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Bombay Jayashri dedicates the award to her mother and gurus
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The Padma Shri goes to a musician who spans borders and genres with ease
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The Padma Shri goes to a musician who spans borders and genres with ease
“Music comes to me more readily than words” – Ludwig Van Beethoven. What the great German composer said resonates in Bombay Jayashri’s music. Most children are introduced to music through lullabies sung by their mothers, and that becomes the most important bond that connects the child to the mother and the music. So it was with Jayashri. With her musician-parents as her initial gurus, the vocalist’s progress from lullabies to ragam tanam pallavi happened in the most natural manner. Music soothed her and this soothing quality extends to her music as well. Nominated for the Oscars for her lullaby in
Sunil Kothari (1933-2020): A great dance theoretician who was always full of childlike enthusiasm
Conversations with him were always rewarding. He was touched by the Greek muse Terpsichore, he understood what Shiva’s tandava nritya meant. Sunil Kothari. | Ram Rahman
“Just as for every taa, there is a thai, for every debit, there is credit,” Sunil Kothari said, while teaching us accountancy at Sydenham College in Bombay.
Kothari was a polymath. At the college (which liked to describe itself as the best commerce college this side of Suez), Kothari, who was a chartered accountant by training, taught us the elements of book-keeping and accountancy. But his heart was always elsewhere, in dance. He taught accountancy because he knew how to do it; he celebrated dance because that’s what he wanted to do.
1723
As this incredible year comes to a close, one can only marvel at what it has brought about in the world of the arts. The increasing ability to connect directly with one’s audience, worldwide, is a revolutionary tool. But also real is the fear of being forgotten by the audience, forcing artistes to engage virtually in unfamiliar ways. As eminent dancer Alarmel Valli says: “In the middle of the isolation, there was a virtual cacophony.”
However, some artistes remain reluctant to embrace the virtual space, the insidious need for a ‘live’ connect still overwhelming them. Virtual concerts are recordings; there is no spontaneous audience feedback, they reason. That physical acknowledgement of creativity, that connection between several people at the transmission of art, is missing. Nightingale of the South, Bombay Jayashri puts it thus: “The presence of the audience, the vibrations that are required in that journey of creation of music, are necessary. I am so scared of
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