#Tabla teacher

[triviareads]

There's a part of the Mahabharata where Arjuna is cursed by an apsara who he spurns to essentially be neither man nor woman, or take on a more feminine aspect in some versions. During this time, he is taught by Krishna to use this to his advantage so he disguises himself as the dance teacher Brihannala. I was thinking about how I grew up reading stories like this (there are multiple instances of this, and gender is fluid in some cases) but I never really made the connection between this and modern queerness until fairly recently. My sister actually made this beautiful comparison between the movie and this portion of the Mahabharata— when Zakir Hussain is playing the tabla during Kid's training montage with the hijra community, she said it reminded her of Arjuna as Brihannala because Arjuna too was using music and the arts (because he was disguised as a dance teacher), something that is seen as feminine, as means of taking back their power against evil.

[aru-loves-krishnaxarjuna]

Yk, like sometimes, the greatest fault parents do? Think that "yes only i can know the best for my child." While abusing and neglecting and overwhelming them INSTEAD.

Like today was my PTM, and ibgot low marks because of favoritism of teachers with class toppers and because of my stress.

My parents have the greatest hand in my stressed depressed self. They have put me through SOO MANY classes, just because their frnds were like " oH mY cHiLd DoEs ThEsE tHiNgS! hE's ReAlLy TaLeNtEd!" Like to match with the other kids, my parents put me through hell!

I am indian. So we have many types of dances. And all these dances are taught at my dance school. So i do many things at once:

Dances [yes cuz there are too many]

Tabla

Harmonium [vocal and many types of songs like classical and rabindra sangeet]

Cricket

Table tennis 🏓

Swimming

Drawing and art

Tuition: Maths and Science

Tuition: Language and Ssc

And then comes school! There aremany programs of school. And i had went up to even NATIONAL level of AFS EAC SPORTS CHAMPIONSHIP and came 4th in TT 🏓 and my parents are still NOT satisfied.

It's overwhelming me a LOT. And my parents are like:

"But we couldn't do it before so we are making you do them!"

"But it's good for you!"

"Shut up with you stress-talks! There is nothing called stress!"

"How can you be so stressed? You are so young."

"You have no problem with yourself you don't need therapy"

LIKE I NEED THERAPY I HAVE ATTEMPTED SUICIDE FOR THIS 7 TIMES AT GRADE 8!! I DEVELOPED DEPRESSION AND MENTAL ILLNESS AT A YOUNG AGE OF 9! I HAD CUT MY ARMS AT THE AGE OF 11 AND 12, JUST FOR THESE.

AND PARENTS EVEN BEAT AND SCOLD AND NEGLECT THEIR CHILDREN WHEN THEY DON'T GO THE WAY THEY WANT TO!

And then comes school. Fake frnds. Education stress. Pressure. Feels like hell and jail. Grades. And so many other things!

TO HELL WITH THESE!

[bcbdrums]

Heyy! I'm curious about your musical career, so here are a couple of questions if you don't mind:

Do you play any instruments other than drums?? And do you play in a band or you sing too and are a solo??

that's kind of you, thanks! and sorry for the slow reply! this got buried in my drafts.

i'm an orchestral percussionist. fave instrument is timpani, hence the avatar. i play all percussion instruments you'd find in orchestra or wind ensemble, big and small, and i also play drum set of course and have taken tabla lessons but don't consider myself a tabla player.

i'm a music teacher, and coming with that territory is the ability to play "every" instrument just a little bit. by every i mean, standard instruments you'd find in an elementary school classroom or in a high school band. so i also play piano, acoustic guitar, flute, clarinet, trumpet, baritone, trombone, violin, and cello. i do NOT consider my strings skills to be worth anything at all, i can just play the instruments well enough to teach a kid how from scratch. i'm better at brass than woodwinds.

basically i'm better than a 10 year old and better than most middle schoolers at all the things except strings, strings i consider myself a beginner. but there's a lot to be said for having the ability to understand all the instruments, how they work... that knowledge helps a lot so often times beginner-level doesn't appear to be beginner... oh yeah i guess i can play recorder and ukulele too. i can repair all these instruments and more if i needed to. ah and i'm a decent piano and guitar player i guess. can perform on those, but i'm very definitely a percussionist.

as to singing, i didn't really start singing until i started teaching. i get lots of compliments so i guess i'm good at it. i could definitely benefit from some professional training and not the one beginning voice class i had in college, lol.

i don't perform vocally... i sing for work, that's about it. and whatever you see me messing around with here on tumblr, which is just recording into my phone lol. i tend to only perform with orchestras and wind ensembles playing percussion, but for work again i've had to play all of the things in front of people. i've been on concert tour in england with a professional wind ensemble, that was fun.

this was very rambly aahhh i hope i answered your question! thank you very much for the interest!

[pollonegro666]

2023/04/28 Llegamos a la ciudad y dimos una vuelta. En el puerto una señora que estaba tomando el sol nos contó la historia de la ciudad. Encontramos el nombre de la ciudad y el homenaje a un poeta y profesor. Hay un azulejo que es utilizado como panel de información.

We got to the city and walked around. At the port, a lady who was sunbathing told us the history of the city. We find the name of the city and the homage to a poet and teacher. There is a tile that is used as an information panel.

Google Translation into French: Nous sommes arrivés en ville et nous nous sommes promenés. Au port, une dame qui prenait un bain de soleil nous raconta l'histoire de la ville. On retrouve le nom de la ville et l'hommage à un poète et pédagogue. Il y a une tuile qui sert de panneau d'information.

Google translation into Italian: Siamo arrivati ​​in città e abbiamo fatto un giro. Al porto, una signora che stava prendendo il sole ci ha raccontato la storia della città. Troviamo il nome della città e l'omaggio a un poeta e pedagogo. C'è una tessera che funge da pannello informativo.

Google Translation into Portuguese: Chegamos na cidade e passeamos. No porto, uma senhora que tomava sol nos contou a história da cidade. Encontramos o nome da cidade e a homenagem a um poeta e pedagogo. Há um ladrilho que serve como quadro de informações.

Google Translation into German: Wir kamen in der Stadt an und gingen herum. Am Hafen erzählte uns eine Dame beim Sonnenbaden die Geschichte der Stadt. Wir finden den Namen der Stadt und die Hommage an einen Dichter und Pädagogen. Es gibt eine Kachel, die als Informationstafel dient.

Google Translation into Albanisch: Mbërritëm në qytet dhe ecëm përreth. Në port, duke bërë banjë dielli, një zonjë na tregoi historinë e qytetit. Gjejmë emrin e qytetit dhe haraçin për një poet dhe edukator. Ka një pllakë që shërben si një tabelë informacioni.

Google Translation into Armenian: Մենք հասանք քաղաք և շրջեցինք: Նավահանգստում, արևային լոգանք ընդունելիս, մի ​​տիկին մեզ պատմեց քաղաքի պատմությունը։ Մենք գտնում ենք քաղաքի անունը և հարգանքի տուրքը բանաստեղծի և մանկավարժի համար: Կա կղմինդր, որը ծառայում է որպես տեղեկատվական տախտակ։

Google Translation into Bulgarian: Пристигнахме в града и се разходихме. На пристанището, докато се печехме, една дама ни разказа историята на града. Откриваме името на града и почитта към един поет и просветител. Има плочка, която служи за информационно табло.

Google Translation into Czech: Přijeli jsme do města a prošli se. V přístavu nám při opalování jedna paní vyprávěla historii města. Nacházíme název města a poctu básníkovi a pedagogovi. Je zde dlaždice, která slouží jako informační tabule.

Google Translation into Croatian: Stigli smo u grad i prošetali. U luci nam je, sunčajući se, jedna gospođa ispričala povijest grada. Nalazimo ime grada i posvetu pjesniku i prosvjetitelju. Postoji pločica koja služi kao informativna ploča.

Google Translation into Danish Vi ankom til byen og gik rundt. På havnen, mens hun solbadede, fortalte en dame os byens historie. Vi finder byens navn og hyldesten til en digter og pædagog. Der er en flise, der fungerer som informationstavle.

Google Translation into Slovak: Prišli sme do mesta a poprechádzali sa. V prístave nám pri opaľovaní jedna pani rozprávala históriu mesta. Nachádzame názov mesta a poctu básnikovi a pedagógovi. Je tam kachlička, ktorá slúži ako informačná tabuľa.

Google Translation into Slovenian: Prispeli smo v mesto in se sprehodili. V pristanišču nam je med sončenjem neka gospa pripovedovala zgodovino mesta. Najdemo ime mesta in poklon pesniku in pedagogu. Tam je ploščica, ki služi kot informacijska tabla.

Google Translation into Estonian: Jõudsime linna ja jalutasime ringi. Sadamas päevitades rääkis üks proua meile linna ajalugu. Leiame linna nime ja austusavalduse luuletajale ja koolitajale. Seal on plaat, mis toimib infotahvlina.

Google Translation into Suomi: Saavuimme kaupunkiin ja kävelimme ympäriinsä. Satamassa aurinkoa ottaessaan eräs nainen kertoi meille kaupungin historiasta. Löydämme kaupungin nimen ja kunnianosoituksen runoilijalle ja kouluttajalle. Siellä on laatta, joka toimii infotauluna.

Google Translation into Greek: Φτάσαμε στην πόλη και περπατήσαμε. Στο λιμάνι, ενώ έκανε ηλιοθεραπεία, μια κυρία μας διηγήθηκε την ιστορία της πόλης. Βρίσκουμε το όνομα της πόλης και το αφιέρωμα σε έναν ποιητή και παιδαγωγό. Υπάρχει ένα πλακίδιο που χρησιμεύει ως πίνακας πληροφοριών.

Google Translation into Dutch: We kwamen aan in de stad en liepen rond. In de haven, tijdens het zonnebaden, vertelde een dame ons de geschiedenis van de stad. We vinden de naam van de stad en het eerbetoon aan een dichter en pedagoog. Er is een tegel die dienst doet als informatiebord.

Google Translation into Norwegian: Vi kom til byen og gikk rundt. På havnen, mens hun solte seg, fortalte en dame oss om byens historie. Vi finner navnet på byen og hyllesten til en poet og pedagog. Det er en flis som fungerer som informasjonstavle.

Google Translation into Polish: Przyjechaliśmy do miasta i spacerowaliśmy. W porcie, opalając się, pewna pani opowiedziała nam historię miasta. Znajdujemy nazwę miasta i hołd dla poety i pedagoga. Znajduje się tam kafelek, który służy jako tablica informacyjna.

Google Translation into Romanian: Am ajuns în oraș și ne-am plimbat. În port, în timp ce făcea plajă, o doamnă ne-a povestit istoria orașului. Găsim numele orașului și omagiu adus unui poet și educator. Există o țiglă care servește ca panou informativ.

Google Translation into Russian: Мы приехали в город и погуляли. В порту, загорая, дама рассказала нам историю города. Находим название города и дань уважения поэту и просветителю. Есть плитка, которая служит информационным щитом.

Google Translation into Serbian: Стигли смо у град и прошетали. На луци, сунчајући се, једна госпођа нам је испричала историју града. Налазимо име града и омаж песнику и просветитељу. Постоји плочица која служи као информативна табла.

Google Translation into Swedish: Vi kom till stan och gick runt. Vid hamnen, medan hon solade, berättade en dam om stadens historia. Vi hittar namnet på staden och hyllningen till en poet och pedagog. Det finns en bricka som fungerar som informationstavla.

Google Translation into Turkish: Şehre geldik ve dolaştık. Limanda güneşlenirken bir hanım bize şehrin tarihini anlattı. Şehrin adını ve bir şair ve eğitimciye haraç buluyoruz. Bilgi panosu görevi gören bir karo var.

Google Translation into Ukrainian: Ми приїхали в місто і погуляли. У порту, приймаючи сонячні ванни, жінка розповідала нам історію міста. Знаходимо назву міста та вшанування поета і просвітителя. Є плитка, яка виконує роль інформаційного табло.

Google Translation into Arabic: وصلنا إلى المدينة وتجولنا. في الميناء ، أثناء الاستحمام الشمسي ، أخبرتنا سيدة بتاريخ المدينة. نجد اسم المدينة وتكريمًا لشاعر ومر��ي. هناك بلاطة تعمل كلوحة معلومات.

Google Translation into Bengali: আমরা শহরে এসে ঘুরে বেড়ালাম। বন্দরে সূর্যস্নানের সময় এক ভদ্রমহিলা আমাদের শহরের ইতিহাস জানালেন। আমরা শহরের নাম এবং একজন কবি ও শিক্ষাবিদকে শ্রদ্ধা জানাই। একটি টাইল আছে যা একটি তথ্য বোর্ড হিসাবে কাজ করে।

Google Translation into Simplified Chinese: 我们到了镇上，四处走走。 在港口，一边晒日光浴，一位女士向我们讲述了这座城市的历史。 我们找到了这座城市的名字以及对一位诗人和教育家的致敬。 有一块瓷砖用作信息板。

Google Translation into Korean: 우리는 마을에 도착했고 주변을 걸었다. 항구에서 일광욕을 하는 동안 한 여성이 우리에게 도시의 역사를 말해주었다. 우리는 도시의 이름과 시인이자 교육자에 대한 찬사를 찾습니다. 안내판 역할을 하는 타일이 있습니다.

Google Translation into Hebrew: הגענו לעיר והסתובבנו. בנמל, תוך כדי שיזוף, גברת סיפרה לנו את ההיסטוריה של העיר. אנו מוצאים את שם העיר ואת המחווה למשורר ומחנך. ישנו אריח המשמש כלוח מידע.

Google Translation into Hindi: हम शहर पहुंचे और घूमे। बंदरगाह पर धूप सेंकते समय एक महिला ने हमें शहर का इतिहास बताया। हम शहर का नाम और एक कवि और शिक्षक को श्रद्धांजलि पाते हैं। एक टाइल है जो सूचना बोर्ड के रूप में कार्य करती है।

Google Translation into Indonesian: Kami tiba di kota dan berjalan-jalan. Di pelabuhan, sambil berjemur, seorang wanita menceritakan sejarah kota itu kepada kami. Kami menemukan nama kota dan penghormatan kepada seorang penyair dan pendidik. Ada ubin yang berfungsi sebagai papan informasi.

Google Translation into Japanese: 私たちは町に到着し、歩き回った。 港で日光浴をしながら、女性が街の歴史を教えてくれました。 都市の名前と、詩人であり教育者である人物へのオマージュが見つかります。 案内板となるタイルがあります。

Google Translation into Kyrgyz: Шаарга келип, кыдырып чыктык. Портто күнгө күйүп жатып бир айым шаардын тарыхын айтып берди. Шаардын атын жана акын-педагогдун урматын табабыз. Маалымат тактасы катары кызмат кылган плитка бар.

Google Translation into Malay: Kami tiba di bandar dan berjalan-jalan. Di pelabuhan, semasa berjemur, seorang wanita memberitahu kami sejarah bandar itu. Kami dapati nama bandar dan penghormatan kepada seorang penyair dan pendidik. Terdapat jubin yang berfungsi sebagai papan maklumat.

Google Translation into Mongolian: Бид хотод ирээд эргэн тойрон алхав. Боомт дээр наранд шарж байхдаа нэгэн эмэгтэй хотын түүхийг өгүүлэв. Бид хотын нэр, яруу найрагч, сурган хүмүүжүүлэгчийн хүндэтгэлийг олдог. Мэдээллийн самбарын үүрэг гүйцэтгэдэг хавтанцар байдаг.

Google Translation into Nepali: हामी सहर पुग्यौँ र घुम्दै गयौँ । बन्दरगाहमा, घाम नुहाउँदै गर्दा, एक महिलाले हामीलाई सहरको इतिहास सुनाइन्। हामीले शहरको नाम र कवि र शिक्षकलाई श्रद्धांजलि पाउँछौं। त्यहाँ एक टाइल छ जुन सूचना बोर्डको रूपमा कार्य गर्दछ।

Google Translation into Panjabi: ਅਸੀਂ ਸ਼ਹਿਰ ਵਿੱਚ ਪਹੁੰਚੇ ਅਤੇ ਘੁੰਮਦੇ ਰਹੇ। ਬੰਦਰਗਾਹ 'ਤੇ, ਸੂਰਜ ਨਹਾਉਂਦੇ ਸਮੇਂ, ਇੱਕ ਔਰਤ ਨੇ ਸਾਨੂੰ ਸ਼ਹਿਰ ਦਾ ਇਤਿਹਾਸ ਦੱਸਿਆ। ਸਾਨੂੰ ਸ਼ਹਿਰ ਦਾ ਨਾਮ ਅਤੇ ਇੱਕ ਕਵੀ ਅਤੇ ਸਿੱਖਿਅਕ ਨੂੰ ਸ਼ਰਧਾਂਜਲੀ ਮਿਲਦੀ ਹੈ। ਇੱਕ ਟਾਈਲ ਹੈ ਜੋ ਇੱਕ ਸੂਚਨਾ ਬੋਰਡ ਦੇ ਤੌਰ ਤੇ ਕੰਮ ਕਰਦੀ ਹੈ।

Google Translation into Pashtun: موږ ښار ته ورسیدو او شاوخوا ګرځیدو. په بندر کې، د لمر ختلو په وخت کې، یوې میرمنې موږ ته د ښار تاریخ بیان کړ. موږ د ښار نوم او یو شاعر او ښوونکي ته د درناوي په لټه کې یو. یو ټایل شتون لري چې د معلوماتو بورډ په توګه کار کوي.

Google Translation into Persian: به شهر رسیدیم و قدم زدیم. در بندر هنگام آفتاب گرفتن، خانمی تاریخ شهر را برایمان تعریف کرد. نام شهر و ادای احترام به شاعر و مربی را می یابیم. یک کاشی وجود دارد که به عنوان یک تابلوی اطلاعات عمل می کند.

Google Translation into Sundanese: Urang anjog di kota jeung walked sabudeureun. Di palabuan, bari sunbathing, hiji awéwé ngawartoskeun kami sajarah kota. Urang manggihan ngaran kota jeung upeti ka pujangga jeung pendidik. Aya ubin anu dijadikeun papan informasi.

Google Translation into Tagalog: Nakarating kami sa bayan at naglakad-lakad. Sa daungan, habang nagpapaaraw, sinabi sa amin ng isang ginang ang kasaysayan ng lungsod. Natagpuan namin ang pangalan ng lungsod at ang pagkilala sa isang makata at tagapagturo. May tile na nagsisilbing information board.

Google Translation into Thai: เรามาถึงเมืองและเดินเล่นรอบๆ ที่ท่าเรือ ขณะนอนอาบแดด ผู้หญิงคนหนึ่งเล่าประวัติของเมืองให้เราฟัง เราพบชื่อของเมืองและเครื่องบรรณาการแก่กวีและนักการศึกษา มีกระเบื้องที่ทำหน้าที่เป็นกระดานข้อมูล

Google Translation into Urdu: ہم شہر پہنچے اور گھومتے رہے۔ بندرگاہ پر سورج نہاتے ہوئے ایک خاتون نے ہمیں شہر کی تاریخ بتائی۔ ہمیں شہر کا نام اور ایک شاعر اور ماہر تعلیم کو خراج تحسین ملتا ہے۔ ایک ٹائل ہے جو معلوماتی بورڈ کے طور پر کام کرتی ہے۔

[nel-world]

hi

Opening: Setting the Scene]

"Thank you, thank you! It’s great to be here tonight. You know, growing up in an Indian household, you get used to some weird stuff—like all the spices in the kitchen that double as medicine. ‘Oh, you have a headache? Just rub some turmeric on it!’ But the weirdest thing in our house was this massive double-sided drum called the Mridangam. You guys know this thing? It’s like a drum that’s trying to cosplay as a medieval weapon."

"My parents were obsessed with the idea that I’d become some Mridangam prodigy. ‘Beta, this will make you unique.’ Yeah, unique like the kid who shows up at band practice with a drum that looks like it belongs in Game of Thrones. My friends are all playing electric guitars, and I’m over here like, ‘Guys, anyone need a Mridangam solo?’ It’s like showing up to a Formula 1 race with a bullock cart."

[Story 1: Learning the Mridangam] (3 minutes)

"So my parents signed me up for lessons. Every Saturday morning, while my friends were outside playing cricket, I was stuck in a room with my Mridangam teacher—this ancient dude who looked like he was carved out of stone. He’d sit there all serious, ‘Play ta dhin dhin na,’ like we’re rehearsing for the world’s most intense yoga session."

"My mom used to bribe me with sweets to keep me going. ‘Play well today, and I’ll get you an extra gulab jamun.’ I’m sitting there, playing like my life depends on it because it does. I’m drumming for dessert, people! It’s not art; it’s survival. And then you’ve got to explain this drum to your friends. They’re all like, ‘Hey, I play bass guitar. What about you?’ And I’m like, ‘Yeah, I play the Mridangam. It’s like a drum but… less portable and way more syllables.’ Not exactly winning me any street cred."

[Anecdote: The Performance Disaster] (2 minutes)

"One time, my mom made me perform at this big family function. I’m up there with my Mridangam, ready to show everyone what I’ve got. Halfway through, my hands start cramping. I’m doing this weird dance trying to shake it out while still keeping the beat. The audience thinks it’s part of the act. My cousin’s like, ‘Wow, he’s drumming and doing interpretive dance. It’s so avant-garde.’ No, dude, I just forgot to stretch."

[Introducing Tablaguy: Unexpected Rivalry] (3 minutes)

"Now, every Mridangam player has a nemesis, and mine was this kid who played the tabla. We called him ‘Tablaguy.’ You know this type—he’s the dude with the two tiny drums that look like they were made to balance your groceries. But don’t be fooled—Tablaguy was fierce. He’d show up with his tabla set, all smug, like he’s holding the keys to the universe. And his fingers? They moved faster than my brain when my teacher asked me a question."

"We’d have these mini drum-offs in class. Tablaguy would start his tabla beats, all rapid-fire ‘Dha tete terekete,’ like he’s solving a calculus problem with his hands. I’m sitting there with my Mridangam, trying to keep up like, ‘Ta dhin dhin na… don’t fail me now.’ The whole class is watching like it’s some kind of drum-themed Mortal Kombat."

"And then there’s the show-off moves. Tablaguy’s always doing this fancy finger dance, like he’s conducting a symphony of tiny, invisible musicians. Meanwhile, I’m struggling with my Mridangam, trying to make it sound cool but ending up looking like I’m fighting off an invisible swarm of bees. One time, he finishes this crazy fast beat, and the whole room’s like, ‘Wow, so impressive!’ I’m just sitting there, sweating bullets, like, ‘Yeah, but can you do this?’ And then I just play the exact same thing, but slower… and with way more fear."

[Story 2: The Drum Ensemble Disaster] (3 minutes)

"One day, my Mridangam teacher had the bright idea to form a drum ensemble. So there’s me, Mr. Mridangam, joined by Tablaguy, a dholak player who just looked like he wandered in from a Punjabi wedding, and this kid with a Cajón—basically a box drum that’s also his chair. We were like the Avengers of percussion, except none of us had superpowers… just a lot of rhythm and a ton of confusion."

"We’re supposed to create this fusion piece, but it ends up sounding like a traffic jam in Mumbai. The tabla guy is tapping away like he’s coding the Matrix, the dholak dude’s beating his drum like it’s a family dispute, and I’m stuck in the middle trying to keep some kind of order. At one point, Tablaguy just starts doing his own thing, and my teacher’s like, ‘Guys, this is supposed to be a duet, not a drum battle!’ But there we are, in full-on battle mode, fingers flying, sweat dripping, and nobody knows what the hell we’re playing."

[Unexpected Situations with Mridangam] (2 minutes)

"Carrying these drums around is a nightmare. You think playing Mridangam is hard? Try carrying it. You’re walking around with a drum so big it needs its own seat on the bus. I brought it to school once for cultural day, and all the kids are showing off their tiny, cute instruments—flutes, violins. Then there’s me, dragging this Mridangam like I’m trying to smuggle in a sacred artifact."

"One time, I thought it would be a great idea to bring it to a party. Everyone’s vibing to the DJ, and I’m thinking, ‘This is my moment.’ I sit down, cross-legged, and start playing ‘Ta dhin dhin na.’ Everyone stops like I’ve just thrown a wet blanket on their good time. My friend yells, ‘Bro, this is a party, not the halftime show of the Mahabharata.’ Yeah, apparently, Mridangam is not the ultimate party starter."

[Shobhit Banwait Cameo] (3 minutes)

"And then I discovered Shobhit Banwait, the tabla guy who makes every song sound like it belongs in a Bollywood blockbuster. Have you seen this guy? He’s playing Drake’s ‘In My Feelings’ with tabla beats like it’s the hottest thing since butter chicken. I thought, ‘Man, if Shobhit can do this with tabla, maybe I can do something cool with Mridangam.’ Spoiler alert: No, I could not."

"So, inspired by Shobhit, I tried to do my own Mridangam remix of ‘Despacito.’ I’m in my room, setting up my Mridangam like I’m about to drop the hottest Carnatic-Latin fusion of all time. I hit play on the song and start drumming along, but it sounds less like a remix and more like two different cultures having a nervous breakdown. Shobhit makes tabla look cool. I make Mridangam look like it’s begging for mercy."

"Tablaguy saw one of my videos and goes, ‘Bro, leave it to the professionals like Shobhit. You’re making Mridangam look like it needs therapy.’ And I’m like, ‘Man, I’m just trying to be the Shobhit of Mridangam.’ But no, it’s not that easy. The guy’s a wizard, and I’m just here making a mess of beats like I’m auditioning for a role in an off-Broadway drum circle."

[Dance Routine Bit with Drum Instruments] (3 minutes)

"Playing all these drums is not just music—it’s a workout. Mridangam is like Pilates for your fingers, Tabla is like an extreme typing test, and Dholak? That’s arm day. My hands are moving faster than my brain, and at one point, I’m pretty sure I invented a new form of dance: Drum Zumba. I’m tapping rhythms while my legs are trying to stay balanced, and people are watching like, ‘Is this a performance or a cry for help?’"

"And when all three drums are playing together? It’s like a chaotic symphony. The Mridangam’s doing ‘Ta dhin dhin dha,’ the Tabla’s tapping out its ‘Terekita thom,’ and the Dholak’s just going rogue like it’s in the middle of a Bhangra battle. At one point, we looked like we were in a drum fight club, each one trying to out-beat the other, and my fingers are moving so fast, they’re about to file a worker’s comp claim."

[Beat Battles: Mridangam vs. Modern Beats] (3 minutes)

"But the best was when I decided to take my Mridangam skills to a beat battle. Yeah, I know. I’m at my high school talent show, and I’m up against this DJ who’s got his turntables, synth pads—the works. He starts spinning this heavy bass track, and I’m sitting there thinking, ‘You’re not ready for this Mridangam magic.’ So I jump in with my ‘Ta dhin dhin na,’ building it up like I’m about to summon the rain gods."

"The crowd’s losing it because they don’t know what’s happening. It’s like watching an ancient drum face-off with modern technology. The DJ’s doing his thing, and I’m countering with every beat I know. At one point, we’re just staring each other down, like it’s a rap battle but with fewer lyrics and way more confused spectators. We didn’t win, but we definitely gave the judges a lot to think about. Or maybe they were just thinking, ‘Never invite these guys again.’"

[Rap Routine with Drums] (2 minutes)

(Starts rapping with beats from Mridangam, Tabla, and Dholak in the background): "Yeah, it’s the drum squad, we’re breaking all the norms, Mridangam on the beat, it’s a classical storm, Tabla’s keeping pace with the double taps and rolls, Dholak’s in the back, slapping beats like it’s goals. Parents said, ‘Beta, learn something grand,’ But here I am drumming with the dopest band. We don’t need a DJ, got rhythm in our hands, Making beats with tradition, yeah, we’re our own brand."

"And when you’re rapping over Mridangam, it’s like blending the best of both worlds—a little bit of tradition, a little bit of trap, and a whole lot of confused looks from your neighbors."

[Closing] (2 minutes)

"So that’s my journey with Mridangam—awkward performances, unexpected dance moves, beat battles, and the endless rivalry with Tablaguy. I’ve learned that Mridangam may not be the coolest instrument, but it’s definitely the most confusing. It’s not just music; it’s an experience, a workout, and occasionally, a complete social disaster. But hey, I’ve made it work—one awkward beat at a time. So next time you hear a Mridangam, just know that somewhere, someone is trying really hard to make it cool. And if you hear an offbeat rhythm… yeah, that’s probably me."

[gaurimisshra]

Raag Rageshree presented with Aalap, Jod, Bandish and Jhala.

It was an honour to have my first studio recording with the blessings of Pandit Ram Kumar Mishra sir. Sincere gratitude.

"Sounds of Serendipity" is a beautiful Indian classical composition on Raag Rageshree, a melodious raga in the Hindustani classical music tradition. Raag Rageshree, often performed during the late evening, evokes a sense of calmness and tranquility. The composition "Sounds of Serendipity" captures this mood by weaving together intricate melodies and rhythms that reflect the serene and soothing qualities of the raga. In this composition, the interplay of melody and rhythm creates a sense of serendipity, where each note seems to flow effortlessly into the next, leading to moments of spontaneous beauty. The music embodies the spirit of discovery, where the listener is taken on a journey of unexpected yet delightful musical turns, much like serendipitous moments in life.

Please do like, subscribe and share it with everyone.

Many thanks to:

Pandit Ram Kumar Mishra: World Renowned Tabla Maestro

Mr. Neel Ranjan Mukherjee: Teacher

Mr. Prabhav Gupta and Team: Cruckes Studio

Mr. Phiyanshu Sachdeva and Team: Videography

About Gauri:

Gauri Mishra has received the Pradhan Mantri Rashtriya BAL Puraskar-2020 as the Youngest Pianist of India from Our Honorable President Shri Ram Nath Kovind and Prime Minister of India Shree Narendra Modi. Recently, she has received the Kala Karnadhar-Youth Artist of the Year Award 2024 by KalaGram under the government of Haryana.She has Performed many prestigious auditoriums across nation i.e Kala Mandir, India Habitat Center, ICCR, Indira Gandhi National Center of Art, Siri Fort National Museum, Manekshaw center, Assam Cultural center, Korean Cultural, Sheetla Mohotsav, Ganga Mohotsav, Rajeev Gandhi Auditorium etc.

She plays four genres of Music on Piano which is a very rare and unique talent.

Gauri has always believed in doing various innovations and experiments with her music. In her recent concert, she took the audience through a splendid journey from our very own ‘Indian Classical Music’ to the essence of ‘Bollywood Music’ through the admirable ‘Western Music’ to her own ‘Innovative Fusions’.

www.gaurimisshra.com

https://www.youtube.com/c/GauriMisshraPianistPiano

https://www.facebook.com/Gauri.Misshra

https://www.instagram.com/gauri_misshra_pianist/

[mozgoderina]

Lost Essence (Postman)

It is naive to suppose that something that has been expressed in one form can be expressed in another without significantly changing its meaning, texture or value. Much prose translates fairly well from one language to another, but we know that poetry does not; we may get a rough idea of the sense of a translated poem but usually everything else is lost, especially that which makes it an object of beauty. The translation makes it into something it was not. To take another example: we may find it convenient to send a condolence card to a bereaved friend, but we delude ourselves if we believe that our card conveys the same meaning as our broken and whispered words when we are present. The card not only changes the words but eliminates the context from which the words take their meaning.

Similarly, we delude ourselves if we believe that most everything a teacher normally does can be replicated with greater efficiency by a microcomputer. Perhaps some things can, but there is always the question, what is lost in the translation? The answer may even be: everything that is significant about education. Though it may be unamerican to say it, not everything is televisible. Or to put it more precisely, what is televised is transformed from what it was to something else, which may or may not preserve its former essence.

Author: Neil Postman (1931 – 2003). Book: “Amusing Ourselves to Death: Public Discourse in the Age of Show Business”. Publisher: Viking Press, 1985. Illustration: Günther Uecker [Germany] (b 1930) ~ 'Shoe (Olympia)', 1972. Plaster cast with nails (10 x 32 x 16 cm). Moderator: MozGoDER vELičANsTvENi → 

✓ svAkE NEDELJE TAčNo u 09H - oD 1. JANuARA 2017! →

✓ EkoNoMski EpiLoG: DoNiRAJTE BLoG @ pAyPAL.ME →

✓ A DNEvNicu čuvAJTE za pRoDAvNicu @ REDBuBBLE →

✓ pHoTocRowD FoToGRAF →  ✓ FAcEBook sTRANicA →  ✓ piNTEREsT TABLA →  

s MoJE TAčkE, NAGLAvAčkE: ✓ “PressPausePlay”: Na klik mišem od kraja kulture →  ✓ Virtuelni intelektualac →  ✓ Günther Uecker : Hammering Passion → 

oBELEžENA TRAsA NA puTu Do spAsA: ✓ Tehnički milje (Žak Elil) →  ✓ Kandže pseudocivilizacije (Nuaj) →  ✓ Terapija za posledice novih medija (Mekluan) → 

[ajivasanacademy]

Discover the Best Tabla Classes and Harmonium Classes at Ajivasan Music and Dance Academy

Are you passionate about Indian classical music and looking to enhance your skills? Whether you’re a beginner or an experienced musician, Ajivasan Music and Dance Academy offers exceptional opportunities for learning and mastering traditional instruments. Our music academy, renowned for its diverse and high-quality offerings, is your destination for the best tabla classes near me and harmonium classes.

Why Choose Ajivasan Music and Dance Academy? Ajivasan Music and Dance Academy stands out as a premier institution for music and dance in Mumbai. We take pride in our comprehensive curriculum, expert instructors, and welcoming environment. Our commitment to nurturing talent and providing top-notch education makes us the preferred choice for those searching for the best tabla classes near me and harmonium classes.

1. Expert Instruction in Tabla and Harmonium

At Ajivasan Music and Dance Academy, we understand that mastering an instrument requires guidance from experienced teachers. Our tabla classes are conducted by seasoned musicians who have honed their skills over years of practice and performance. Similarly, our harmonium classes are led by experts who bring a deep understanding of this beautiful instrument. Both our tabla and harmonium instructors are dedicated to helping students reach their full potential, ensuring that you receive personalized attention and feedback.

2. Comprehensive Curriculum

Our curriculum for tabla and harmonium classes is designed to cater to students of all skill levels. For beginners, we offer foundational courses that cover the basics, including rhythm patterns, hand techniques, and basic melodies. Advanced students can delve into complex compositions, improvisation, and performance skills. Whether you’re looking for tabla classes to develop a strong rhythmic foundation or harmonium classes to explore intricate melodies, our academy provides a structured path to achieve your musical goals.

3. State-of-the-Art Facilities

Our academy is equipped with modern facilities and high-quality instruments to ensure that every student gets the best possible experience. When you join our tabla classes or harmonium classes, you’ll have access to well-maintained instruments and a comfortable learning space that fosters creativity and focus.

4. Performance Opportunities

One of the unique aspects of studying at Ajivasan Music and Dance Academy is our emphasis on practical experience. We regularly organize recitals, concerts, and workshops where students can showcase their skills and gain valuable performance experience. Our tabla and harmonium classes are designed not just to teach you how to play, but to prepare you for real-world performance scenarios, helping you build confidence and stage presence.

5. Personalized Learning Experience

Understanding that every student has different learning needs and goals, our academy offers a personalized approach to teaching. Our instructors take the time to understand your musical interests and tailor the lessons accordingly. Whether you’re interested in exploring traditional compositions or contemporary adaptations, our tabla and harmonium classes are flexible and customized to meet your needs.

Enroll Today and Start Your Musical Journey If you’re searching for the best tabla classes near me or harmonium classes, Ajivasan Music and Dance Academy is the perfect place to start. Our expert instructors, comprehensive curriculum, and supportive environment are designed to help you achieve excellence in your musical journey.

Don’t miss the opportunity to be part of Mumbai’s leading music academy. Contact us today to enroll in our tabla and harmonium classes and take the first step towards mastering these wonderful instruments. We look forward to welcoming you to our academy and helping you unlock your musical potential.

https://ajivasanmusicacademy.com/tabla-classes/

https://ajivasanmusicacademy.com/harmonium-classes/

[pratanumindpowerdevelopment]

Important tips for playing indian bamboo flute

Playing the Indian bamboo flute, or bansuri, requires dedication and practice. Here are some important tips to help you develop your skills and play beautifully:

1. Proper Holding Technique

Grip: Hold the flute with your left hand on top and right hand on the bottom. Your fingers should cover the holes completely but lightly.

Position: Keep the flute horizontal, parallel to the ground, and angle it slightly downwards for better airflow.

2. Correct Posture

Relaxed Posture: Sit or stand with a straight back and relaxed shoulders. Avoid tension in your neck and shoulders.

Head Position: Keep your head straight and slightly tilt it forward to create a good embouchure.

3. Embouchure and Breath Control

Embouchure: Place the blowing hole just below your lower lip. Form a small aperture with your lips and blow a focused stream of air.

Breath Control: Practice controlling your breath to produce a steady, even tone. Use diaphragmatic breathing for better control and endurance.

4. Finger Placement and Technique

Covering Holes: Ensure that your fingers cover the holes completely to avoid air leaks, which can affect the sound quality.

Finger Movement: Practice smooth and quick finger movements to transition between notes cleanly.

5. Developing a Good Tone

Long Tones: Practice playing long, sustained notes to develop a clear and stable tone. Focus on maintaining a consistent airflow and pitch.

Dynamics: Experiment with different breath pressures to produce various dynamics (soft and loud tones).

6. Scales and Ragas

Basic Scales: Start by learning basic scales like Sa-Re-Ga-Ma-Pa-Dha-Ni-Sa. Practice them regularly to build familiarity with the finger placements.

Ragas: Gradually learn and practice different ragas, understanding their specific note patterns, moods, and ornamentations.

7. Ornamentation and Techniques

Meend (Glides): Practice sliding between notes smoothly to create a flowing sound.

Gamak (Rapid Oscillations): Learn to play quick, oscillating notes for added expression.

Murki (Grace Notes): Incorporate quick, decorative grace notes to embellish your playing.

8. Rhythm and Timing

Tala Practice: Learn and practice different talas (rhythmic cycles) using a metronome or tabla accompaniment.

Consistency: Maintain consistent timing and rhythm, which is crucial in Indian classical music.

9. Listening and Imitation

Listen to Masters: Regularly listen to recordings of renowned bansuri players to understand their techniques and styles.

Imitate and Learn: Try to imitate the phrases and nuances you hear, incorporating them into your practice.

10. Regular Practice

Daily Practice: Commit to regular, focused practice sessions. Consistency is key to developing and maintaining your skills.

Variety: Include a mix of exercises, scales, ragas, and compositions in your practice routine to keep it engaging and comprehensive.

11. Patience and Perseverance

Be Patient: Progress can be slow, and mastering the bansuri takes time. Stay patient and persistent.

Enjoy the Journey: Focus on enjoying the learning process and the beautiful sounds you create, rather than just the end goal.

12. Teacher Guidance

Find a Guru: If possible, learn from a qualified teacher or guru who can provide personalized guidance and feedback.

Feedback: Regularly seek feedback and be open to constructive criticism to improve your playing.

By following these tips and dedicating yourself to regular, mindful practice, you can develop proficiency and artistry on the Indian bamboo flute.

Call pratanu banerjee 91-8017517171 online and offline class

flute class at performing artist society

[whileiamdying]

A Raga Renaissance Flowers in Brooklyn

From left, Shiva Ghoshal, Arun Ramamurthy, Jay Gandhi and David Ellenbogen of Brooklyn Raga Massive jamming at Pioneer Works in Brooklyn.Credit...Loren Wohl for The New York Times

By Vivien Schweitzer March 24, 2016

The jeweled raiment and serene kohl-rimmed eyes of Saraswati, the Hindu goddess of knowledge, music and the arts, were projected on a screen behind the stage one recent evening at Pioneer Works, the exhibition and performance space in Red Hook, Brooklyn.

With an ensemble that blended Western instruments and traditional Indian ones, the tabla and sarod, two vocalists — Roopa Mahadevan, wearing a glittery silver sari, and Haleh Kilmer, in dark jeans and boots — sang selections including a tribute to the goddess rendered by Ms. Mahadevan in the haunting melismatic style of southern India. The evening celebrated Indian female cultural figures as well as the female members of the Brooklyn Raga Massive, a dynamic nonprofit collaborative formed in 2012 with a mission to expose new audiences to Indian classical music.

Such weekly events, held in spaces around the city, highlight different elements of the raga, the backbone of Indian music, and conclude with lively late-night jam sessions in which any musician who observes the house rules is welcome to participate. The Massive’s free-floating operations are a vital part of a flowering of Indian music in New York.

On April 6, the collective will offer a birthday tribute to Ravi Shankar, the influential sitar player who collaborated with Western musicians including the violinist Yehudi Menuhin and the flutist Jean-Pierre Rampal. Mr. Shankar’s impact led The New York Times in 1966 to declare that the raga was “becoming a rage in America,” although it deemed it a “curious fad.” The Massive refers to its current contemporary movement as a raga renaissance.

Yet according to Par Neiburger, the artistic director of the World Music Institute, the Massive is unusual in that, in contrast to the top-down traditionalist approach of most Indian musical organizations, with fierce loyalty to individual teachers and a strict guru-disciple hierarchy, its structure is free-form and democratic.

“There is a lot of improvisation in Indian classical music,” Mr. Neiburger said. “But the basic forms lend themselves to a tradition that is kept intact and hasn’t really been modernized in any extreme way.”

Anoushka Shankar, the sitar-playing daughter of the renowned sitarist Ravi Shankar, who plans an American tour in April to promote her new album.Credit...Simon Scheuller

Recent events presented by the Massive at Pioneer Works, where the collaborative is in residence until April 27, have included explorations of the Hindustani music of northern India; Indian film and dance; a collaboration with African musicians like the Malian singer Awa Sangho; and a tribute to George Harrison and the Beatles. Coming events include an exploration of Carnatic music, the idiom of southern India, on Tuesday, March 29, and, on April 13, a lineup mixing Cuban rhythms with raga melodies.

The Massive has also explored the influence of Indian music on prominent Western classical composers like Terry Riley, performing his “In C,” a Minimalist work from 1964, last year at the Rubin Museum; a recording on the Northern Spy Records label is due out later this year. In a concert in September at Le Poisson Rouge in Greenwich Village, it will celebrate the birthday of John Coltrane, who was fascinated by Indian music.

As the central element of Indian music, the raga originated with the ancient Vedic hymns sung in Hindu temples and is intended to create a trancelike spiritual mood. (The word, derived from Sanskrit, translates as “passion” or “color.”) It is composed from scales with ascending and descending patterns that form a melodic framework for improvisation and is associated with seasons, moods and events. Ragas open with an introspective prelude called the alap (performed without percussion) that evolves into a rhythmically invigorating section with percussion that often features virtuoso solo segments.

Ragas are largely monophonic, incorporating drones created by instruments like the tanpura, a long-necked plucked string instrument.

A spellbinding concert presented in February at the 92nd Street Y by the World Music Institute illuminated the Carnatic genre at its most sublime. The violinist L. Subramaniam (whose father, V. Lakshminarayana, expanded the role of the violin in the Carnatic tradition from background to solo instrument) joined his son, Ambi Subramaniam, also a violinist, for a mesmerizing performance.

Gentle wisps of melody shared by the two men slowly unfolded over a drone before morphing into a flurry of imaginatively ornamented, virtuosic riffs. When they were joined by two percussionists (Mahesh Krishnamurthy on the mridangam and Ravi Balasubramanian on the ghatam), the music reached ecstatic heights.

Anoushka Shankar, the daughter of Mr. Shankar and a sitar player who both performs classical Indian music and a fusion incorporating other influences, said in an interview that the traditional music in its pure form is struggling in India, where Bollywood and fusion music promoted by the Indian television series “Coke Studio @ MTV,” are popular. “It’s hard to compete in a short-sound-bite-driven market when a form of music is by nature about a slowly unfolding genre,” said Ms. Shankar, who plans an American tour in April timed to the release of her new album, “Land of Gold.”

The violinist L. Subramaniam, who performed recently at the 92nd Street Y.

In the United States, Mr. Neiburger of the World Music Institute said, Indian classical music tends not to have “the broad appeal that some other world music genres might have, such as Brazilian music, fado and flamenco.” So the Massive teams up with others eager to attract new American listeners, like the Biryani Boys, a duo consisting of the tabla player David Freeman and the sitar player Mustafa Bhagat who also produce YouTube videos infused with hipster humor and featuring prominent Indian musicians.

On Saturday, April 2, at the Metropolitan Museum of Art, New Yorkers will have the chance to hear some of India’s most prominent musicians. Amjad Ali Khan will perform with his sons, Amaan and Ayaan Ali Khan, the seventh generation of a family of musicians who play the sarod, a long-necked lute prominent in classical northern Indian music.

Many of the Massive members perform Indian classical music in its pure form as well as experimenting with various fusions. An afternoon performance at the Met this month by the sitar player Neel Murgai and the tabla musician Sameer Gupta proved riveting, the soulful alap building in intensity to the colorful fast section called the jhalla.

In a contemporary music scene characterized above all by crossing and blurring genres, it’s possible to find all kinds of collaborations. Mr. Gupta and Mr. Murgai also perform with the violinists Arun Ramamurthy and Trina Basu, both trained in the Carnatic tradition, and the Western-trained cellist Marika Hughes as the Neel Murgai Ensemble. It performs what it describes as “raga chamber jazz,” a blend of Indian forms with everything from Tuvan throat singing to Roma tunes.

Ms. Basu also plays with the cellist Amali Premawardhana, the bassist Perry Wortman and the tabla player Roshni Samlal in the ensemble Karavika, which specializes in a soulful blend of classical and folk traditions from the United States and India.

The Massive members are proud of their open-minded outlook. “New forms are being created that are indigenous to Brooklyn,” Mr. Murgai said. As for the collective’s future goals, Mr. Gupta points out in a lighthearted Massive video that Pioneer Works is not far from the Statue of Liberty in New York Harbor.

“I have a dream,” he said, “that one day the statue won’t have a book and a torch but will have a sitar and a tabla.”

A version of this article appears in print on March 27, 2016, Section AR, Page 12 of the New York edition with the headline: A Raga Renaissance Flowers in Brooklyn.

[theknowledgereview]

Preserving India’s Rich Cultural Heritage through Fine Arts Education

Exploring the Essence

India, with its rich cultural tapestry woven by revered sages and heroes, stands as a sacred land whose heritage inspires awe and reverence. At the heart of this cultural legacy lies the realm of fine arts education — a sanctuary of traditions, expressions, and artistic endeavors that transcend time.

Fine arts, encompassing music, dance, visual arts, and theater, serve as custodians of India’s cultural essence. They are not mere disciplines but living narratives, told through strokes of brushes, rhythmic beats, and graceful movements. These artistic expressions embody the spirit of Indian culture, preserving ancient wisdom and contemporary innovation alike.

The significance of fine arts education lies in its ability to bridge temporal divides and forge connections across generations. By immersing in the study and practice of fine arts, individuals become heirs to India’s historical legacy, embracing the stories and customs passed down through centuries.

Moreover, fine arts education fosters a profound appreciation for India’s cultural diversity, instilling a sense of pride and identity in the younger generation. It serves as a dynamic force that adapts to the evolving narratives of modern India, ensuring that the artistic interpretations of its legacy remain true to its spirit.

Preserving Tradition through Dance

Classical dance forms such as Odissi and Bharatanatyam serve as gateways to India’s rich cultural heritage. Through these dances, practitioners not only learn intricate movements but also inherit ancient customs and narratives. Similarly, in the realm of visual arts, the strokes of a brush on canvas echo the techniques of master painters, preserving the aesthetic sensibilities of different regions and epochs.

Fostering Cultural Identity

Fine arts education celebrates the myriad expressions that constitute India’s cultural mosaic. By engaging with diverse art forms, students gain fresh perspectives and skills while deepening their understanding of their cultural roots. This appreciation for cultural diversity fosters a sense of belonging and pride in one’s identity.

Embracing Musical Traditions

Learning traditional Indian instruments like the sitar and tabla enables students to connect with centuries-old ragas and rhythms. Through music, they not only preserve musical traditions but also explore avenues for contemporary expression.

The Guru-Shishya Tradition

The Guru-Shishya parampara, intrinsic to Indian classical arts, ensures the transmission of technical skills and values from one generation to the next. This age-old tradition fosters a deep bond between teacher and student, ensuring the preservation of cultural heritage.

Addressing Challenges and Priorities

Despite its cultural significance, fine arts education faces challenges in the current educational landscape, with STEM subjects often taking precedence. However, neglecting the arts in education is shortsighted, as it deprives students of a holistic education. Therefore, it is imperative to integrate and prioritize fine arts education to ensure a well-rounded learning experience for all students.

Elevating Fine Arts Education

Government initiatives, private-sector partnerships, and community involvement are essential in elevating the status of fine arts education. By establishing dedicated academies, organizing cultural festivals, and integrating arts into mainstream education, India can preserve and flourish its cultural heritage.

Conclusion

Fine arts education serves as a beacon illuminating the path toward preserving India’s rich cultural heritage. Beyond its aesthetic appeal, it nurtures a deep sense of belonging and appreciation for India’s diverse cultural tapestry. As India marches forward into the future, fine arts education remains a timeless guardian, ensuring that the essence of its heritage continues to thrive and inspire generations to come.

READ MORE: https://theknowledgereview.in/preserving-indias-rich-cultural-heritage-through-fine-arts-education/

SOURCE:https://theknowledgereview.in

Educational Magazine in India

Education Leaders in India

Best Educational Magazine in India

Top Education Magazine

[ditabla]

IS IT DIFFICULT TO LEARN TABLA?

Before we get into the specifics of playing the tabla, let's take a moment to appreciate the instrument itself. The tabla is more than just a pair of hand drums; it is an embodiment of centuries-old traditions and culture. Its roots are in ancient Indian literature, where religious and classical music made considerable use of it. In a highly respected tradition known as "guru-shishya parampara," the tabla has been passed down through the years from teacher to student. It is not hyperbole to say that the resonance chambers of the tabla hold the essence of Indian classical music.

To know more visit my website ditabla

[sankirtan]

On 10/17/2023 we held a new beautiful concert and cultural program in the Hall of Honor of the Supreme Court of Justice in Santiago, Chile. (Celebrating 200 years of the Courts). This unforgettable event was dedicated to world peace and was led by His Excellency President of the Supreme Court, Mr. Juan Eduardo Fuentes Belmar. We have the special presence of Ministers, National Authorities, our beloved music teacher Millapol Gajardo, the President of Indian Association in Chile Mr KKishan Dadlani family and friends. The photos of our Masters (Acaryas) were respectfully placed on the main podium and in addition to listening to the Maha Mantra, all attendees enjoyed a wonderful prasad cocktail and received books from Srila Prabhupada as a gift. All the musicians are Chilean, among them, the lawyer Sri Bhakti Das (in Rudra Veena, Sitar e Esraj), JJuan Elgueda(in Santoor and Tabla) Lalita Madhava Das (in Sarod and Mrdanga) and Yamuna Priya Radha (in Harmonio and Kartalas ). The cocktail Prasad was headed by Manjuali Devi Dasi, book distribution by Indira Jahnava Devi Dasi, general logistics and management by Pundavanika Devi Dasi with the special collaboration of Bhaktin Antonia Pinochet. This beautiful video was made by Felipe Soto (Fas). Special thanks to His Divine Grace AC Bhaktivedanta Swami Prabhupada, HH Jayapataka Swami Maharaja, HH Hanumat Presaka Swami Maharaja, HH Dhanvantari Swami Maharaja, HH Priti Vardhana Swami Maharaja, HG YYasomati Devi Dasi Guruji Millapol Gajardo, Pandit Yograj Naik, Sri Samanwaya Sarkar, Sri Murali Mohan Gouda, Pandit Prabhat Mukherjee, Ustad Murli Manohar, Pandit Parto Sarathy, Valentina Sada, Viviana Quiñones, José Muñoz, Fernando Khas, Soledad Evans, Evelyn Araos, our families and friends

(via Hall of Honor Supreme Court of Justice. Santiago Chile 2023 - YouTube)

[fitfortunescourse]

Harmonize Your Career: Sound Therapy Courses in India

In a world where stress and anxiety often seem to be the norm, the pursuit of inner peace and holistic well-being has gained immense importance. Many individuals are turning to alternative healing practices, and sound therapy is emerging as a powerful and effective modality. India, with its rich heritage of traditional healing practices, is an ideal destination to explore sound therapy. In this article, we will delve into the world of sound therapy courses in India and how they can help you harmonize your career and well-being.

The Healing Power of Sound

Sound therapy, also known as sound healing or sound bath therapy, is based on the principle that sound vibrations can influence our physical, emotional, and mental well-being. It utilizes various sound tools, including singing bowls, tuning forks, gongs, and even the human voice, to create harmonious vibrations that resonate with the body's energy centers. The therapeutic benefits of sound therapy include stress reduction, improved sleep, enhanced focus, and emotional release.

Why Choose Sound Therapy Courses in India?

India, with its rich tapestry of ancient healing traditions such as yoga, Ayurveda, and meditation, is a natural home for sound therapy. Here are some compelling reasons to consider pursuing Sound Healing Course in India:

Cultural Heritage: India has a deep-rooted tradition of using sound as a therapeutic tool. From Vedic chants to classical music and mantras, sound has been an integral part of Indian culture and spirituality for centuries.

Experienced Instructors: India is home to experienced sound therapists and instructors who have a profound understanding of the therapeutic properties of sound. They bring a wealth of knowledge and expertise to sound therapy courses.

Holistic Education: Sound therapy courses in India often encompass a holistic approach that combines traditional Indian healing practices with modern sound therapy techniques. This blend creates a comprehensive and unique learning experience.

Diverse Sound Tools: India offers access to a wide variety of sound tools and instruments used in sound therapy, including traditional Indian instruments like the sitar and tabla.

Spiritual Connection: Many sound therapy courses in India are held in serene and spiritually significant locations, adding a deeper dimension to your learning experience.

What to Expect from Sound Therapy Courses in India

Sound therapy courses in India are designed to provide a thorough understanding of sound healing principles and practices. Here's what you can typically expect from such courses:

Theory and Fundamentals: You'll learn the fundamentals of sound therapy, including the science behind it, the use of various sound tools, and their therapeutic applications.

Hands-On Training: Courses often include practical sessions where you'll have the opportunity to work with different sound instruments and develop your skills in creating therapeutic soundscapes.

Meditation and Mindfulness: Sound therapy is often combined with meditation and mindfulness practices to enhance its effectiveness in promoting relaxation and healing.

Client Interaction: You'll be trained on how to work with clients, assess their needs, and create personalized sound therapy sessions.

Certification: Many courses offer certification upon completion, which can enhance your credibility as a sound therapist.

Our Service:-  

200 Hour Yoga Teacher Training

Yoga Teacher Training in India

Conclusion

Sound therapy is gaining recognition as a powerful and transformative healing modality. Pursuing Sound Healing Course in Rishikesh not only equips you with valuable skills for a career but also allows you to explore the deep-rooted healing traditions of this ancient land. Whether you're a wellness enthusiast, holistic practitioner, or someone seeking a meaningful career in healing arts, sound therapy courses in India offer a unique opportunity to harmonize your career and well-being through the transformative power of sound.

[the-hindu-times]

KULA SHAKER - 100 Club 4/9/23

Since Kula Shaker reformed in the mid 2000s, I've seen the '90s' Britpopers in a few various-sized-venues; including the Kings Cross Scala, the Chalk Farm Roundhouse, Tower Gateway Wilton's Music Hall, Guildford G Live and Shepherd's Bush Empire (as well as Chrispian Mills' The Jeevas, at Canterbury Kent University [now vegan!], before that). Tonight's 350-capacity-basement, the 100 Club (formerly known as Feldman Swing Club [from 1942-1964]), was by far the smallest. As the band walked on stage, through the [mostly middle-aged] crowd, to a Hindi female vocal backing track (possibly the voice of London based Hindi and Bengali music teacher, Gouri Choudhury, who has featured on Kula Shaker recordings and in their videos), the band's influence from Indian culture, along with the club's decor (still the same since the 1970s), remain unchanged.

Of course, Kula Shaker were always a bit different from the others in the Britpop movement; Whilst Dodgy were leaving their house (later shared with The Bluetones) in Hounslow West to put on their club night in Kingston, Crispian Mills (Kula Shaker singer/guitarist [born in Hamnersmith and brought up in Hampton]) and Alonza Bevan (Kula Shaker bassist [born in Hounslow]) were doing the same thing at the back of Richmond Ice Rink - but with the added craziness of Crispian's mum(actress, Hayley Mills)'s boyfriend, Marcus Maclaine, sporting riding boots whilst whipping the Sun newspaper live on stage, as they performed under the name Objects Of Desier.

After reinventing the South West Greater London / Middlesex / Surrey recidency scene, since the days of The Rolling Stones at Eel Pie Island in Twickenham, Crispian travelled to India, where he has been inspired by Hinduisim and their culture ever since naming the band after the 9th century Indian King, Kulasekhara.

On the opening day of the UK's Indian summer, tonight's set was made up largely from 1996's 'K', with a couple from 1999's 'Peasants, Pigs and Astronaughts' thrown in too. Of course, there were some great tunes missed out from their heyday (the last time they were with Kent Keyboardest, Jay 'Jesus' Darlington, who's now back in the band for this tour) but that wasn't to make way for any tracks from their latest 2022 album '1st Congregaional Church...'. In fact, there was nothing from 2007's 'Strange Folk' or 2010's 'Pilgrim's Progress' either... and only one song from 2016's 'K 2.0'. There were four new songs from forthcoming album 'Natural Magic', including new single release 'Waves', so, the majority of tonight's musical offerings are from when Jay has been present.

Lyrically, Kula Shaker mix different Indian languages (Crispian singing in Sanskrit and English, with the additional vocals in Hindi and Gujarti) whilst musically, the crossover between the two cultures saw the Western instrumentation performed live, as the tradional Indian instruments (sitar, tamboura and tabla) were on backing track, until Johnny Kalsi jumped up to play The Dhol on a couple of numbers, making us wonder if a large theatre show with all live musicians would be an even better experience than tonight's intimate event. With Crispian Mills, now 50, having as much energy and enthusiasm as ever before, there's plenty more time for another reincarnation of this band.

Nic Bennett & Mittal Patel

[nityarawal]

8/29/23

"My Little Pony," - Diana 

"My Little Pony,"

That Jingle

Got Stuck In My Head

"My Little Pony,"

Be Careful

What You Wish For

My Voice

Ain't For Sale

"My Little Pony,"

Oh How We Played 

With Those Dolls

In The Bath

Combed Their Hair

In Lake Tahoe

While Our Daddies

Built Homes

For Us Muses

Resorts

"My Little Pony,"

A Chant

In My

Childhood Brain

"My Little Pony,"

Diana

My 14th

Pop Star Tween

Birthday Present

Diana

My Best Friend

Dirty Diana

In The '90's

Protecting

Our Princess Diana

From Michael Jackson

Fate

Trolled By Gay

Monks Smear

Campaign

Squatters

Selling Out Her Family

On Bribes

Pedophiles

"My Little Pony,"

So Much More

Than A

Commercial

Song Writer

"My Little Pony,"

Now Dean Of

Students

"My Little Pony,"

Chant

Set Up A

Waldorf School

"My Little Pony,"

Went To Northwestern

Put Herself

Through College

"My Little Pony,"

Treated The Gals

To Lunch

All Through

High-school

Self Sufficient

Even Southern Texas

Prudent

Millionaires Kids

Bellas' Not Allowed

To Work

Nanny

"My Little Pony,"

Hosted Us

In New York

East Hampton

Up The Hudson

Livingston Manor

Catskill

Little Knitting

Cozy 

Cafes

Mother Divine Stops

Rhinebeck

Sushi

Omega Institute

Oasis

Red Barn House

Swedish Folk

Art

Stenciled Everywhere

By Mom

Christmas Jokes

Despite

The "Jewish Temples"

Clause

Oh, "Dirty Diana,"

Jewish Cyrkle

Rockstar

Daughter

Red Rubber Ball

Dad 

Beatles Opener

Byrds Agent

Sister Of My

Singers

Transcendental Heart

Santa Swedish Mom

Civil Activist 

Model

Farming

Dirty Diana

Hybrid Economy

"My Little Pony,"

Oh What Would

I Have Done

To See You Sing

At Woodstock

"Star Spangled Banner,"

You Told Me

What Mothers "Wove"

On My Last

Train Up The Hudson

River

In The Autumn

Gold Leaves, Red & Orange

Snow

November

Nature's Miracles

You Told Me By 

The Fire

Your Hubby Cohen

In The Loft

Snoring Like 

A Freight Train

Tired From Hard Work

Building School Temple

Corporations

Home

"Dirty Diana,"

Dean Of Students

Yeah We'd Go To Tempe

To Beat Your Tune

"Dirty Diana,"

"My Little Pony,"

East Hampton

Dutchess County

Farm Maiden

Teachin'

"My Little Pony,"

Fundraisin'

For Education

Sellin' Old Gringo

Cowboy Boots

For Kids

Needs

"My Little Pony,"

Yeah We'd Move

To The Dessert

For You

"My Little Pony,"

Yeah We'd Move

To The Dessert

For You

"My Little Pony,"

Commercial

Singer

Teacher

Storyteller

Mom 

Auntie

Ma- "Is It True?"

Byron Katie

Queried You

Yeah- We'd Move

To Tempe

To Be Mothered

By Your Lot

At University

Of Arizona Plot

Just Tell My Son

To Call

Children Are

Lining Up

We Got Our

Instruments

Scientists

Writers Ready

To Detox

On Strike

Mammas

Nannies

Actresses

Grievers

Call Magistrate Judges

Influencers Children

Almost 18 Years Old

Some Hit

The Mark

Already

Like Isha Kyan

Rawal

And Vivian Wilson (Musk)

And Her 

Twin Brother

Gotra

Gautama

Buddha Rising

Buddha King

King Tasters

Great Grandson

Muses Dance

Krishna

Tambourines

Cowbell 

String Instruments

Tabla

Sitar

Persian Violin

Ready For Your

Next Krishna Moves

Luthier's Say

Bring #FreeBritneys

Boys Home From

Hawaii

She Didn't Agree

To TMZ

Plots Canada

With Conservators

Of Court

Australian Cons

Meddling

Monarch Bribes

Bring #FreeBritney Boys

Home To The Mainland

Bit 'O Brit

Was Far Too "Nice"

But I Know You're Right

That Mamma's Not

A "B"

At All

But I Know

That "Mamma 

Maui" Didn't 

Like The "Lahaina Fires,"

Bride Price For Their Heads

Land

Polluting

Mother Maui

It's Through 

Hosting

At University Of Hawaii 

Sisters

Lahaina Youtubers

Journalists

Drummed Her Fires

Messages

With Our Feet

Mahalo

Mahalo

Police States

Vacate

Mahalo

Mahalo

No More Probate

Scams

On Our Shores

Oprah

Brokers

Please

No More Probate

Scams

On Our Singers

Writers

Actors

Heads

Dr's Love

Peace

Aho

Pau

Peace,

Nitya Nella Davigo Azam Moezzi Huntley Rawal