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AAKAAR - The Voice of Art is an Indian visual arts magazine by THE ART HUB which is dedicated to artists and the art industry. The 2nd edition of the magazine celebrates the evolution of art post-independence where one can find articles and interviews of artists, curators, writers and organisations. The magazine aims to initiate discussions on important topics in the art community and spread awareness about various art forms. One can delve into mesmerising artworks and read about the artist's thought process. Even if you are new to the world of art, you can be a reader of it and appreciate the efforts of Indian artists and organisations who have kept art alive. Happy reading!
Preface The period commencing about the end of the 19th century till the end of the 20th century marked the 'golden era' of 'gharandaj/gharanedar khayal gayaki'(traditional 'khayal gayaki'). The south-west region of India which was then known as Bombay Presidency comprised of the princely states of Kolhapur, Sangli, Miraj Senior, Miraj Junior, Kurundwad Senior, Kurundwad Junior, Jamkhandi, Mudhol and Ramdurg. Only exceptional performers of outstanding caliber were appointed as 'darbar gayaks' (or 'state musicians') of these prestigious princely states. "Proudh Gandharva" Pandit Vishwanathbuwa Jadhav and his illustrious sons namely, "Gantapasvi" Pandit Baburao alias B.V. Jadhav, "Swara-Ratna" Pandit Rajaram alias Pandit R.V.Jadhav and "Ganrasila" Pandit Pandurang alias P.V. Jadhav, were reputed 'darbar gayaks' and distinguished direct disciples of "Sangeetratna" Ustad Abdul Karim Khan who pioneered the prolifi c 'Kirana gharana' 'khayal' vocal tradition of this golden era. They all gained individual recognition and fame and are still legendary. The visionary and benevolent ruler of the erstwhile Kolhapur State, Shrimant Chhatrapati Maharaja "Rajarshi" Shahu ("the "saintly king") honoured Pandit Vishwanathbuwa Jadhav by offi cially appointing him as the 'darbar gayak' of Kolhapur State. Later the enlightened ruler "Nalwadi" Maharaja Krishnaraj Wodaiyar of Mysore State bestowed upon Pandit Vishwnathbuwa Jadhav the coveted title "Proudh Gandhava" ('a seasoned mature celestial singer'). The virtuous ruler of Kolhapur, Chhatrapati Maharaja Rajaram-III accorded "Proudh Gandharva" and his acclaimed vocalist sons the sobriquet "The Gandharva Parivar of Karveer Nagar". ("The Family of Celestial Singers of Karveer Nagar") or Kolhapur. Pandit Vishwanathbuwa Jadhav was offi cially also instated as 'Rajgayak' ('principal state-musician' of Sangli State by Shrimant Rajasaheb Chintamanrao Dhundirajrao ('Appasaheb-II') Patwardhan of Sangli State. As 'darbar gayak' he also received the patronage of Shrimant Rajasaheb Ganpatrao Madhavrao ('Bapusaheb') Patwardhan of Kurundwad State. In appreciation of Panditji's lifetime contribution to 'Hindustani shastriya sangeet', Pandit Vishwanathbuwa Jadhav was duly felicitated in Delhi by the fi rst President of India-Dr. Rajendra Prasadji. The "Proudh Gandharva" legacy continued to be perpetuated by Pandit B. V. Jadhav, Pandit R.V. Jadhav, Pandit P.V. Jadhav and "Proudh Gandharva"-'s disciple and daughter-in-law Smt. Shakuntalaraje (née Patwardhan) Jadhav, all of whom were extraordinary performer-pedagogues of the 'Kirana gharandaj khayal gayaki' in their own rights. - A. R. Jadhav
"Saraswati Raman's interest and dedication to Sahaja Yoga and its meditation led her to explore a course in medicine, leading to an MD in alternative medicine from the Indian Board for Alternative Sciences, Kolkata, and started off on her journey in music too by learning, just to discover the treatments of various diseases through music and Sahaja Yoga meditation. A lady full of positive vibes and approach toward every aspect of life; ever smiling, her journey to explore the culture of our country and its tradition has taken this form of a beautiful compilation of this literature. We are proud to have her as one of the gems of Sahaja yogis that are blooming on this earth. Jai Shri Mataji. With lots of love." --Pramila Rao, Krez Kreations, real estate, AdFilms and media "During the course of her growth in Sahaja Yoga, she met her music teacher Dr. Arun Apte, who greatly influenced her in music, which was also instrumental in bringing a profound change in her health. She continues to practice singing out of love for music, and its impact on the energy centers. I am sure readers of this book will be greatly benefited." --Prabha Narayanan
If you can make a mark on a piece of paper you can draw! If you can write your name... you can draw! Millions of people watch Shoo Rayner's Drawing Tutorials on his award-winning YouTube channel - ShooRaynerDrawing. learn to draw with Shoo Rayner too! In this book, Shoo shows you how, with a little practice, you can learn the basic shapes and techniques of drawing and soon be creating your own, fabulous works of art. Everyone can draw. That means you too!
This book is an attempt at deconstructive counter-reading or at what Jonathan Dollimore called “creative vandalism” (2018) of existing cultural or literary texts. Deconstruction is a much maligned or a much misunderstood word and for many, it usually bears a pejorative ring. While most would flaunt their familiarity with some of its philosophic jargons, for the majority, it is an area to be dismissed as intellectual obscurity or abstruse ‘high theory’. In fact there is a serious dearth of Derrida scholarship because of our collective aversion to Derrida that emanates from our lack of familiarity or engagement with deconstruction theory or with the philosophy of deconstruction. Norm-deviant reading strategies of deconstruction offer fresh insights and rebellious interpretative possibilities. Please note: Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka.
‘Purple Moor!’ The art teacher’s livid voice resonates. Rushali watches her mother cringe, called into the principal's office again; but thankfully, her father, Dev Pillay chooses to see her painting as eclectic and a reflection of the caring person she is. When Rushali is just seventeen, her father, the one person who understood her, suddenly passes away. Now Rushali must find her path from the chaos of nonconformity she built for herself. A semblance of calm pervades in her relationship with her mother until Mohan arrives on the scene. At forty-seven, the shackles are unbearable, judged repeatedly in parameters that do not fit her persona. Then, so unexpectedly, Rushali is free! But is this the freedom she sought? What tryst of fate made her paint the moor purple? Do such moors exist?
The five essays in this book reflect many years of the author's sustained academic engagement with dramatic forms and traditions. The opening essay traces the historical trajectory of modern drama in Europe from its bourgeois period through the period of the liberal dissent to the more recent periods of radical alternative. The subsequent essays deal with certain specific examples of that drama in India and the West, such as Shakespeare adaptations on the Parsi theatre stage, Habib Tanvir, and Samuel Beckett. The author places each of these in a historical perspective. This approach constitutes the theoretical underpinning of the book giving cohesion to this collection of diverse essays. Although they were individually published in various journals and books in their earlier versions, they have been substantially revived and updated by the author for this volume. Please note: Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka.