i bet you look good on the dance floor solo tabla

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I bet you look good on the dance floor solo tabla foxhunter chase betting systems

I bet you look good on the dance floor solo tabla

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First recorded history of gharanas is in the early 18th century. Delhi gharana is considered to be the first and the oldest traditional tabla tradition. Its students were responsible for the spawn of other gharanas as well. Each of these gharanas include a handful of prominent players and maestros.

They carry the honorific title ' Pandit ' and ' Ustad ' for Hindus and Muslim tabla players respectively. Modernization and accessible means of travel have reduced the rigid boundaries between these gharanas in recent times. A Kayda or Kaida is a type of tabla composition. There are different types of tabla compositions, both fixed pre-composed and improvised. The word kayda is an Arabic word meaning 'rule' or 'a system of rules'.

This original theme is known as a Mukh. The kaida form originated in the Delhi Gharana of tabla playing and serves three fundamental and very important roles for tabla players. Kaydas can be played in any Tala. Note that in talas like Dadra , laggis are played, not kaydas. Different Gharanas have their own Kaydas. Mukha - Basic bol which is called as Mukha that means face of the particular Kayda. Dohara - Dohara is the repetition of the Mukh 3 times.

Dohara means to repeat. In Hindi it is called Doharana that means to repeat. Vishram - Vishram means taking rest. Adha Vishram - Adha Vishram is the repetition of taking a pause i. Palta - Palta is a variation of various bols but these bols are stuck or are only from the bols which are there in the Mukh. This Palta is a section of the whole Kayda. So there is no duplications of all the 4 names taken. So all of the 4 names taken above, there are played olny once. But a Palta, as said it is a section.

It is the last part of a Kayda. The Mukh's last part is played thrice i. From Wikipedia, the free encyclopedia. Indian musical instrument. Not to be confused with Tablah. For other uses, see Tabla disambiguation. Play media. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. June Learn how and when to remove this template message.

March Learn how and when to remove this template message. India portal Music portal. India: The Rough Guide. Rough Guides. The Rough Guide to World Music. The Harvard Dictionary of Music. Harvard University Press. Cambridgeshire [England]: Cambridge University Press. Encyclopedia of Hinduism. Scott Ashgate Publishing. Nettl, Bruno, ,, Stone, Ruth M. New York. Retrieved 25 December Gottlieb Solo Tabla Drumming of North India.

Motilal Banarsidass. Music of the Peoples of the World. Cengage Learning. Manchester University Press. The Drum: A History. A historical study of Indian music. Munshiram Manoharlal. Oxford University Press. The Garland Encyclopedia of World Music. The Dawn of Indian Music in the West. Bloomsbury Academic. Meshram Indica, Volume Heras Institute of Indian History and Culture. Music and Musical Thought in Early India.

University of Chicago Press. Volume 2 of Man through his art. New York Graphic Society. Carving Devotion in the Jain Caves at Ellora. Ancient Indian Education: Brahmanical and Buddhist. Retrieved 20 February Bibcode : Natur. Delhi: Motilal Banarsidass Publishers. Theory and practice of tabla. Mumbai: Popular Prakashan. The art of the Indian tabla. September Dombrowski, David. Retrieved 17 August Retrieved 9 December Bibliophile South Asia. Retrieved 16 October Indian musical instruments.

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Jhyali Jhyamta. Yalamber Baja. Binayo jaw harp Murchunga jaw harp Pipirma Urni. Categories : Battle drums Directly struck membranophones Hand drums Pitched percussion Afghan musical instruments Bangladeshi musical instruments Hindustani musical instruments Indian musical instruments Pakistani musical instruments Sri Lankan musical instruments Tabla players Drums of Nepal.

Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons. Apart from playing in classical tradition he has gone to work with the genres as diverse as Egyptian, Spanish, African, jazz and Irish music as well as composing various pieces for ensembles. He has toured worldwide and has made various recordings.

At the age of ten, he began his tabla studies with his father, Pt. Bhagwan Das Mishra, who was a respected sarangi and tabla player, himself a disciple of the renowned Pt. Anokhelal Mishra. He later became a disciple of Pt. Sharda Sahai. Kishor Kumar Mishra is also the son-in-law of Pt. Samta Prasad. His devotion and honesty as an artist have resulted in him being a highly respected tabla player, having been invited to perform in music festivals across India and internationally.

He has accompanied many renowned artists, such as Smt. Girija Devi, Pt. Chhannu Lal Mishra, Pt. Rajan Sajan Mishra, Pt. Mahadev Prasad Mishra, Pt. Amarnath Mishra, Smt. Purnima Chaudhury, Dr. N Rajam, Ronu Majumdar, Pt. Vishwa Mohan Bhatt, Pt. Birju Maharaj, Smt. Sitara Devi, Natraj Mohan Krishna, amongst numerous others. He has many disciples around the world, and is involved actively in spreading the traditions of the Benares gharana.

Source - Amit Mishra. He took up his tabla-studies with Pt. Sharda Sahai at the age of six. Since his youth, he has regularly given concerts, galas and workshops for delighted audiences in India and Europe. In a concert was aired, lasting twelve and a half hours without interruption; he was awarded a gold medal for this achievement. In he was honoured as the best Benares-style tabla-player. He has numerous disciples in both Benares and in Kathmandu, Nepal.

Source - Polyglobe. He had an illustrious career accompanying all the renowned singers, instrumentalists and dancers of the day. He was famous for his meticulous practice, revelling in the beauty of each individual sound.

Famous as both an extraordinary tabla player and teacher and reputed Ayurvedic doctor, Asu Babu was born in the holy city of Varanasi then known by its British name of Benares , the son and grandson of famous Bengali Ayurvedic doctors. As a boy he expressed an interest in learning drums and started learning pakhawaj at the age of 8 from Pandit Ram Nath Mishra. A few years later he saw a performance of Pandit Kanthe Maharaj, one of the great tabla players of the Benares Gharana and decided he wanted to learn tabla from him.

As a young man he was already a rising star, playing his first conference, in Allahabad, at the age of 21 with the legendary Ustad Allauddin Khan. Shortly thereafter he was to follow in the footsteps of his father and grandfather in studying Ayurvedic medicine in Delhi. After completing his degree and returning to Varanasi, he set up his medical practice and continued to give tabla performances, learn from his guru-ji and practise around 6 hours a day, receiving many awards for his musicianship.

Paluskar, Pandit Nikhil Banerjee, etc etc. Despite such incredible achievements, he always thought of medicine as his profession and music as his hobby, so he never took money for concerts except for expenses like travel, food and lodging.

Kishan Ji was born in the year , on the auspicious day of Sri Krishna Janamashthami, to a family that boasted of many professional musicians. Kishan Ji was initially trained in classical music by Pandit Hari Maharaj, his father for many years. After his fathers untimely death, his training was taken over by his uncle, Pt. Kanthe Maharaj one of the great old masters and himself a disciple of Pt. Baldeo Sahai. Kishan Ji proved himself as a great tabla player while under Pandit Kanthe Maharaj, and by the time he was eleven, he started performing in several concerts.

Pandit Kishan Maharaj has the ability to play cross-rhythmsand produce complex calculations, particularly in tihai patterns, hence making him one of the most popular and respected Tabla players of our time. Known for being an excellent accompanist, Pandit Kishan Maharaj is extremely versatile and is capable of playing with any accompaniment, be it with the Sitar, Sarod, Dhrupad, Dhamar or even dance!

Pandit Kishan Ji has extensively toured abroad and has participated in several prestigious events including the Edinburgh festival and Commonwealth Arts festival in U. Kumar Bose, Pt. Pandit Kishan Maharaj is, today, a world-famous personality and is constantly invited to play in music festivals held in different parts of the world.

He had been promoting the young talents throughout his lifetime through this organisation. Lifelong inspiration from his wife, Mrs. Bharati Bose, a great sitarist helped him to nourish and groom their three sons Kumar Bose, Jayanta Bose and Debojyoti Bose, who are at present artists of international fame. And, the circuit is, perhaps complete with his eldest daughter-in-law and wife of Kumar Bose, Smt. Kaberi Bose, who has already established her credentials as a vocalist of light classical variety, Bengali Tappa and Nazrulgeeti.

After a colourful career he passed away in the year only at a prime age of Pandit Kumar Bose was initiated in tabla by his father. Which is why he is sought after, both at home and abroad, by the entire community of Top Grade celebrity artists. Dynamically he performs in different kinds of Music of the world like Jazz, Pop, Rock etc. His duet with Prof. He was the Asstt.

Ravi Shankar. Born September in the District of Ludihana, Punjab. Sukhvinder devoted himself to the study of rhythm. Being a child prodigy he gave his first solo performance at Birla Mateshwari Hall, Mumbai in After receiving a sound foundation in Pakawaj, Sukhvinder had a desire to learn tabla from none other than the world renowned Tabla Samrat Pandit Kishan Maharaj of Varanasi Benaras Gharana , a living legend in tabla playing.

This intense urge of learning made him leave his home, family and childhood behind in late and proceed to Varanasi and dedicate his next eighteen years in the pursuit of tabla. Kishan Maharaj saw the potential and dedication in the young Sukhvinder and gave him meticulous attention and tutelage.

Sukhvinder has become a phenomenal tabla performer and is well known for his keen capability to capture the audience with his spontaneity, power and virtuosity during his performances. Ram Narayan Sarangi , Pt. L Subramaniam and Ustad Shujaat Khan, among many others. In , on his first trip outside India, Das performed with steel drum bands in Trinidad.

Sandeep has recorded music on more than 30 labels, including Virgin, Sony and Makar Records. Source - sandeepdas. Arvind Kumar Azad Disciple of Pt. Originally from Jamshedpur, Azad first started learning at a very early age from his illustrious father, noted tabla stalwart Lal Baboo. Azad belongs to the fourth generation of a family of tabla players. Later, Kishan Maharaj groomed him. Arvindkumar Azad is sought as an accompanist for Indian classical music and dance, and is known for accompanying vocal and instrumental music as well.

He has provided accompaniment to leading performers at prestigious music festivals held across India and has also traveled abroad for concerts. Source - baajaagaajaa. Born on July 20, in Benaras, into a family steeped in the tradition of Tabla and Pakhawaj, he joined ranks with a long line of famous Benaras Gharana percussionists.

Pandit Pratap Maharaj, his great grandfather was a sought after Tabla player of his time. Pandit Jagannath Mishra, his grandfather was a renowned Tabla and Pakhawaj player and his father Bachha Lal Mishra, although not so well known as a performer, was a respected Tabla teacher. It was with him that Pandit Shamta Prasad started his education in Tabla. Unfortunately, Pandit ji lost his father at the tender age of seven.

However, this proved to be a boon in disguise because the demise of his first guru led to his shagirdi under Pandit Vikku Maharaj of Benaras who was a disciple of the legendary Pandit Baldev Sahai. Inspired by the great styles of Pandit Anokhelal Mishra and Ustad Habibuddin Khan Sahib and tutored by the discipline of his guru, Pandit ji embarked on a preordained journey.

But inherited though it was, Pandit ji put in years of grueling hard work to make it the art the world witnessed. In , at the age of 21 Pandit ji participated in his first major music conference in Allahabad. His performance created a stir in the audience. The august musicians present in the conference were stunned and jubilated to hear Pandit ji. A star was born. From that glorious moment till the time of his death in , Pandit Shamta Prasad carved out a niche for himself in the history of Indian classical music.

He performed all over India as a soloist and as an accompanist. From time to time he accompanied various Indian Cultural delegations to the West. A distinct style of the application of kaida, peshkar, laggi and especially the chhand are the mark of his music. Taal to him was not just a mathematical configuration of syllables and beats, it was an ensemble of rhythms. And these rhythms were compounded with such a resonance, it gave evidence to the power and flexibility of his fingers.

But it was controlled power that did not compromise clarity and melody. It is rightly said that Pandit Shamta Prasad played the Tabla with his heart and soul. Pandit ji imparted his knowledge to many students. His two sons, Kumarlal and Kailash are also Tabla players, although not in the same league as some of his other students. He belonged to the Benaras Gharana of the Tabla. Both his parents died when he was very young and he was brought up by his grandmother.

She detected his talent and enrolled him as a student of the Tabla in the Benaras Gharana of Ram Sahaiji. As a child, Anokhelal had to suffer poverty and deprivation.

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Shortly thereafter he was to follow in the footsteps of his father and grandfather in studying Ayurvedic medicine in Delhi. After completing his degree and returning to Varanasi, he set up his medical practice and continued to give tabla performances, learn from his guru-ji and practise around 6 hours a day, receiving many awards for his musicianship.

Paluskar, Pandit Nikhil Banerjee, etc etc. Despite such incredible achievements, he always thought of medicine as his profession and music as his hobby, so he never took money for concerts except for expenses like travel, food and lodging. Kishan Ji was born in the year , on the auspicious day of Sri Krishna Janamashthami, to a family that boasted of many professional musicians. Kishan Ji was initially trained in classical music by Pandit Hari Maharaj, his father for many years.

After his fathers untimely death, his training was taken over by his uncle, Pt. Kanthe Maharaj one of the great old masters and himself a disciple of Pt. Baldeo Sahai. Kishan Ji proved himself as a great tabla player while under Pandit Kanthe Maharaj, and by the time he was eleven, he started performing in several concerts.

Pandit Kishan Maharaj has the ability to play cross-rhythmsand produce complex calculations, particularly in tihai patterns, hence making him one of the most popular and respected Tabla players of our time. Known for being an excellent accompanist, Pandit Kishan Maharaj is extremely versatile and is capable of playing with any accompaniment, be it with the Sitar, Sarod, Dhrupad, Dhamar or even dance!

Pandit Kishan Ji has extensively toured abroad and has participated in several prestigious events including the Edinburgh festival and Commonwealth Arts festival in U. Kumar Bose, Pt. Pandit Kishan Maharaj is, today, a world-famous personality and is constantly invited to play in music festivals held in different parts of the world. He had been promoting the young talents throughout his lifetime through this organisation.

Lifelong inspiration from his wife, Mrs. Bharati Bose, a great sitarist helped him to nourish and groom their three sons Kumar Bose, Jayanta Bose and Debojyoti Bose, who are at present artists of international fame. And, the circuit is, perhaps complete with his eldest daughter-in-law and wife of Kumar Bose, Smt. Kaberi Bose, who has already established her credentials as a vocalist of light classical variety, Bengali Tappa and Nazrulgeeti. After a colourful career he passed away in the year only at a prime age of Pandit Kumar Bose was initiated in tabla by his father.

Which is why he is sought after, both at home and abroad, by the entire community of Top Grade celebrity artists. Dynamically he performs in different kinds of Music of the world like Jazz, Pop, Rock etc. His duet with Prof. He was the Asstt. Ravi Shankar. Born September in the District of Ludihana, Punjab. Sukhvinder devoted himself to the study of rhythm. Being a child prodigy he gave his first solo performance at Birla Mateshwari Hall, Mumbai in After receiving a sound foundation in Pakawaj, Sukhvinder had a desire to learn tabla from none other than the world renowned Tabla Samrat Pandit Kishan Maharaj of Varanasi Benaras Gharana , a living legend in tabla playing.

This intense urge of learning made him leave his home, family and childhood behind in late and proceed to Varanasi and dedicate his next eighteen years in the pursuit of tabla. Kishan Maharaj saw the potential and dedication in the young Sukhvinder and gave him meticulous attention and tutelage. Sukhvinder has become a phenomenal tabla performer and is well known for his keen capability to capture the audience with his spontaneity, power and virtuosity during his performances.

Ram Narayan Sarangi , Pt. L Subramaniam and Ustad Shujaat Khan, among many others. In , on his first trip outside India, Das performed with steel drum bands in Trinidad. Sandeep has recorded music on more than 30 labels, including Virgin, Sony and Makar Records. Source - sandeepdas. Arvind Kumar Azad Disciple of Pt. Originally from Jamshedpur, Azad first started learning at a very early age from his illustrious father, noted tabla stalwart Lal Baboo.

Azad belongs to the fourth generation of a family of tabla players. Later, Kishan Maharaj groomed him. Arvindkumar Azad is sought as an accompanist for Indian classical music and dance, and is known for accompanying vocal and instrumental music as well. He has provided accompaniment to leading performers at prestigious music festivals held across India and has also traveled abroad for concerts.

Source - baajaagaajaa. Born on July 20, in Benaras, into a family steeped in the tradition of Tabla and Pakhawaj, he joined ranks with a long line of famous Benaras Gharana percussionists. Pandit Pratap Maharaj, his great grandfather was a sought after Tabla player of his time. Pandit Jagannath Mishra, his grandfather was a renowned Tabla and Pakhawaj player and his father Bachha Lal Mishra, although not so well known as a performer, was a respected Tabla teacher. It was with him that Pandit Shamta Prasad started his education in Tabla.

Unfortunately, Pandit ji lost his father at the tender age of seven. However, this proved to be a boon in disguise because the demise of his first guru led to his shagirdi under Pandit Vikku Maharaj of Benaras who was a disciple of the legendary Pandit Baldev Sahai. Inspired by the great styles of Pandit Anokhelal Mishra and Ustad Habibuddin Khan Sahib and tutored by the discipline of his guru, Pandit ji embarked on a preordained journey.

But inherited though it was, Pandit ji put in years of grueling hard work to make it the art the world witnessed. In , at the age of 21 Pandit ji participated in his first major music conference in Allahabad. His performance created a stir in the audience. The august musicians present in the conference were stunned and jubilated to hear Pandit ji. A star was born. From that glorious moment till the time of his death in , Pandit Shamta Prasad carved out a niche for himself in the history of Indian classical music.

He performed all over India as a soloist and as an accompanist. From time to time he accompanied various Indian Cultural delegations to the West. A distinct style of the application of kaida, peshkar, laggi and especially the chhand are the mark of his music. Taal to him was not just a mathematical configuration of syllables and beats, it was an ensemble of rhythms. And these rhythms were compounded with such a resonance, it gave evidence to the power and flexibility of his fingers.

But it was controlled power that did not compromise clarity and melody. It is rightly said that Pandit Shamta Prasad played the Tabla with his heart and soul. Pandit ji imparted his knowledge to many students. His two sons, Kumarlal and Kailash are also Tabla players, although not in the same league as some of his other students. He belonged to the Benaras Gharana of the Tabla.

Both his parents died when he was very young and he was brought up by his grandmother. She detected his talent and enrolled him as a student of the Tabla in the Benaras Gharana of Ram Sahaiji. As a child, Anokhelal had to suffer poverty and deprivation. He was put under the tutelage of Pandit Bhairavprasadji, who gave him a rigorous education for 15 continuous years. This really worked wonders. Anokhelal put in unremitting practice, which went on for hours together, every day.

He could play these syllables with exceptional clarity, even at a supersonic speed. This assured him a place in history. Anokhelal was a soloist as well as an excellent accompanist. At a time, when appearance in the National Programme of Music on All India Radio was a matter of immense prestige, Anokhelal figured in the same, a number of times.

In the late fifties, his programmes were broadcast by the Voice of America as well. He was afflicted by Gangrene in and succumbed to it in at the very young age of Humble and friendly by nature, he was popular all over the country. To him goes the credit of making the audience familiar with the Benaras style of Tabla.

Anokhelal trained a number of pupils. Mahapurush Mishra Disciple of Anokhelal Mishra. Mahapurush Mishra was a disciple of Pandit Anokhelal Mishra, a revered master of tabla. Mahapurush was a famous tabla accompanist to many topmost musicians and a professor at the Ali Akbar College of Music in Calcutta now Kolkata.

He spent most of his time during the late s in USA teaching, recording, and appearing widely in numerous classical music concerts. There are far too few of his tabla solos in circulation. Drawn to tabla naturally, young Natu expressed his keenness to learn the idiom to his father. Though initially rather reluctant, Surath Nath took Natu to Chunilal Banerjee, a friend and a reputed tabla player. For three years Natu Babu trained with Chunilal Babu. Later he trained under Pandit Durga Sahai for ten years.

Natu Babu blossomed into an accomplished tabla player, but to satisfy his hunger for knowledge he studied with Pandit Purushottam Mishra for five years. He trained in the Lucknow style under Chhotan Khan for eight years. Such a highly talented person remained an introvert and a bachelor.

All praise that came his way, he politely ascribed to his gurus. He avoided all honours which the music world wished to confer on him. He taught his students without charging any fees as he believed that if he taught his students selflessly then after rebirth he would get a better Guru among them. He was an advocate by profession and spent all his earnings for the betterment of his disciples.

Even he performed at concerts without any remuneration. Home Accueil. Annual Summer Workshop Atelier annuel. Ram Sahai began studying the tabla with his father from the age of five. At the age of nine, he moved to Lucknow to become the disciple of Modhu Khan of the Lucknow gharana.

Modhu Khan agreed, on the condition that Ram Sahai would not be interrupted until he finished playing. It is said that Ram Sahai played for seven consecutive nights. After this incredible performance, Ram Sahai was praised by all the members of the community and was showered with gifts. I changed the choreography significantly, but still left in some elements he created. He always supported and nurtured me as a choreographer. I feel inspired to work with and change his choreography, because he always wanted us to evolve and move forward, not just copy or rearrange.

Working with the youth company is something of exceptional importance to me. They are really accomplished young dancers. They inspire me. CM: As a year-old woman and dancer, I believe I still have a powerful artistic body and voice with something to say. My performing, as long as I can meet a certain standard, sends a message. They are the future and there is much they can teach us. Keep on the look out for more from Youth Voices-- amplifying the voice of youth.

In this interview she talks about her beloved Dadaji Pandit Chitresh Das and gives some insight on her journey of learning the North Indian classical kathak tradition and the philosophy and teachings of Pandit Chitresh Das. Question: When do you first remember thinking that this dance was really something you wanted to pour your heart and soul into?

Vanita: I remember when I was taking classes at the Sacramento branch, there was a really cool step I learned with Dadaji. Vanita: To show how hard I have been working for the past 8 years and how I integrated all of what what I have learned. He told me, "If you lillyputs want to do this kind of solo, then you have to keep practicing, and I know you can do it. What do you think people should know about what it's like to prepare for this solo performance? Vanita: It is a lot of work but if you have had a constant reyaz or practice, then you just have to make it unique.

You have to constantly practice everyday, you have to research, you have to know what you are doing and be able to explain anything if anyone asks. Vanita: I would like to take classes other art forms and possibly perform with them. Additionally, I will take any opportunity to perform in the community. And lastly I would like to eventually start my own classes for kathak.

What are a few things you want people to come away from your solo performance with? The best part was being from Sacramento and coming all the way to the Bay Area for classes because I gained stories that many others did not. But I do remember getting his blessings and I have always remembered his teachings.

To Charlotte Didi: Thank you for giving me this opportunity to do a solo and taking your time out of the day to correct all my mistakes no matter how many times I made them. Thank you for believing in me and teaching me for the past 5 years. She will be accompanied by accomplished musicians: Ben Kunin on sarode, Samrat Kakkeri on tabla and her guru sisters, Kritika Sharma on manjira, Atmika Sarukkai on bansuri and Ishani Chakrabarti on harmonium.

Tickets are available here. Asavari Ukidve started her training in in Union City branch and has been studying now for over 17 years under the guidance of Pandit Chitresh Das. She has primarily taught at the Cupertino location, though she has assisted at other locations. Asavari has participated in multiple school show productions and in community performances.

Asavari: I have learnt Kathak from the age of 7 years myself, first in India for about 10 years and then with Dadaji for about 15 years till his passing. I can truly say that it has been one single thing that given me immense joy and exhilaration whether dancing or teaching. Every single one of my adult students who is a mom is there because they want to be there unlike some kids :- they are all self motivated, eager to learn and put in whatever it takes for them to keep improving or mastering something they have learnt.

Helping them channel in their potential and passion is truly rewarding. Question: What did you learn from Pandit Chitresh Das that most impacts your teaching? Asavari: Greatest learning from Dadaji? There are so many, kinda hard to pick one.

But here is the one that made a lasting impact. Dadaji always said Mother is the first Guru, and what stays with me after listening to him speak about his philosophies and view many, many times, is the fact, that as a Mother, it is a huge responsibility for me to keep up my training in dance and every other aspect of life. Those are his teachings that are deep rooted in my heart.

Asavari: I think the most challenging aspect of kathak is to continue to develop and refine your skill over all elements of tayyari, laykari, khoobsurati, nazaakat, and Abhinaya. While demonstrating abhinaya requires you to channel in your inner ability to portray various feelings, a solid gun or chakkars require immense riyaaz and mehnat. And of course Kathak Yoga.

I will be forever thankful to Dadaji for introducing this beautiful concept that challenges you to truly focus and bring your mind and body together. Question: What is the most surprising thing you think people may not know about teaching kathak? Asavari: I think one thing I did not realize before I started teaching and others may not know as well is that I find my own dance improved immensely after I started teaching.

As you teach others, it forces you to solidify and refine your own skills. I now realize why Dadaji always referred to himself as modern guru in training. Every question asked by a student forces you to delve deeper into your own understanding of the dance. Question: Can you tell us a story about something that continues to inspire you to teach? Asavari: What continues to inspire me to teach and why I started in the first place is not necessarily a particular incident or a story as such.

The inspiration comes more from observing Dadaji teach our class over the years. It was eerie that he could spot your mistakes sometimes even without looking at you. However this is what inspired all of us to push ourselves to the next level. Question: What do you look forward to in the near future with the Chitresh Das Institute?

Asavari: As a teacher at CDI, my goal is to impart to little girls and adults alike the knowledge I have gained over the years on various aspects of not only kathak but also how it ties in with Indian heritage, culture and history. Personally I believe that the Indian Diaspora in South Bay has been hugely deprived of having access to a viable and authentic Kathak School.

I look forward to expanding my own performance repertoire through community events and other opportunities. I also hope I can help my students share their own learning with others. Esteemed the world over for his purity of sound, depth of knowledge, rhythmic creativity, and dedication to teaching, Maestro Swapan Chaudhuri is considered one of the greatest living musicians and tabla virtuosos of our time. He continues to accompany all the eminent classical instrumental and vocal musicians of India in addition to collaborating with artists of every world music tradition and genre.

His dedication to teaching tabla worldwide has brought him global recognition and defined him as a true master. He has made tabla more accessible, enabling this North Indian classical drum to take its rightful place as one of the most versatile and sought after instruments on the planet. What was your relationship with your guruji like as a young student? How did that relationship evolve, as you became a successful preforming artist? My guru, Acharya Santosh Krishna Biswas, was a father figure to me.

You see, my mother was a very good singer, but she stopped singing outside of the house after getting married due to being in a conservative household. But her love for music was such that she would practice regularly at home, and my guru accompanied her on tabla. When I was a baby, he would put me on his lap and I would quietly listen to the music.

Since I knew him from my childhood, I never thought of him as my guru; rather, I thought he was like my father. When I grew up a bit, my guru started teaching me tabla. He taught me vigorously, training me for four hours every evening, almost seven days a week, for nineteen years.

But even then, the household was full of doctors — my father and uncle were both doctors — so they would give me medication and I would be fine. As I grew older, my life became quite busy. He wanted me to continue to spend time with him, and even though it was difficult, I did what I could. He was a great man and I am grateful to have had a guru like him, who showed the right path. Maybe I had talent, but there are many talented people. Having the right guru makes a big difference!

I will never forget his love, his discipline and his teachings. The funny thing is, my guru never appreciated me. He never complimented me, and often criticized me. He watched me very carefully to keep my ego in check. Whenever he detected any ego entering my mind, he always squashed it. Right there, in front of everybody! It was kind of frustrating for me since everybody was praising me except for my guru. He just told me to keep working harder.

My guru went to this concert. Without telling anybody, he bought a ticket and sat in the back of the concert hall. When I went to see him later — not knowing that he had come to the concert — I found him pacing and restless. I asked him if he was okay; he simply asked me to sit down. But then I thought that maybe he attended a different concert. Why did you not tell me? He also became quiet for a few moments. Do not look back. You will get to your destination.

You are on the right track. You are among the artists who helped establish Indian classical performing arts outside of India. What did it take to do that? Can you describe what those initial years in the US were like? Well, it was tough! Before coming to the U. I went on some tours with Nikhil Banerjee, staying at hotels, for a month or two at a time. But when I moved to the U. It was hard! First of all, the teaching style in the U.

It was very different, so I had to adjust. Here, everything was written on the board and the students first took notes on what they were playing in class. But my style was not that. If you want to study with me, you will have to follow what I am saying, which means no writing!

You have to memorize and play. You can record it, and write it down after class. They complained to the director of the college at the time, George Ruckert, and then to Khan Sahib. When Khan Sahib asked me to explain, I was very truthful. I told him how I was taught, and that that was the way I wanted to teach! Khan Sahib understood, and encouraged me to follow my style. That is how it started for me at the college. Eventually, over time, everyone got used to the new style of teaching.

Later, students even appreciated the idea of not taking notes in class and reciting instead. Second difficulty after moving to the U. Those days, I used to like only Indian food or Chinese food. At that time, one of my best friends — like a brother — was Chitresh! He used to come every day to spend time with me — every single day! When I came in , people in California had some exposure Indian classical music. Khan Sahib had already established himself.

He had also brought many artists from India, who were teaching — Chitresh among them — so the atmosphere was very different here in California. For example, when I was playing with Khan Sahib and he would begin with an alaap , to show the angles of the raaga , some audience members wondered why one person was playing but the other person was just sitting! And then in one concert — I think it was in Minneapolis — afterwards, everyone came to congratulate the tanpura drone player.

They thought he was the most important person because he played continuously throughout the concert! There are so many such stories! Another time Khan Sahib and I were playing in London. We had two tanpura players — one next to Khan Sahib and the one next to me. Now, in the middle of the concert, just before the intermission, the tanpura player next to me was kind of dozing.

I noticed that and was prepared in case he fell over. And that is exactly what happened! I caught the tanpura , but he fell. I held the tanpura in my left hand, playing tabla only with my right hand. All of a sudden, he opened his eyes because he could not hear my baaya left drum. The audience erupted into laughter! We had to immediately bring down the curtain, so the poor guy could get up.

Back then, outside of California, it was tough to establish the subject matter of Indian music — what is it, how to develop it and other aspects. To address this, we implemented regular lecture demonstrations before the concert to educate the audience.

In those days, very few artists from India performed outside of India. In fact, those of us living outside of India were often criticized! But now that the road is built, many more artists are venturing outside of India. But it was very hard work for us! You have performed with a vast variety of Indian classical artists, from instrumentalists to vocalists to dancers, with vastly differing personalities. Can you give an example of how tabla accompaniment varies based on the artist you are accompanying?

Well, to be a good accompanist, one must be a good listener. Different artists, including dancers, have different approaches to their art. That creates a challenge for the tabla accompanist. You have to be fully focused and adjust yourself to their approach. After all, the performance is an unrehearsed experiment — an improvisation. But actually, music is not a calculation! It is spontaneous. So, listening to the alaap is very important! With dance, again, you have to be very focused.

During the concert, the tabla accompanist must have that focus. Just listen as intently as possible and execute right at that moment! As you keep playing, you improve. Teaching has been a very integral part of your life. How do you balance teaching and performance? Given your life experience, what advice would you give aspiring artists regarding balancing priorities?

Teaching requires a lot of patience. And if you think about the subject matter only from your perspective, teaching will be a tough experience. When my guru asked me to start teaching around , I found the experience frustrating.

This is the way to learn, and to become more patient. If you want to be a good musician, you must have a lot of patience. You have to understand how to communicate with your students. Over the years I have learned that teaching is a great art.

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I Bet You Look Good On The Dancefloor - Arctic Monkeys Cover

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Tamino performing 'I Bet You Look Good on the Dancefloor' live at Studio Brussel in Belgium on February 7th, Drum Solo @ Swiss Alps Retreat New customer? Start here. All. Best Sellers Prime Customer Service Today's Deals. Visit the special exhibitions and sample some of the best art, music, poetry and This month discover the intense glow of Indian culture as we explore William Morris's Hassan Vawda reading pm in the Tea Room. ranges from performing Tabla solo as well as dance (Kathak, contemporary), See all future events.