Sargam's recent events

The doyenne of classical, light classical and devotional North Indian vocal music, Lakshmi Shankar will present music from her wide-ranging repertoire, including items based on rare ragas and compositions created by her guru and mentor, Pandit Ravi Shankar.

Navras Records will also be releasing, on the night, a special 80th birthday album based on the ragas and compositions created by Pandit Ravi Shankar and performed by Lakshmiji.

The London performance is a celebration of Lakshmiji's 80th birthday and 50 years of performing.

2006 also marks 25 glorious years of collaboration between Lakshmiji and Association Sargam.

Click here for bio-data, interviews, press reviews and discography of Smt. Lakshmi Shankar

Smt. Lakshmi Shankar's visit to London: May 2006

- Recital organised by Navras Records UK celebrating her 80th birthday and 50 years of performing

- Felicitation ceremony by the Bharatiya Vidya Bhavan in London

- Birthday celebrations organised by Association Sargam.

Smt. Lakshmi Shankar, accompanied by Partha Sarathi Mukherjee (tabla), will give two performances of Hindustani vocal music on the 18th and 19th June 2004, at the prestigious Musee Guimet in Paris. The concerts are organised by Musee Guimet (Museum of Oriental Arts) and Mme Deepa Remy .

[Please note that the performances by Malavika Sarukkai and Gauri Sharma Tripathi outlined below are not Sargam events]

Performance by the highly acclaimed Malavika Sarukkai and musicians in London.

Kasi Yatra, the journey of a courtesan of Benares - Kasi Yatra is a story of the celebration of life at its many levels. The courtesan, a woman of taste and refinement, comes to life from the pages of Kuttanimatham, an 8th cent poem. Kasi Yatra opens out her life as she moves from the spaces of the courtesan - gendered and male-dominated - into the spaces of the pilgrim - gender-free, neutral and equalizing, she joins the flow of the river of pilgrims. Set in Benaras, the story teems with vitality and colour, recreating on stage through visual poetry the worlds of courtesan and pilgrim. Drawing the audience into participation for a journeying together. As the saying goes, "Benares is not a place but a state of mind."

Venue: Britten Theatre, Royal College of Music, Prince Consort Road, London SW7 2BS

Casting her body upon the sacrificial pyre, Uma immolates herself in a final act of loyalty to her lord and husband, Shiva. The shadows cast by her burning body become a theatre of war where geometric rules blur – where square and circle meet.

In her latest solo work, Gauri Sharma Tripathi explores the configurations of battle through a unique choreographic language that synthesises traditional Kathak with a new and dynamic dance vocabulary. Building on the themes explored in Ardhanareshwara (2001) and Ronin (2003) – Vyuha showcases Tripathi’s striking dexterity as a dancer and choreographer in this national spring tour.

Accompanying musicians:
Guru Padma Sharma (padhant)
Sanju Sahai (tabla)
Chandra Chakravorty (vocal)
Baluji Shrivastav (sitar)
Musical score by Niraj Chag

VYJAYANTHI KASHI

in a stunning Kuchipudi repertoire presenting

Innovative Items & New Perspective

performed on the

Saturday 12th October 2002 - 6.45 pm

The Nehru Centre, 8 South Audley Street, London W1

Combining respect for tradition with an urge for creativity, the performance will comprise items choreographed by the dancer in a departure from the oft-seen Kuchipudi repertoire. Delving deep into Indian myths and legends, her stunningly crafted choreographic works are nonetheless contemporary in both inspiration and sensibility, striking a chord with the most diverse audiences.

"Her Kuchipudi productions bear the undoubted stamp of a real trailblazer's mind"
Leela Venkataraman, The Hindu, 1998

"She came, she saw, she conquered. This was the impact of her dance in the capital city..." (The Statesman, India)

"Never before has the audience applauded as one to the dance style in this manner.....surely there must have been something extraordinary about Vyjayanthi's dancing calibre." (Subbudu)

Vyjayanthi will also conduct a workshop in London on
"The Dramatic Elements of Dance in Kuchipudi"

[click here for further pictures]

SANDHYA PURECHA in

"SHASTRA & SAMPRADAYA"

("Scriptures & Tradition")

a Bharata Natyam dance interpretation of the Sanskrit Text "Abhinaya Darpan".

An application of the Sanskrit verses to a traditional Bharata Natyam repertoire

Saturday 26th October 2002 - 6.45 pm

The Nehru Centre, 8 South Audley St, London W1 (Underground: Green Park)

Rates: £10 (Concessions: £8)

Details & Booking: 020.7731.4153 or e-mail: sargamasc@aol.com

"The Surabhi Festival of Dance, Drama and Music held at Amravati commenced with an unforgettable performance by Dr. Sandhya Purecha that left the audiences spellbound". (Amravati - Hindustan)

"No other stage performance has ever given us such a varied and comprehensive practical way of understanding the amazing world of Bharata Natyam..." (Indian Express, Ahmedabad)

"Abhinaya Darpanam was like a breath of fresh air and an aesthetically satisfying experience ....it was definitely worth the while of Bombay's cognoscenti and the many disciples who had travelled great distnces across the country to be present for the event.". (Shanmukh, Mumbai)

Sandhya Purecha's performance is with the support of
Amara Nritya Kala Hamsa (ANKH) &
the Kathak exponent, Gauri Sharma Tripathi

Sargam extends its grateful thanks to the Nehru Centre

[click here for further pictures]

click here for a write-up and pictures of the event

ASSOCIATION SARGAM

presented a unique London performance by

the renowned Dhrupad vocalist of the Dagar school

NIRMALYA DEY

accompanied on the pakhawaj by

MOHAN SHYAM SHARMA

on Saturday 29th June 2002

with the kind support of the Nehru Centre

We need your support to further the cause of Indian classical music in the UK.
Please attend the performance and
forward this message to your friends and music enthusiasts

Nirmalya Dey was initiated into learning Dhrupad from the late Prof. Nimaichand Boral, himself a disciple of Ustad Nasir Moinuddin Dagar. This was followed up by systematic and rigorous training under the legendary teacher and performer Ustad Zia Fariduddin Dagar, under whose able tutelage Dey still continues, maintaining the tradition of the guru-shishya parampara, the core discipline of learning Indian music. Also learning subtle nuances of Dagarvaani Dhrupad from Prof. Ritvik Sanyal, disciple of the legendary Ustad Zia Mohiuddin Dagar and presently Head of the Dept. of Vocal Music at Varanasi Hindu University, India.

GAURI SHARMA TRIPATHI (kathak)

Pandit Vishvaprakash - vocal
Sanju Sahai - tabla
Payal Patel - recitation
Shashank Tripathi - compere
+ 1 string accompanist

performed on the occasion of a charity event organised by
the Graham Layton Trust, UK in aid of the
Layton Rahmatulla Benevolent Trust of Pakistan

on Friday 26th April 2002 at the Hurlingham Club, London SW6

For details on the Trust: visit their website
www.glt.org.uk

and on the event: Hutoxi Kandawalla: Tel.020.8337.7323

Gauri Sharma Tripathi's appearance courtesy Association Sargam

Smt. Lakshmi Shankar (hindustani vocal) - on 13th October 2001 at the Bharatiya Vidya Bhavan in London

accompanied by: Partha Sarathi Mukherjee (tabla) and Ramesh Misra (sarangi)
tributes by: Ustad Fida Hussain Khan, Salman Assif and Reena Bhardwaj

Malavika Sarukkai (Bharata Natyam) - on 27th October 2001 at the Commonwealth Institute in London

accompanied by Saroja Kamakshi (concept and commentary), N. Bhagialakshmi (vocal), A.S.Murali (nattuvangam and vocal)
P.K. Ranganathan (mridangam), N. Sigamani (violon)

The following review of Malavika Sarukkai's London performance appeared in the January 2002 issue of 'Dancing Times' (www.dancing-times.co.uk)

It is rare to encounter an artist from South Asia who is capable of infusing an ancient form with fresh ideas and enthusiasms in an aesthetically satisfying and acceptable manner. Malavika Sarukkai is one such. When I first saw her perform many years ago I formed the impression that as a dancer she would do well if she adhered to the margam, the traditional format of south India's classical Bharata Natyam style. But things changed. In 1986 she decided to pursue 'a plurality of approach' (her words) and has since moved from strength to strength. Her art now is an act of affirmation. Indeed, she is much possessed by affirmation - based not on the jargon of dance theorists but on the firm foundation of gruelling work with some of her country's leading gurus. At the same time her intelligence and dazzling beauty have, it must be conceded, not been a hindrance to her artistic development.

The centre piece of Sarukkai's programme at London's Commonwealth Institute on October 27 was based on the amazing life of Timakka, an impoverished woman still living in the southern Indian state of Karnataka. Married off while still young, Timakka was unable to bear children. She longed for a child and her anguish was made worse by the taunts of relatives and neighbours. A barren woman is still regarded as an ill omen in many parts of the world. After many years of painful existence the illiterate woman decided to put her frustrated life to positive use. She bacame a karma-yogini, woman devoted to meaningful action, and started planting banyan trees. She mothered the saplings with love and care and today a total of 247 trees, her 'children', flourish and put down their own roots, for that is what banyan trees do. The heavy branches of the Indian fig often loop down to earth and root themselves thus forming, as it were, another trunk.

Timakka's story was delineated with pathos and passion. Sarukkai's abhinaya, expression, was excellent and a tribute to Kalanidhi Narayanan who taught her abhinaya. Both the poetry and the music were enchanting but it was the supreme dancing, polished as a brilliant diamond, that made Timakka's tragedy-turned-triumph into a memorable experience. Moreover, the subject itself has international appeal; the primal energy of the female principle, shakti, as well as our urgent environmental concerns.

The item titled Uthkanta (Longing) was evocative and demonstrated some unusual and abstract ideas. Throughout a great sense of beauty permeated the original choreography. This was a welcome bonus for, one has to confess, some choreographers often descent to contortions in an effort to convey difficult ideas and notions. The cult of ugliness is foreign to the marvellous Malavika Sarukkai. Her success is noteworthy for several reasons, not least of which is her capacity to learn from other Indian classical styles such as Odissi and Kathak. She has also the assistance of a formidable array of talent among whom must be mentioned her artistic director mother Saroja Kamakshi, Anikode S. Murali (nattuvangam, conductor and vocalist), Palghat K. Ranganathan (mridangam, percussionist), N. Bhagyalakshmi (female vocalist), N. Sigamani (violinist), S.V. Seshadri (poet and lyricist) and Meera Seshadri (composer-musician).

Brief write-up on Malavika Sarukkai's performance.

If Bharata Naytam for Malavika Sarukkai is a living dance form, capable of adapting to historical and social change, a 'vibrant and significant means of communication', "Uthkanta - Longing" is its most brilliant illustration.

Taking off from the extremely codified grammar of Bharata Natyam, and without a trace of compromise, Malavika presented a panorama of dance items reflecting a truly contemporary inspiration and sensibility, culmination of years of personal research. This stunningly crafted choreographic ensemble was, she admitted, a defining moment in her personal artistic evolution. It was also food for thought for those who were privileged to witness it at the Commonwealth Institute in London on 27th October 2001.

Taking the lotus - symbol of life, creativity and spirituality - as the central image, Malavika covered a gamut of a woman's emotions: desire and plenitude, a longing for maternity, identification with nature and finally the universal and ultimate quest for grace.

She did so through what has now become a hallmark of her talent:- a unique exploration of space through the fundamental geometical movements - the straight line, circle and diagonal - of Bharata Natyam. This combination of technical brilliance and restrained, internalised yet powerful depiction of emotion placed the audience in the presence of a uniquely innovative artist, acknowledged as one of the most enduring on the Indian dance scene.

Malavika was most effectively supported by Saroja Kamakshi (concept and commentary), N. Bhagyalakshmi (vocal), A.S. Murali (nattuvangam and vocal), P.K. Ranganathan (mridangam) and N. Sigamani (violin).

A standing ovation for a dancer Sargam is privileged to have presented!

Malavika and Smt Saroja Kamakshi

"Heard Malavika danced beautifully... was delighted to see her (at the talk at Akademi) and hear her...elegant, assured, of few words and convictions nurtured with experience; saw no posturing and heard no I-am-in-love-with-my-own-voice carrying on'; it was truly a pleasure...that elegance and lightness of being she had when she came to kalli Sir has remained with her, making her delectably elusive even while she is right there. I also realise she does not burden audiences with an in-your-face display of emotional intensity that she must nevertheless feel...the lack of that burden lightens the audience to enjoy her dancing I believe and to do so without fear of an ambush by an outsized feeling as you round the corner of a jathi!
Chitra Sunderam (Bharata Natyam dancer, London, UK)

"Just hearing Malavika talk (at Akademi) about Bharata Natyam left me feeling mesmerised...what would it be like watching her perform?"
Rizvana Sheikh (BBC Bristol, UK)

Feedback from the audience members about Smt. Lakshmi Shankar's performance at the Bhavan in London on 13th october 2001

"Very many thanks for inviting Kay and me to the wonderful concert celebrating Lakshmiji's 75th Birthday. She is indeed a totally brilliant exponent, and as she gathers more and more experience, the brilliance is enchanced by her additional technique and superb interpretations"
Shri Maneck Dalal, Chairman of the Bhavan in London, UK

"I have been listening to Lakshmiji for the past thirty plus years. When I first heard her, I was awestruck by her beauty and radiance. I loved the sweetness of her voice. Like a fallen leaf on a flowing stream of a river, I got carried away by her music; the depth and spirituality laced with her technical perfection still resonate in my ears and evoke the same electrifying and rapturous emotions.
When I heard her at the Bhavan to celebrate her 75th birthday, I was deeply struck to note that in the intervening thirty five plus years, Lashmiji's voice hasn't aged even by a day. Somehow, the hand of time and age has stood still over her head, providing her with divine protection!
The spirituality in her Bhajans gives me the highest quality of meditative transcendance. I listen to some of her Bhajans at lease once each day. I could go on but will leave it here, short and sweet."
Smt. Shuchi Bhatt in London, UK

"That was one of those very special concerts that stays in a person's memory for years afterward. Thanks for bringing her to London"
Richard Turner in London, UK
(Read extracts from Richard Turner's review of Lakshmiji's concert for the Salt Lake Post, Calcutta, India which is reproduced below)

Extracts of the London concert review by Richard Turner, writer and musician based in England, which appeared in the Salt Lake Post, Calcutta, India on Sunday 21st October 2001
"The music lovers of London gathered for a very special event at the Bharatiya Vidya Bhavan on the 13th October. This was to be no ordinary concert but more a birthday party in honour of one of the great veterans of classical music. This year, Smt. Lakshmi Shankar celebrates not only her 75th birthday but also 50 years in music. The vocalist, whose credits include being one of the first Indian singers to tour the west (with Uday Shankar and Pt. Ravi Shankar) in the 1960s and singing on the soundtract of the film 'Gandhi', is now settled in Los Angeles, where she continues to teach...
"The concert's organiser - indeed, the driving force behind Association Sargam - the brilliant Shireen Isal, personally introduced Lakshmiji. Shireen paid an emotional tribute to the singer, talking of their 20 year friendship since she had staged a concert with Lakshmiji at the Champs Elysees Theatre in Paris. "I feel extremely priviledged to have known you", she said, "Thank you, Lakshmiji. Thank you for everything". The feeling was mutual. "I am so touched and honoured", responded a remarkably humble Lakshmiji.
"The first item was a khyal in which the singer displayed a surprising flexibility in her rich and resonent voice. If not so much had been made of her 75 years, one could almost believe she was a good quarter of a century younger. Mentioning no names, there is none of the 'worn-out' quality and dubious intonation one may associate with singers of her age. A further surprise was the easy conviviality of the ensemble. Again, the listener could close his eyes and imagine that Lakshmiji has worked exclusively with Ramesh Misra (sarangi) and Partha Sarathi Mukherjee throughout her long career. Such was the precision of their accompaniment. Following a reasonable interval, Ramesh Misra's sarangi solo was a further gesture of humility by Lakshmiji. His precise, clipped, yet expressive phrasing - not a quality one always associates with this instrument - was a joy to hear. Mukherjee's busy tabla was sometimes a little too complex and intense but, generally, he was a good judge of what was needed and always accurate in his dilineation of each taal. After a somewhat sombre thumri, we arrived at a series of shorter items. These included a Meera bhajan in Hindi, a Bengali raas from Manipur, a further Meera bhajan in Gujerati and a shukravaa for Shiva in Kannada.
"All of th items in this polyglot display of devotion were rendered with remarkable feeling and were close to perfect at the technical level. But I had largely abandoned my note-taking in favour of enjoying a superb concert. The impromptu singing by the audience of Happy Birthday at the evening's conclusion was a spontaneous display of the affection that this great artist engenders"

Richard Turner can be contacted at rich_bhai@hotmail.com
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Brief write-up on Smt Lakshmi Shankar's performance:

"Dearest Lakshmiji - we are here together to celebrate not one but two milestones in your rich life: your 75th birthday and 50 years of performing. Five glorious decades, let it be known, during which you have been instrumental, if not the first musician, in propagating Indian vocal music in the west.

But for Sargam, October 2001 also marks 20 years of our collaboration. It was in October 1981 that we had the privilege of presenting you, with Radio France, at the prestigious Champs Elysees Theatre in Paris. I remember awaiting our first encounter with a certain trepidation. But everything in your demenour - simple, modest, unpretentious - put me at ease. Since that day, nothing has changed. With every passing year, the pleasure of associating with you has increased as has my admiration of your sense of tolerance, your capacity to accept people the way they are and your generosity of spirit towards all people, irrespective of their walks of life. But, above all, in our troubled world, your unflinching integrity has been a source of great inspiration, your immense dignity in the face of adversity a lesson in life itself. And I hold myself - as does my family here present - extremely privileged to have known you.

I know, Lakshmiji, that I speak not only for myself but for your many friends present today. They share in my affection for you and join me in wishing you many happy returns. You once described your love and devotion for your music as a 'many splendoured event' in your life. Come back and share with us for many more years that many splendoured event: the pleasure and privilege can only be ours. Thank you, Lakshmiji, thank you for everything.

This evening's performance has been made possible by the joint efforts of many of our friends: first and above all, the Bharatiya Vidya Bhavan and I thank their Chairman, Shri Maneck Dalal for being present here this evening; our artist friends Salman Asif, Fida Hussain Khansahib, Reena Bhardwaj whose special tribute we have just witnessed. And of course Ramesh Misraji and Partha Sarathi Mukherjee who will accompany Lakshmiji this evening. And thank you, to all of you, for being here with Lakshmiji for this very special celebration."

With these words, Sargam inaugurated an evening charged with emotion. The event was a celebration of the 75th birthday of Smt. Lakshmi Shankar, one of India's most endearing and popular vocalists. In an auditorium filled with friends, well-wishers and music lovers, Lakshmiji gave a memorable performance of Hindustani vocal music, which included some of her most well-known bhajans (Prabhu Teri Mehima, Vaishnava Janato and others in several Indian languages) sung with depth and devotion. She was most ably supported on the sarangi by Ramesh Misra and on the tabla by Partha Sarathy Mukherjee.

The audience included Maneck Dalal, Bhavan's Chairman and his wife Kay and many longstanding personal friends of Lakshmiji who came from Birmingham, Cambridge and around London.

Few people know of Lakshmiji's pioneering efforts since the sixties to propagate our music in the west, being amongst the first to have performed and recorded here. In recognition of Lakshmiji's immense contribution, UK-based artists Ustad Fida Hussain Khan, Salman Asif, the noted poet and Reena Bhardwaj paid her a handsome tribute through poetry and music. The evening ended with a resounding 'Happy Birthday' sung spontaneously by the audience.

The performance was organised by Association Sargam with the invaluable support of the Bharatiya Vidya Bhavan in London to which Sargam extends here its grateful thanks.