| |
IN AID TO BUILD A NEW ASHRAM AND COMMUNITY CENTER
Bharat Sevashram Sangha, New Jersey Chapter
Presents
a Gem of a Classical Indian Cultural Program
On
Saturday, 26th July, 2008
3 PM – 7 PM
At George Street Playhouse,
9 Livingston Ave, New Brunswick, NJ 08901
(Located near New Brunswick Train
Station, Off Route 27 to George Street to Livingston Ave.)
Directions & Map
Click on the map-thumbnail above for a larger version
of the map
Here is a synopsis of the profiles
of the performers and a story of the drama:
SUBHRA GUHA
accompanied by:
Sai M. Shyam (on Tabla)
Madhu Vora (on Harmonium)
Having attained the stature of one of the leading female vocalists of the
country, Subhra Guha is regarded not only as the finest lady singer but also
as an exponent of the Agra Gharana.
She received her earliest training from late Shri Satish Bhowmick. During
her growing years, Guha took advanced training from one of the learned
Pandits of the Agra Gharana, Pandit Sunil Bose.
Subsequently, she also received training from the stalwart, Late Pandit K.G
Ginde. Guha was fortunate enough to receive guidance under late Pandit D.T
Joshi on musicality and aesthetics. It was from Joshiji that Guha learnt the
art of thumri rendition. Special mention must be made of Pandit Vijay
Kichlu's constant support and valuable guidance in polishing and helping her
to form the distinct structure in her style of gayaki.
Today, Guha is acknowledged as one of the finest thumri singers of the
Poorab Ang among the younger generation of singers. Her collection of rare
thumri, dadra, kajri, chaiti, etc in pure Benaras tradition is also
matchless. Equally impressive is her exhaustive collections of some rare
raagas and compositions.
Here are the views of some of the Best Vocalists in India
“ Subhra Guha is a talented and versatile singer of the younger generation
having received sound grooming in the Agra tradition. Gifted with a rich,
melodious voice, she is equally proficient both in khayal, thumri and dadra.
In addition, she has a vast repertoire of bandishes”.
Padmabhushan Ustad Nissar Hussain Khan.
“ I know Subhra since 1982 and I have had a hundred occasions to hear her
and undoubtedly she is a singer of the highest order in both Classical and
Light Classical Music”.
Padmabhushan Pandit Jnan Prakash Ghosh.
“ She has developed proficiency in both classical and light classical vocal
music. I pray to the Almighty for her all round success in life with music”.
Padmabhushan Smt Girija Devi.
“ Her command over ‘sur’ and ‘laya’ is of high order and she has a very
classical approach to music making. Her performance bear the testimony of
proper ‘talim’ and good ‘riyaz’ and deep perception”.
Padmabhushan Pandit V.G.Jog.
GARGI BAGCHI
Kathak Dancer, Teacher and
Choreographer (Lucknow Style) of Asavari, located at White Plains, New York.
Gargi with Pandit Birju Maharaj
Gargi with Pandit Ajay Chakravarty
Gargi has learned Kathak from Saswati Sen, Amita Dutta, Madhumita Roy and
Asimbandhu Bhattacharya in Kolkata and has also taken workshops from the
renowned Kathak guru Pandit Birju Maharaj. Her knowledge of Kathak includes
both Lucknow and Jaipur gharanas. She has taken Hindusthani vocal lessons
under the guidance of Pandit Ajoy Chakraborty.
Gargi Bagchi has choreographed and performed at several classical dance
concerts both in USA and India. She demonstrates fast footwork and circles
of Kathak while also expressing the ‘vav’ or sentiments that the dances
convey to the viewers. Following the footprints of the great Kathak maestro
Guru Pandit Birju Maharaj of Lucknow gharana and Guru Pandit Gopi Krishna of
Jaipur gharana, Gargi has given her whole-hearted effort to choreograph and
teach the Kathak compositions presented by Asavari.
RUDALI
(Production of Epic Actors’
Workshop, Mrittika & Manjori, Inc.)
A most acclaimed production of
South Asian Theater Festival, 2007
The story of Rudali is set in South Bihar, depicting the struggle of a lone
woman, Sanichari in a community of landless peasants. It details the
devastating oppression by Rajput landlords, moneylenders, the police and the
BDO’s (block-development officers) under which the protagonists suffer. Yet
it ends with a ray of hope, for someone has enough courage to fight the
tide, and unite the tribal Dusaads and Ganjus under one umbrella. The story
is not very unique by itself. Poverty most of the time unfolds in boundless
misery, losing land, death, assault and unjustified prison terms. That
Sanichari was never able to shed tears when her own loved ones died is
significant, as she always had to struggle frantically to stay alive and
keep alive what had remained of her family. By the time she finally develops
a business of “Funeral Wailing”, she has no family left. The irony of her
situation strikes her, but she refuses to be the one wallowing in self-pity.
With the demand of her service growing, she decides to employ and train
women who became prostitutes to survive. Through the process of weathering
terrible personal losses and misfortunes, the alchemy of unspeakable sorrow
and despair gradually produces in her a positive resolution. Sanichari
becomes an icon of empowerment for tribal low-caste women.
|
