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March 25, 2002, Chandigarh, India
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Six-day Spring Fest concludes Chandigarh, March 24 Those who won the various competitions yesterday included Ritesh, Shiva and Bala, who got the first prize in dumb charade, Jagjit and Narinder won the second prize while Tanuja, Sonal and Pratibha's team came third. In the various dance competitions, Nivedita won the first prize in Indian solo while Sarika came second and Kulbir came third. Siresh got the first prize in western solo while Mandeep Sodhi came second and Manik came third. Balwinder and his group won the first prize in the group dance category while Narinder and his team came second. In the western group dance competition, dancing cheetahs (Ganesh and group) got the first prize while Tanuja and her group got the second prize. The dances were choreographed by Dimple and Lakhwinder. Manpreet Varaich choreographed the fashion parade.  |
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Cyanide gets off to flying start Chandigarh, March 24 Organised by the students of the department, the three-day event has grown to be a mega annual festival since its revival in 1995 in the university. This time the students have been able to collect Rs 5.5 lakh from sponsorships and have managed to rope in big names like the Wadali Brothers and Jasbir Jassi to perform for the event. The fete which will be held in the lawns opposite the library will be stage for many events which include literary competitions like Jam, Wordsworth, mock conference, dumb charades skits, folk dances over the next three days. On the last day other than the grand finale with Jasbir
Jassi’s show, a fashion show will also be organised in which Mr and Miss cyanide will be chosen. Talking to Chandigarh Tribune before the performance, the Wadali brothers said the two places where they loved to perform were Delhi and Chandigarh. For a young crowd, who ‘‘have a tendency to consider every nuance of haquiqi as mazazi, one sings in a different mode and for a crowd which is more serious, one sings differently,’’ they say. |
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City schools closed today Chandigarh, March 24 All UT Administration offices, the Punjab and Haryana High Court, the District Courts and all Central Government offices located in the city will remain closed. The District Courts in Panchkula will also remain closed. However, banks in the city will remain open. |
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‘Ask the right question’ Chandigarh, March 24 Ms Dhingra was of the opinion that teachers should be very clear what they want to ask from students. Presiding over the valedictory session of the workshop, Prof. Ramesh Kapoor, Dean Colleges Development Council, Panjab University, felt that problems lie in conducting and evaluation of examinations. He further added that teaching of almost 160 days is assessed in just three hours and so the preparation of question paper needs attention and reforms. Others who were present on the occasion include Dr Sunil Dutt and Dr Swayam Bedi, both teachers. |
Creating instruments for raag purity Chandigarh, March 24 With two instruments already to his credit, Pt Bhatt is now creating a third one. The joy of creation spilled from his talk as he took some time off to speak with The Tribune today. Although jittery about whether Lagaan would clinch the Oscar for India, Pt Bhatt tried to wear a calm face, asking: "What do you think? Will Lagaan win?" For the musician who played the Mohan veena to enrich Lagaan's music, the apprehension was only natural. From Lagaan the attention shifted to the third creation of Pt Bhatt, which, he said had a swan-like neck. "The look of a guitar has been eliminated. My new creation is more like the Mohan veena, but it has larger scope because it offers an amalgamation of sitar, Sarod, veena and guitar." For Pt Bhatt, the process of creation is quintessential to life. "There are many problems with the world of music, where people find it hard to appreciate others. I have often been dubbed as an artiste busy creating forever. But that does not deter me from my path. I created the Mohan veena, not to earn a Grammy, but to quench my creative thirst. As an artiste I must admit that I am ambitious. Given this, the process of further invention is still not ruled out. In spite of what others have to say, my religion is to worship goddess Saraswati and I will profess it till the last day of my life." In town to perform under the 32nd Bhaskar Rao concert, Pt Bhatt talked at length about his distinct style, his vishwa veena and his favourite ragas. "My style reflects a combination of gayaki and tantrakari ang (Instrumental embellishments). With due respect to set norms of a raga, I am at liberty to imagine and play the raga differently. I can play one raga for over one and a half hour." Absolutely in love with his music, Pt Bhatt described the raga as human body, which every musician strives to decorate and describe. "This kind of liberty is only possible in the Indian classical tradition. The same raga can be played in so many different styles. All it requires is vision which comes through comparative study of various gharanas and the manner in which they treat different ragas. Whenever I get on to the performance space, I improvise in the hope that the goddess blesses me that day. The only fear I have before a concert is whether the goddess will be kind to me or not. And if she is, I can touch any corner of the raga." With favourites in yaman, bageshwari and Basant, Pt Bhatt loves to sing gujari todi and nat bhairav in the morning; madhuvanti in the afternoon and purvi in the evening. During his first concert on the vishwa veena in Varanasi he had played Basant on the vishwa veena and hem bihaag on Mohan veena. He said, "People misunderstand the process of creation. They have often asked me why I invented the vishwa veena. The answer lies in the musician's urge to get ahead with creation. When a painter paints a new work it does not imply he loves the earlier one lesser. It only implies that he now seeks another dimension. I am forever inspired to achieve new dimensions of talent and virtuosity." Personally a great lover of Pt Ravi Shankar's music, Pt Bhatt admitted today, "Pt Ravi Shankar was ahead of his times. When he did fusion with Beatles, many purists pointed fingers at him. But he was sure of himself and his music. As for me, I am still to go a long way. One birth is insufficient to achieve aesthetic urge. Let us see where our music takes us." |
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Bhatt, Sonal make it a grand finale Chandigarh, March 24 The exponent of Odissi recreated in her dance this temple tradition that owes its origin to Devdasis. As she approached the climax of her presentation, the audience realised why she was the youngest recipient of Padma Bhushan. Sonal presented the dance of liberation, choosing a beautiful Hindi poem ‘Aaj Ki Kanya’ to depict the strength of a woman. Sonal has always considered the dancer a part of the environment, who does not exist in a vacuum. “If art cannot reflect the existing milieu, it will stagnate,” she says. She began with a ‘Mangalacharan’ — invocation to the Goddess, the guru and the audience, followed by ‘Pallavi’ in ‘Raag Hansdhvani’. In this, the dancer reflected the romantic grandeur of spring through subtle variations of dance patterns. Her footwork and grace was excellent. ‘Pallavi’ was followed by ‘Ramate Yamunapulinavance’, an ‘ashtapadi’ from Jayadeva’s ‘Geet Govind’, that featured Sonal as a dejected Radha. Sonal said: “Radha is inconsolable during her separation from Krishna and imagines him being with another woman. This triggers off feelings of torment.” Sonal’s portrayal of ‘Nayika’ was sensitive and intense. For the next item, Sonal chose three poems to present the dance in all its might. Taking two poems — Sukuntala (beautiful hair) and Sunaina (beautiful eyes) — Sonal explained how Odissi had its own vocabulary of foot positions, head and eye movements, rhythmic footwork, turns and spins. Sonal, exponent of both ‘bharatanatyam’ and Odissi, defied her age. Bankim Sethi with vocal support was delightful, as were Prafulla Mangaraj on pakhawaj, Paras Nath on flute, S.A. Aliv on sitar and Lok Nath on manjira. Sonal was honoured by the Haryana Governor, Babu Parmanand. Dr Sansar Chandra, scholar, teacher and astrologer, was also honoured on this occasion. It was followed by Pandit Vishwa Mohan Bhatt on his Mohan veena. He improvised beautifully within the framework of each raga that he presented today. The musician began with ‘Raag Hemant’ and followed it by a delightful ‘bandish’ in ‘chhota khayal’ in ‘Raag Basant’. Pandit Bhatt concluded with a self-composed ‘lori geet’. Vikram Ghosh on tabla kept pace with the maestro, who exhibited tremendous creativity and virtuosity. |
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