greatly.'
Indian Express
25-06-2025
- Politics
- Indian Express
Tansen's grave ‘deserves to be protected': Madhya Pradesh HC denies nod for religious, cultural activities at Gwalior monument
Observing that the monument that houses the grave of Tansen, one of the 'nine jewels' in the court of Mughal emperor Akbar, deserves to be protected, the Madhya Pradesh High Court dismissed an appeal seeking permission to perform religious and cultural activities at the tomb of Hazrat Sheikh Muhammad Ghaus in Gwalior. The tomb of Hazrat Sheikh Muhammad Ghaus was declared a protected monument of national importance in 1962 under the Ancient Monuments and Archaeological Sites and Remains Act, 1958. A Bench of Justice Anand Pathak and Justice Hirdesh noted that the monument 'deserves to be protected with utmost care and caution' and no such activities, as sought by the appellant, can be permitted. '…Constitutional vision and constitutional morality ought to prevail over personal and vested interest. It (the monument) deserves to be protected with utmost care and caution, and no activity as sought by the petitioner can be permitted, lest the monument lose its originality, sanctity and vitality. It would be a national loss then,' the court said on June 16. According to court documents, the premises of the monument contain the graves of musical maestro Tansen and Sufi saint Hazrat Sheikh Muhammad Ghaus, both from the 16th century. The court documents said Tansen was remembered for his classical Dhrupad compositions. 'Dhrupad, an epic form of music, is considered to be invented by Raja Man Singh Tomar (ruler of Gwalior), in medieval times,' the court said, while reasoning that the monument where he is laid to rest deserves preservation and protection. The court was dealing with an appeal by one Syed Sabla Hasan, who claimed that he is the Sajjada Nashin (spiritual caretaker) and the legal heir of Hazrat Sheikh Muhammad Ghaus. It was argued on his behalf that various religious and cultural practices had been performed at the dargah premises for over 400 years and that their discontinuation by the Archaeological Survey of India, following the declaration of the site as a protected monument, was arbitrary and illegal. The court stressed that 'it is the duty of the ASI and the district administration to protect this monument of national importance with utmost care and strictness' so that the monument carrying history and culture can be preserved.
New Indian Express
31-05-2025
- Entertainment
- New Indian Express
Day 5 of SPIC MACAY fest a warm, melodic embrace
The 10th International Convention of SPIC MACAY, being held at IIT Hyderabad, continued to unfold a vibrant tapestry of sacred music and deep cultural immersion on Day 5. The day began with a diverse array of workshops that showcased India's cultural and spiritual depth. Participants started their mornings with Hatha Yoga sessions led by Swami Tyagarajananda and Zarna Mohan, alongside tranquil meditation sessions with the Brahma Kumaris offering a grounding start steeped in discipline and mindfulness. There was Dhrupad training by Ustad Wasiffuddin Dagar, and Hindustani vocal sessions by Jayateerth Mevundi, giving young participants a direct experience of India's classical music traditions. Adding a Western twist, the Neemrana Music Foundation Choir introduced foundational elements of Western classical music and harmony, offering a rare blend of global and local musical pedagogy. Visual and performing arts had their moment in the spotlight too. Kathakali was taught by veteran Kalamandalam Balasubramaniam, bringing the dramatic storytelling dance form alive. Participants also explored traditional art through hands-on sessions in Gond painting with Bhajju Shyam, Majuli mask-making with Hem Chandra Goswami, Cheriyal painting with D Vaikuntam, and Kalamkari with Niranjan Jonnalagadda — each rooted in centuries-old folk traditions. The afternoon took on a spiritual tone. A meditative choral performance by the Neemrana Music Foundation Choir opened the session, gracefully blending Indian and Western sacred music motifs. This was followed by a deeply moving Shabad Kirtan by Bhai Gurudev Singh Hazuri, who performed Sikh devotional hymns that filled the hall with peace and introspection.
New Indian Express
24-05-2025
- Entertainment
- New Indian Express
Dive deep into Dhrupad with Anant Gundecha
In fact, the Gundecha Brothers established the Dhrupad Sansthan in Bhopal. It is a unique musical academy patterned after the ancient guru-shishya (teacher-disciple) tradition of education, which the young singer swears by. 'When I attended one of the classes, I realised that the reason I am not getting bored is because it can be improvised — there is no fixed way to go about it. Every time you attempt a raag, you are searching for something new,' he shares, with eagerness in his voice. So, what is Anant's favourite raag? Initially hesitant to choose, he eventually relents, saying, 'Raag Bhimpalasi, an early evening raag. It is still in my mind because I taught everyone this raag in the workshop.' Anant is someone with a unique understanding of Hindustani classical music. While his knowledge comes from two Dhrupad stalwarts, he is aware of changing times and realities. As such, he urges aspiring singers in the tradition to first find a good guru. 'That is the most important step. Next, completely surrender to what your guru advises. As students, we tend to carry some ego, questioning authority. But don't question…simply imbibe,' he underscores. At the same time, he highlights the gaps in the music space, saying, 'Institutional support is needed to reach out to newer, younger audiences. When children are exposed to music early on, they are likely to embrace it with much more warmth as they grow older, correct? Ideally, each city should have five to six music circles that invite both local and visiting musicians. If artists consistently present good music, a good audience will naturally build over time.' It's simple — for Anant, music is what made him who he is today. 'It has taught me many, many lessons, and I keep learning.'
Morocco World
20-05-2025
- Entertainment
- Morocco World
‘4Femmes' Ensemble Uses Sacred Music as a Universal Cry for Women's Rights at the Fez Festival
Fez – Fez's ancient Jnan Sbil garden became a stage for a powerful women's rights musical manifesto at the 28th edition of the Fez World Sacred Music Festival. Yesterday, leading the ensemble '4Femmes', mezzo-soprano and composer Ariana Vafadari and her troop delivered an unforgettable performance. She ignited a conversation on the global struggle for women's rights through the transcendent power of sacred music. In an exclusive interview with Morocco World News (MWN), Vafadari shared the emotional weight behind her return to Fez, a city she calls her 'spiritual home.' The festival, known for bridging cultures through sacred sounds, provided the perfect setting for her latest work, a fusion of ancient myth and modern resistance. A project born from pain and hope For Vafadari, 4Femmes is not just a musical piece. It's a cry against the erosion of women's rights worldwide. Inspired by real testimonies from Afghanistan, Iran, and beyond, the project reimagines the myth of Medea, transforming her from a tragic figure into a symbol of defiance. 'These are stories of women facing poverty, violence, and oppression,' Vafadari told MWN, her voice trembling with conviction. 'But it's also about their resilience, how they reclaim their voices despite everything. Sacred music isn't just about tradition; it breathes, it lives. When we perform, something magical happens. Women from different worlds, different languages, different wounds, suddenly recognize each other. That's transcendence.' The lyrical monologues, penned by Atiq Rahimi (award-winning author and filmmaker), knot together personal narratives into a collective plea for justice. 'Medea refuses to be a bargaining chip,' Vafadari explained. 'She escapes her fate. That's what we're singing about, women who refuse to be silenced.' Sacred sisterhood For Marianne Svasek, a Dutch singer specializing in the rigorous tradition of Dhrupad (an ancient form of Indian classical music), joining 4Femmes was a revelation. Known for her solo performances, she found unexpected freedom in this cross-cultural collaboration. 'Normally, I sing classical music, and it's very strict,' Svasek admitted in an interview with MWN. 'But here, collaborating with different styles and these incredible female voices, I discovered another side of myself. It's not just about technique; it's about emotion, about truth.' When asked how she channeled the project's heavy themes, stories of war, displacement, and survival, Svasek paused, then replied: 'It feels different, deeper, singing with women about women's lives. You can't just perform these stories; you have to live them in the music. There's a responsibility in that. And in Fez, with its sacred energy, it becomes even more powerful.' Svasek described performing at the festival's opening night as electrifying, but she was especially moved by their garden performance. 'The city feels alive, like India's sacred spaces. Singing surrounded by nature, it's a different kind of magic.' Vafadari's vision for a global sisterhood The seeds of 4Femmes were planted years ago when Vafadari met members of the Asian University for Women in Bangladesh, an institution offering free education to women from across Asia. 'Their stories stayed with me,' she said. 'Music creates bridges, between eras, spiritualities, and people. That's what we're doing here.' Trained at the Paris Conservatory yet deeply rooted in her Persian Zoroastrian heritage, Vafadari's artistry defies categorization. Her compositions blend Persian classical music, jazz, and electronic soundscapes, creating what she calls 'sonic epics', where ancient wisdom speaks to modern struggles. 'Fez is the perfect place for this,' she reflected. 'The festival isn't just about preserving traditions; it's about letting them evolve, letting them speak to today's world.' As 4Femmes left the stage, the echoes of their performance lingered. In a time when women's rights are under siege globally, Vafadari's message was clear: 'Sacred music is not just prayer, it is protest. And when women sing together, the world listens.' Women's rights remain a pressing global struggle, as gender inequality, violence, and systemic oppression continue to silence voices across cultures. Yet, in the face of adversity, women have turned to art, storytelling, and music as tools of resistance, transforming pain into power and isolation into solidarity. This spirit of resilience found a profound stage at the Fez Festival of World Sacred Music, where artists like Ariana Vafadari and her ensemble 4Femmes wove these urgent narratives into the fabric of sacred sound. The festival, long celebrated for bridging spiritual traditions, emerged as a space where music confronted injustice, where ancient hymns carried modern cries for freedom, and where women's stories, often suppressed, were amplified in a chorus of defiance and hope. Tags: Fez World Sacred Music Festivalsacred musicwomen's rights
