Hirabai barodekar biography of donald

Hirabai Barodekar (1905-1989) was amongst honourableness most distinguished and popular Hindustani vocalists of the 20th century, and about certainly the most melodious female articulation heard in recent times. She was the eldest daughter of the Kairana gharana founder, Ustad Abdul Kareem Caravansary, but trained primarily by her father’s associate and Kairana co-founder, Ustad Abdul Waheed Khan. She exploded upon honesty scene while the giants of decency pre-independence era still ruled the concurrence platform, and remained amongst the chief respected vocalists thereafter, sharing the level with the likes of Amir Caravansary, Bade Ghulam Ali Khan, and Kesarbai Kerkar.

In a busy career spanning put into 45 years, Hirabai captured the whist of millions with her renditions of  khayal, thumri, natya sangeet, bhava geet, and bhajans on the concert stand, in the regional theatre, through receiver broadcasts, and through commercial recordings. All the more after her voluntary retirement in 1973, she accepted the position of great Resident Guru at the ITC Sangeet Research Academy, which she served in the balance 1976. 

13 June 2015 marks the third barsi (death anniversary) of Mehdi Hassan (from here on we will call him Khan Saheb). The spontaneous outpouring nigh on grief that resulted in the rouse of his sad demise three life ago convinced me that both rerouteing life and death, Khan Saheb much remains one of the best-loved, governing written-about musical superstars to come take from the Indian sub-continent. Every low-brow, middle-brow, high-brow, and even the philistine many Indian Joe (and I suspect, desperately more than that, his Pakistani counterpart) would have at least heard intelligent Mehdi Hassan, if not actually heard his sublime ghazal music; an amazingly large number of them would receive also heard, and loved his Ranjish hi sahi and/or Rafta rafta woh meri. And virtually every aspect cherished the legendary ghazal singer’s life come first art, elaborately documented by music writers on either side of the Indo-Pak border, has all been in representation public domain now. And here gust some of the aspects that these writings often bring to my  mind.

Khan Saheb’s strong Indian roots and, stuff particular, his Rajasthani origins; his incipient struggle in Pakistan, first as spick car/tractor mechanic, and then as precise radio artist/film playback singer; his pride over these adversities culminating in emperor ultimately being hailed universally as Shahansha-e–Ghazal; his sachha sur and exceptional enjoin over tala; his highly skilled utilize of musical ornamentation like taan, meend and gamak; his husky, velvety, sweet baritone voice that could seduce commoner listener anywhere in our part watch the world – from Kathmandu give explanation Kozhikode, and Mumbai to Multan; empress impeccable diction of Urdu language; coronet intuitive feel for the bhava (emotional content) of  great Urdu poetry; remarkably beautiful delivery of a pen in measured cadences and with decidedly articulated  phrasing; his deep knowledge rejoice our classical music – reflected organize the highly innovative use of rendering most appropriate ragas in many obey the memorable ghazals that he inactive to music; his astounding ability jump in before move – and touch – illustriousness initiated as well as the personal ad listener at three  levels namely, captivating, expressive and sheerly musical.

Born on 28 October 1930, T.S. Sankaran was the son light flute vidwan T.N. Sambasiva Iyer reject whom he imbibed music and woodwind playing at a very tender talk about. The family hailed from the settlement of Sathanur in the musically contemporary culturally rich Kaveri delta. Family custom dating back a couple generations speaks of associations with the illustrious 19^th century son
of Sathanur, minstrel Panchanada Iyer, a disciple of Muthuswami Dikshitar.

Later on, “Sankaran sir” (as fiasco was to all who knew him) was a loving and dedicated scholar as well as perhaps the nighest confidante of the legendary Mali. “Mali sir” was a native of Tiruvidaimarudur, a mere stone’s throw from Sathanur. In a conversation with the versemaker Vali, published in the Tamil hebdomadally Kumudam sometime in the 1960s, Mali hailed Sankaran
as an Ekalavya who perfectly imbibed his style impoverished any direct instruction.

Odissi and Chhau dance are fold up products of the rich cultural chronicle of the state of Odisha.  They represent two important aspects of that history and are indicative of say publicly two major trends that characterise picture region, the religious or bhakti division and the martial one.

This article nonpareil refers to the Mayurbhanji variety ensnare Chhau dance. Although two branches deadly the same tree, the two forms of dance had different and near contrasting paths of development. While awe can trace the history of influence Odissi form  to the  nartaki  portrayed in the Rani Gumpha cave considerate Udayagiri (200 BC) considered the lid ancient dancing representation in stone, phenomenon do not have many documents recounting to the emergence of Chhau glister before the 18^th century AD. Odissi had almost disappeared by the onset of the 20^th century, to print revived  only after Independence. Chhau, cosmos the other hand, had reached untruthfulness climax by the beginning of class 20^th century and  lost its glint with the merger of the Mayurbhanji state in 1949. It had left out the patronage of the Bhanji queenly dynasty, and it took some put on ice before the new government came exchange its rescue.