SPIC MACAY VIRASAT 2012 AHMEDABAD
SPIC MACAY , the Society for Promotion of Indian Classical Music and Culture Amongst Youth is an organization that was founded in 1977, with the preservation of India’s rich heritage through awareness and consciousness among youth as its aim. This aim, SPIC MACAY seeks to fulfill through establishing a dialogue between noted artists and the youth through concerts, workshops and performances & programmes conducted for them which brings cultural and aesthetic awareness into the mainstream of the Indian educational system.
This Virasat series is dedicated to the following: Swami Vivekananda, Ustad Amir Khan, Sh. Jahangir Sabavala, Pt. Vijay Raghav Rao, Sh. Palghat Mani Ayer, Pt. Uma Shankar Mishra, Pt. Anant Lal and Sh. Satyadev Dubey.
VIRASAT is a festival comprising performances and workshops in folk and classical arts, literature, crafts, talks, theatre, films, yoga held in different educational institutes. It aims at a close interaction between students and artistes.
The various institutes who participated in hosting the Virasat this year were - C. N. Vidyavihaar, Pandit Deendayal Petroleum University (PDPU), National Institute of Design (NID)- Ahmedabad and Gandhinagar, Ahmedabad Education Society, Nirma University, L.J. Group of Institutes, NIrmaan School, Rachna School,Sharda Trust Municipal School, Olive International School, Municipal Schools – Usmanpura and Vadaj, Mahatma Gandhi Municipal School , Delhi Public School (DPS), Bopal , Nirman Schools – Panchvati & Vastrapur, Udgam School for Children, Our Own English Medium School, Prantij and Upasana School of Performing Arts.
The operations of the festival were orchestrated by a team of eleven student volunteers under the guidance and supervision of Mrs. Sushma Jacob, Coordinator of SPIC MACAY Ahmedabad Chapter & Mr. Praveen Nahar, Professor at NID and Ms. Rinkal Bagadia of PDPU.
The festival involved evening extensive lecture-demonstrations by the participating artists over five days, culminating on the sixth day into an overnight performance by stalwart musicians.
The artists who participated during the Virasat are Dr. Sonal Mansingh (Odissi dance), Shashank Subramaniam (Carnatic Flute), Pt. Vishwa Mohan Bhatt (Mohan Veena), Pt. Kaivalya Kumar (Vocal), Purulia Chhau (Bengali Folk Dance Group) , Siddi Dhamaal (Dancers of the Siddi tribes of Gujarat), Mrs. Manjiri Asanare Kelkar (Vocal), Ustad Kamal Sabri (Sarangi) and Pt. Pushpraj Khosti (Surbahar).
This Virasat also featured a Yoga camp conducted by Chimaya Mission and a Ceramics and Pottery Workshop conducted by Ms. Neha Ramaiya.
The response to the Virasat, marked by a strong sense of enthusiasm, was very positive among the students and participating institution.
Day 1 – Monday, February 20, 2012
Day 2– Tuesday, February 21, 2012
The second day of VIRASAT, the 21st of February 2012 started with Shashank Subramaniam at CN Vidyavihaar.
Shashank Subramanyam, a child prodigy and maestro of the Carnatic flute, was one of the most enthusiastic artists with regard to sharing the nuances of his art. His command over his art was reflected in the poetics of his explanations which he presented to the students of. He passionately explained the concepts of Hindustani and Carnatic music and how the ornamentation of musical notes sets these styles of music apart from each other Wherever he performed, the students were smitten by how Shashank and Patri Satish Kumar, the Mridangam player accompanying him were lost in the music, yet totally in control. Patri Satish Kumar was a tour-de-force with the Mridangam. He generated complex rhythmic patterns out of nowhere and rendered the Konakkol, the improvised recitation of the percussive sound syllables, like he was born doing so. Along with his elaborate performance, Shashank also demonstrated why he used multiple flutes to mimic the human voice. He also displayed his revolutionary double blowing technique – by which he could produce two octaves simultaneously and how this aided him in adding flare to the demonstration of a particular ‘Rasa’ and ‘Bhava’. His emphasised that students and teachers and other members of institutions should strongly focus upon the arts, by which the development of students will be well rounded and they shall grow to be sensitised individuals.
The evening saw a splendour of sorts at the National Institute of Design, Paldi. Dr. Sonal Mansingh, along with her accompanying musicians. In her first act, she paid her gratitude to Lord Ganesha by performing the Ganesh Stuti.
Dr. Sonal Mansingh, along with her accompanying musicians, put up two elaborate performances of three acts. Before her performance, during the preparation, students saw how much of a precisionist she was. Her command over the technical and the expositional elements of Odissi was unnerving. The sound and light adjustments were done by her to pinpoint precision. During the performance, she was the torchbearer of grace. Every mudra was executed to god-like perfection. She was very ably supported by her fellow musicians. She emphatically expressed her sorrows over how our country fails to promote the arts, but encouraged people to continually practice an art so that they can save it. Before every act of her performance, she elaborated over the theme and the significance of her acts. The students were left gaping over what practice and dedication of years to a singular act can do.
Day 3 – Wednesday, February 22, 2012
The third day, the 22nd of February saw Pt. Vishwa Mohan Bhatt at Nirma University and L.J. Group of Institutes.
Pandit Vishwa Mohan Bhatt’s name is synonymous innovation. His presence inspires undivided attention. His rendition of Ragas was filled with emotion. During the performance, he elaborated on the anatomy of the Mohan Veena, and how he used a bolt from a door of his house to create the steel rod he uses to slide on his guitar. He also stated how percussion and Tala is like a clock that adapts itself to the moods he wants to creat. He is an artist who cuts across the barriers of age – he could communicate with college students and Kindergarten kids alike. He was very appreciative of the work that SPICMACAY does and he takes pride in being associated with the moment. He was welcoming all sorts of questions, from innocent queries to technical inquiries. His communion with the students was punctuated with humour and virtuosity alike.
Day 4 – Thursday, February 23, 2012
On the Fourth day, the 23rd of February 2012, Pt. Kaivalya Kumar
Pandit Kaivalya Kumar’s voice and his technique is representative of his great lineage. He took all the students through a guided tour of how to appreciate Khayal music. His unique ability to transcend octaves like flowing water had students in splits. He quoted meditative techniques and yoga as key factors responsible for the clarity in his voice. He also demonstrated how he modulated his voice using his abdomen and his throat. He also demonstrated to produce voice even with his voice closed.
Pandit Kaivalya Kumar’s voice and his technique is representative of his great lineage. He took all the students through a guided tour of how to appreciate Khayal music. His unique ability to transcend octaves like flowing water had students in splits. He quoted meditative techniques and yoga as key factors responsible for the clarity in his voice. He also demonstrated how he modulated his voice using his abdomen and his throat. He also demonstrated to produce voice even with his voice closed.
Day 5 – Friday, February 24, 2012
On the fifth day,24th February Purulia Chhau and Siddi Dance
In CN Vidyalaya was organized, a dance programme. It was ‘ Mahishashur Mardini’ and group which performed it was ‘Tarapada Chhau dance troupe’, Purulia.
In this dance people performed by wearing a mask. When they performed before us they performed the dance about gods. One man was continuously playing Shehnai and we all thought how he was doing so. In this dance there was goddess Lakshmi, Kartikeya, Ganesh, Peocock, Mahishashur and many more. They also did many acts which were really astonishing, and nearly impossible for us to do. We all praised them and also thanked them. Their dance took two hours and was performed with full of energy. We were very enthusiastic to see the dance.
This was the – third successful and wonderful cultural programme held by SPIC MACAY. We all long to see these types of programmes as they are very nice. That programme came to end at 1: 45 pm. We thanked them and came back to our school.
More than 200 people participated, including approximately 150 kids. 40 underprivileged children from Samvedana were also invited for the performance. Age group of children: 2 years to 10 years. Older kids helped usher guests and ensured proper seating as well as decorum of audience. Younger kids had prepared thankyou-cards and painted pots of tulsi plants to give as gifts to the artists. The welcome address, brief about SPICMACAY and SIDDI as well as the concluding vote of thanks, were all presented/said by SKC children.
Dancers interacted with children, involving them in a participatory way.
The sixth day, the 25th of February 2012 had a different Genre in store for the audience.
The sixth day, the 25th of February 2012 had a different Genre in store for the audience.
Day 6 – Saturday, February 25, 2012 - SAMPOORNA RATRI
On the Sixth day, the 26th of February, at eight p.m., the Sampoorna Ratri, or the All Night performances started at the beautiful setting of NID foyer; with Pt.Dhuba Ghosh’s Sarangi performance. Shri Ghosh’s soulful playing, amazing command over raga-shaili and ras and his masterly renditions gave us a glimpse of the immense genius.
His deep signing voice was soothing to listen to, and his loving aalaaps filled the atmosphere with a fragrant and nostalgic atmosphere.
This was followed by Shri.Niladri Kumar’s performance on the Sitar. Shri Niladriji’s skill became evident at the outset, with his deft fingerwork, incredibly fast passages and yet a beautiful melodious experience that received thunderous applause. In the words of one of our audience, “ He captured time in his finders, twisted and tangled it……. His music was consoling but passionate….” A truly memorable performance.
Ms.Manjari Asnare Kelkar, next in their eminent line of musicians, took the stage. Her rich voice had a wonderful bell like quality that is unique even among vocalists. The ease with which she rendered the Chandra Kamsa raag skipping lightly over the swar is with able accompaniment by Shri Utpal Datta and Shri Aashish Kulkarni on the Tabla and the harmonium. Smt. Manjari’s “rangeen” rendition of “ Rang na dalo Shyamji…” all the while enjoying the rhythm, easily dishing out beautiful Gamakas with incredible breath control was a real treat for the audience.
Next Violin Vidushi, Smt.Kala Ramanath took the stage. Her, sensitive aalaaps and mellifluous renditions including soft passages late that night put everybody in a contemplative, pensive mood. A brilliant play with rhythm speed and variation, with Shri Satyajit Talwalkar on the Tabla added to the recital’s beauty. Her treatment of the noble instrument had everyone swaying to its notes; its mood well brought out in her able fingers.
The last performance of the Sampoorna Ratri in the wee hours of the 27th was the Carnatic Flute performance by famous Master Flautist, Shri Shashank Subramanium with Shri Sai Giridhar on the Mridangam and Shri Satyajit Talwalkar on the Tabla.
He started off with the raga Nalina Kanthi with a simple aalaapana that culminated into the performance of a powerfully played kriti. The resounding energy of ho notes and the multiple sthayis covered at a time, that too, on just one flute took the audience’s breath away. The thundering jugalbandi literally shook people awake to the morning, the Tabla and Mridangam and the flute gracefully yet fully impactful, combining beat, note and pitch in a roller coaster rendition of the Vaachaspati that got everyone shouting for more.
It was truly a fitting conclusion to the week-long festival and a brilliant tribute to Pt.Bhimsen Joshiji, may his soul rest in peace. In the end, the main objectives of this festival a memoriam, a revival of interest in Indian music and culture, were very successfully achieved, with the audience left with truly un forgettable performances’ memories and hunger to discover more. Thanks to all supporters and sponsors who made VIRASAT 2012 a successful event.