Gnyana Pradarshini

As Music is a performing art, which is being creative,

itself, and cannot be static, hence the gradual
developments and experiments have always given new
ideas to the modern generation. In this modern age of
science, things are in continual flux and changing by
following the process of experimentation.
Our traditional music is based on the highest traditional
forms of music yet this oldest form of music, which was
conceptualized thousand Years ago, have undergone
changes in various stages due to Experimentation and
influence of forms of music.
The tour aims at
Bringing awareness among the contenders of music
and dance
about various concepts of Carnatic
Music , Veena and Dance that existed in the past and
is either forgotten or not taught in the schools like
prabandhas, avadhana pallavis, Various concepts of
tala like Guru, Pluta, and Kakapada
Conduct workshops in Carnatic Vocal, Veena and
Bharatanatyam not only in major cities, but also
mainly in those places where they do not have
access to the teachers. Reach out and introduce
these amazing art forms to every nook and corner of
the country and inspire the students to embrace the
art form either to be professionals or just learn the
art for arts sake to inspire people to become great

connoisseurs and ambassadors of the rich cultural

heritage of India.

1. Workshops and/or Lec-dems across the USA &

Canada
2. Workshops in
Workshop level

Karnatic

Vocal

and

Veena

Basic, Intermediate and Advanced Duration of the

workshop 2 hours per day for each level.
One or two days at every center. Duration can be
variable as per the requirements of the organizers.
Aims of the Music workshop/lec-dem
Kindle interest among beginners.
Introduce the right approach to practice and theory.
Relevance of Bhava in Krithis.
Right approach to Gamakas.
Understanding importance of Varnams and their
handling.
Approach to Manodhharma
Importance of Sahithya and pronunciation.

3.Music Workshop
Basic
Intermediate
Advanced
I. BASIC
Topic I. Voice Culture Manodharma
or
Concise
techniques
creative aspects
II. Explore one in Karnatic Music,
introduction
or
two like
to
Karnatic
Alapana,
compositions Neraval, Thanam
music:
II. A
brief
from one of and
Swara
History
the
prasthara
OR
III. Its structure
composers.
Learning
some
IV. Exploring few III. Voice Culture
rare and heavy
Swaravalis
techniques
kruthis
of
the
(Basic music
learning the Trinity and Various
exercises)
use of ones other composers
V. Simple
voice
of
Mysore
compositions
effectively
Dynasty
over
three
octaves
to
handle slow
and
fast
phases with
equal
dexterity.

4. Music LEC-DEM
Topics

 Theory of Music with the perspective of Raga

classification;
Thala structures; History of Indian music
Manodharma in Karnatic music
5. Workshop in Veena Workshop level Basic,
Intermediate and Advanced
Duration of the workshop : 2 hours per day for each
level. One - two days at every center.
Duration can be variable as per the requirements of the
organizers
Aims of the Veena workshop/lec-dem

Learn

how the iconic Veena is part of the South

Indian classical music environment.
Historical development of Veena
Basic left hand plucking techniques
Right hand playing techniques
Veena and its place in the Vedas, Various Treatise of
Carnatic Music like Nartana Nirnaya, Chatudandi
Prakashika, Manasollasa,
Study of the instrument (Spiritual and Scientific)
Introduction to Various kinds of Veena mentioned in
the Vedas
Study of Various styles of playing
Gamakas Role and application in playing
Construction of the Instrument
Melam Construcion of Melam
Adaptation of Veena to Various forms of Western
Music

Basic
I. BASIC
Topic
Concise
introduction
to Veena
II. A
brief
History
III. Plucking
practices
IV. Right
hand
practices
V. Gamaka
Exercises
VI. Its structure
VII. Exploring few
Swaravalis
(Basic music
exercises)
VIII. Simple
compositions

Intermediate
I. Veena
right
and left hand
coordination
techniques
II. Explore one
or
two
compositions
from one of
the
composers.
III. Demystifying
the
vocalization
playing
technique
IV. Basic
Tana
Excercises

Advanced
Manodharma
or
creative aspects
in Karnatic Music,
like
Alapana,
Neraval, Thanam
and
Swara
prasthara
OR
Learning
some
rare and heavy
kruthis
of
the
Trinity and other
composers

6. Lecture cum demonstration on

The construction of the instrument
Making of Melam
The comparative study of the Veena and Guitar
6. Workshops in Bharatanatyam
Nandakumar

- By Dr Radhika

Workshop level Basic, Intermediate and Advanced

Duration: - 2 hours per day for each level.
One to two days at every center. Duration can be
variable as per the requirements of the organizers
7. Aims of the Dance workshop/lec-dem
To kindle interest among the beginners through simple
lec-dems; basic hand gestures; few footwork techniques.
To introduce the importance of rhythm, technique &
expression through a composition for intermediate level
students.
To introduce the concept of choreography, the art of
playing cymbals(Nattuvangam) ad the nuances of the art
of expression(Abhinaya) for advanced
14. Dance Workshop - BASIC Topics
A few important Adavus, combinations of Adavus,
Jathis - All done in different speeds and rhythm
Developing flexibility and overcoming the initial muscle
cramps and sore feet.
Attaining the correct posture (hands, legs etc.)
Developing a sense of Thala (Rhythm) and Kala (speed)
Becoming swift and agile and attaining control over the
body.
Developing stamina

15. Dance Workshop - INTERMEDIATE

Topic Nruttha Items:
Alarippu,
Kirthana

Pushpanjali

Jathiswara

Thillana

16. Dance Workshop

ADVANCED Topics Abhinaya :
Padham
Javali
Choreography

Dhevaranama

Nattuvanga

17. Dance LEC-DEM Topics

Dance appreciation Bharatanatyam, the structure,
history and other details
Demystifying Abhinaya ; The joy of Rhythm
Repertoire related topics
Apart from the above Dr Radhika Nandakumar will
also
be
conducting
various
workshops
in
accordance with the Mysore style of Dance. Few
items are listed below with description
Pravesha Nrtya :
This item originates from the Muguru lineage of the
Mysore School. The last authentic proponent of this was
Muguru Jejamma who had preserved this item in its
traditional glory. Radhika has inherited this from this
lineage and presents this in its authentic form.
Kamalambike : Tripurasundari

Both these are magnum opus compositions by Sri

Jayachamarajendra Wodeyar, the Last Yadava King of
Mysore kingdom, is choreographed by Radhika. The
composition has, in its lyrical content, vivid references to
the Srividya tradition of Rituals, in which the great king
was an adept. The Choreography has taken all this into
account and the performance gives an aura of this unique
experience too.
Ganapatya :
Radhika has choreographed another rare musical
composition
by
Mahamahopadhyaya
Dr.
R.Sathyanarayana set to a reconstructed genre from an
ancient treatise called Sadraga chandrodaya by
Pandriaka Vitthala. R.S has called this raga melody as
Pandarika Vallabha. Radhika has choreographed this item
with Yoga movements and postures along with various
dance moves prescribed in that treatise. All this gives a
visual treat and an insight into the ancient chorographical
wisdom.
Paraku Salamu :
One of the main characteristics of the famed Mysore
School of Bharatanatyam that predates some of its recent
stalwart proponents is in a composition called
Choornike. The Choornike is a non-metrical prologue but
punctuated lyric composed, sung and performed to
traditionally prescribed Bharatanatyam Moves. The
presented composition in an innovated Choornike,
wherein all the aesthetic elements are taken but

innovated to contain specific rhythmic percussive phrases

(called Jatis). Its original composition addresses the
protective king who was a benefactor of Music and
Dance, but it is now innovated and choreographed to be
an obeisance to the art protective connoisseur who is the
main nurturing source of that glorious tradition. The
present Choornike contains the jatis taken from the works
of the Timma Kavi (17th cent) with rare Salamu-Paraku
Jatis taken from a Manuscript in the repository of
Saraswathi Mahal Library in Tanjore in Tamil Nadu. Its
extended mss is also available in the Oriental Research
Institute of Mysore. Nandakumar has composed and sung
its melodious music and reconstructed its percussive
phrases to its contemporary grandeur.
Gadya and Dandak, Vrtta Nama
Radhika has choreographed these unique compositions
that hail from its ancient Indian musical roots. The Gadya
and Dandaka are especially very interesting because of
its simplicity and grandeur. The Vrtta Nama is a 1000
year archtype composition and its most usable and best
composition that has been preserved to our times is the
present one by Sri Purandara Dasa, called as the
Pitamaha : grand originate(father) : of Karnataka Music.
Radhika depicts these in their aesthetic and authentic
form on the contemporary stage.
Varnams, Tillanas, Dashavatara Mangalam, Ashthapadi of
jayadeva etc

These are the traditional compositions of Bharatanatyam

genre. Radhika has selected very important and choicest
compositions from the Mysore composers repository.
Swarabhinaya
A Music and Dance treatise that was found near Kerala
and Karnataka State borders in India is Kohala
Rahasyam. It contains a traditional method (kalaa
agama) for initiation into Music and Dance learning,
performing and propagating. In this, a major portion is an
agamic and perhaps tantric description of the deities of
the seven musical notes equated with the seven srividya
deities. The author Kohala Muni gives an entire ritualistic
method to ascend to the divine state of bliss and
perfection in Music and Dance. The present choreography
is the very heart of that endeavor. Radhika has taken
these verses of Kohala, applied all the dance
prescriptions, Nandakumar has used the prescribed
melodies called Ragas, and they have innovated to gel
together another form of depiction of the Saptaswaras of
Indian music : the seven notes. In this present
composition, Radhika has chosen textual source from
Pandarika Vitthalas Nartana Nirnaya (16th Cent) Indian
Classical treatise, to depict the physical dimensions of the
melodic Notes in Music. The present choreography is the
very first of its kind in Indian dancing.
Mangala : Bharata vakya
The famed Mysore School of Bharatanatyam always
penultimate and concludes its performances with a verse

from a classical text of puranic yore. Radhika has taken a

verse from Valmiki Ramayana that prays for peace and
prosperity that is ushered because of the performance of
Art and invocation of the Nature : that is Divinity.
18. Schedule Date Place Workshop / Programs
Separate workshops Lecture Demonstration and Concerts
to be worked out from our Contacts for Music dance and
Veena. Tentative areas are as follows
Music & Dance & Veena
NEW YORK
NEW JERSEY
Birmingham
TEXAS
Houston
San Antonio
Dallas
Austin
CALIFORNIA
Sacramento
Seattle
Sunnywale
San Francisco
AROUND CHICAGO
Milwaukee
Chicago
Cleveland
Pittsburgh
FLORIDA
Gainesville

Miami WORKSHOP