When Altaf Raja sings, nothing can dilute the enthusiasm level of the audience, which transcends into a completely different zone altogether. Yes this is the magic of the Qawwali singer, who became a household name after his album Tum to Thehre Pardesi was released in 1993 and since then he has never looked back.
The singer will now be seen in a new album, which is scheduled to be released in January. The singer is also working on another music album in which he will be seen with Preeti Jhangiani.
Ask him to comment on his feelings about the city and Altaf waxes eloquent, “Nagpur is my place of birth and today, when I see the place after three years (since my last visit), it has undergone tremendous changes in terms of wider roads and tall buildings.
Nagpur will always remain close to my heart as it was here at the dargah of Tajuddin Baba that my mother sought diving blessings for my well-being and today I owe my success to this place. I am certainly not a pardesi to Nagpur.”
His first album also had a strong Nagpur connect. As Altaf says, “The mukhra of the song Tum to Thehre Pardesi was composed by a Nagpur-based poet Zahir Alam and it went on to become one of the favourite songs of those, who had been deceived at any point in life.”
Talking about his struggling phase Raja says, “My parents were also artistes, who wandered from place to place to earn their livelihood and that motivated and challenged me to pursue a career in music and carve a niche for myself.” The singer adds that during the initial days he did riyaz for almost five hours but at this point of time he can only spare about two hours for his riyaz everyday.
When asked out of all the songs he has sung so far, which one is really quite close to his heart, Altaf says, “I have sung so many songs, that selecting one will not only be difficult, but also unfair.”
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> Entertainment> Hindi> Bollywood / TNN / ocotober 30th, 2007
It’s yesterday once again. After crooning for a series of chartbusters in the ’90s, hit singer Altaf Raja is back once again, and how. Raja has lent his voice to a song in the upcoming film Hunterrr, and the number is already topping popularity charts.
The song, called Dil Lagaana, is also used to disclose the film’s plot: Hunterrr is about a sex-addict named Mandar Ponkshe (played by Gulshan Devaiah). Written by Khamosh Shah, Dil Lagaana features Altaf Raja and Gulshan Devaiah in an autorickshaw.
Raja, also known for his qawwalis such as Tum toh thehre pardesi and Tumse kitna pyaar hai, recently lent his voice for a promotional song in Emraan Hashmi’s Ghanchakkar also.
Directed by Harshvardhan Kulkarni, the film also stars Radhika Apte in a pivotal role.
Hunterr is scheduled to hit the screens on March 20, 2015.
source: http://www.hindustantimes.com / Hindustan Times / Home> Entertainment / Hindustan Times, New Delhi / March 16th, 2015
Defaced- Tomb of Khan Shahid, located inside the Mehrauli Archaeological Park. (TOI photo by Rajesh Mehta)
New Delhi :
A 14th century monument, Tomb of Khan Shahid, located inside the Mehrauli Archaeological Park was defaced and whitewashed some days ago. The monument, protected by the Archaeological Survey of India, used to be brown in colour. Now it has been painted white. Other smaller monuments in the park have also been encroached upon.
“This monument was notified as ‘protected’ in 2008-09,” said an official with INTACH.
Khan Shahid was the son of Ghiyas-ud-din Balban, the ninth Sultan of the Mamluk dynasty during the Delhi Sultanat period. There are around 60 monuments in the Mehrauli Park, spread over 200 acres. The park’s land is owned by Delhi Development Authority but officials say their responsibility is only to maintain the park. “These monuments are ASI’s responsibility, not ours,” a DDA spokesperson said.
ASI officials were not aware of the monument’s status. “We don’t know whether ASI, Delhi Wakf Board or DDA is responsible for it,” said Deepak Bhardwaj, a surveyor with ASI Delhi.
The tomb could well become a cause of contention between different institutions. As per ASI, DDA is the land-owning agency and even outside the park DDA boards have been put up. However, on the freshly white-painted walls, one could see Delhi Wakf Board written in black.
“We didn’t send any painter to this site. But if it is Delhi Wakf Board property then we have the right over it and repair work can be carried out,” said Rana Siddique, chairperson, Delhi Wakf Board.
The tomb is supported on 12 Delhi quartzite columns and is covered with a vaulted roof of brick and plaster. The enclosure measures 4.85m by 3.85m. Hidden by thick vegetation, it isn’t easily accessible. It is easy to miss the turn leading to the tomb as the small plants market on Anuvrat Marg has encroached upon the pavements and the road leading to it.
The structure had undergone conservation work in 1998 as a part of the INTACH Delhi Chapter under the project on 20 monuments within the area. The columns have engraved capitals and the ceiling has inscriptions, geometric and floral motifs in plaster. All this is now hidden under the white coat of paint. Even the tomb is in shambles and needs immediate repair.
“Last week it came to our notice that the tomb and other small monuments in the enclosure are all painted white. It isn’t even maintained well,” the INTACH official said.
There is a mosque and a graveyard in the same compound. One could see people drying clothes on the roof of another small monument next to the mosque. Some people also live inside the mosque. “We are living here for some years now,” said one of them. The encroachers confirmed that last week two painters came and daubed it in white.
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> City> Delhi / by Maria Akram, TNN / March 17th, 2015
Nawab Safdarjang’s tomb used to be a place of halt for the Tazia procession from the Walled City before it ended at the Karbala in present-day Jorbagh
Many have admired Safdarjang Tomb as the last flickering lamp of Mughal architecture but it was left to Dulcie Hamilton, a passing-by travel writer from Melbourne, to remark that it was like “an inverted lotus, just the opposite of the latter-day Baha’i Lotus Temple” (in an age when the Lotus symbol is politically abloom). Both the structures incidentally have an Iranian link as the founders of the Baha’i faith, the “Bab” and Bahaullah belonged to Iran while Nawab Safdarjang also had Iranian antecedents. For this reason, his last resting place occupied pride of place in Jorbagh, the Shia cemetery that extended up to it at one time and was second in importance only to the (Hazrat Ali) Qadam Sharif shrine set up by Qudsia Begum, the wife of Mohammad Shah in the 18th Century. Safdarjang was the Vazir at her husband’s court and later that of her son. It should be no surprise, therefore, that the tomb took pride of place during the Moharrum mourning for Imam Hussain.
The tazia processions that came from the Walled City made their first halt at the palace of Mahabat Khan, behind his contemporary Abdun Nabi’s masjid in the present ITO area and the next one at Safdarjang’s Tomb before finally ending at the Karbala. Mahabat Khan’s mahal does not exist now but his grave is there in Jorbagh.
Another interesting fact that few know about is that Safdarjang’s first Urs or death anniversary saw many Shia divines arriving in Delhi from Oudh and surprisingly enough, a qawwali was also held at the behest of his son and successor, Nawab Shujauddaulah who was reputed to have the longest moustaches in the Mughal empire. He aided Ahmed Shah Abdali in the third Battle of Panipat in which the Maratha confederacy led by the imperious Sadashiv Rao “Bhau” lost. After that Shujauddaulah’s clout in the Mughal durbar increased with the arrival in Delhi from Allahabad of Shah Alam (designated emperor by Abdali).
Safdarjang’s mausoleum, designed on the pattern of Humayun’s Tomb, is a poor imitation. The three-storey tomb in fawn-coloured stone also bears a faint resemblance to Akbar’s mausoleum at Sikandra, but lacks the magnificence of the latter. Even so it is an interesting monument, situated amidst a garden of 300 square yards, and enclosed by a wall at the corners of which stand octagonal towers and a central dome, rising above a 16-sided drum.
Arcaded pavilions, named Moti Mahal, Badshah Prasad and Jangli Mahal, have been, constructed on the northern, southern and eastern sides, like the pavilions in the outer quadrangle of the Taj. It is believed that these were meant for the accommodation of nobles who visited the mausoleum. The tomb has a carved cenotaph in the central chamber within which is another chamber containing two unmarked graves, both with earthen mounds above them. In it lie buried Mirza Muquin, Abul Mansoor Khan Safdarjang, and his wife Banu Begum. The monument was built by Shujauddaulah at a cost of Rs.3 lakhs with a lot of marble and other material being pinched from the mausoleum of the Khan-e-Khanan and other Mughal buildings.
Safdarjang was the head of the Shia Irani Party at the court of Ahmed Shah (1748-1754). His opponents were the leaders of the Sunni Turani party headed by Imtiaz-uddaulah and Imadad-ul-Mulk. Safdarjang, who had succeeded Burhan-ul-Mulk as Nawab of Oudh, died at Faizabad in 1754 and his body was brought to Delhi, for though he had to leave the Mughal court in disgrace after trying to play kingmaker, he nevertheless pined for his days of grandeur in the Capital and desired to be laid to rest there. His mausoleum has a mix of Mughal, Rajput, Iranian and Egyptian architectural patterns jostling for space.
Even so, it attracts a lot of tourists but these days, the water channels – a notable feature – are dry which is a turn-off. The renovation work has been done only on some portions with others are still badly in need of repairs. When one visited the tomb recently under overcast skies, one wondered if yesteryear music ‘mehfils’ could be revived and tazia processions made to converge on it either at Moharrum or Chhelum for the halim dish break that used to replenish the fatigued ‘Akharas’ or sword and lathi-wielding squads in the past. One thing that Safdarjang couldn’t have dreamt about is that 261 years after death his memory would be enshrined not only in the Maqbara but also in the airport, road, hospital and enclave named after him by a generous posterity which only has a nodding acquaintanceship with him.
The author is a veteran chronicler of Delhi.
source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus / by R.V. Smith / March 15th, 2015
In a research paper presented at Jamia Millia Islamia, academics Nazrul Haque and Malini Bhattacharjee highlight why Assamese Muslims are now asserting their ethnic identity alongside their religious identity
The ethnic violence in Bodo Territorial Council areas of Assam has been in the news for some years. Particularly bloody and recurring has been the conflict between the Bodos and the largely Bengali-speaking Muslims, leading to many from both the communities living in uncertainty and fear in camps for some time now. The accusations of the Bodos against the Muslims as illegal immigrants from Bangladesh who occupied their fallow land — and therefore ‘outsiders’— have been at the core of the conflict.
Not just in the Bodo areas but across Assam, the fight against illegal immigration from Bangladesh has been long, and at times bloody. A porous international border, unfulfilled promises of the Assam Accord and both State and National parties perennially playing vote bank politics, have contributed to the protracted problem. The emergence of the All India United Democratic Front (AIUDF) — on largely religious lines — has added to the complexities.
In this din, a critical voice seems to have gone unheard — that of the Assamese Muslims, locally called Goria, Moria or Desi. Many political and religious groups, time and again, have tried tying them to the Bengali-speaking Muslims highlighting their religious identity. However, lately, the community is seen to be asserting its ethnic identity as equally important as its religious identity, thus situating them in a peculiar position in the politically charged and religiously polarised milieu of the State.
The complexities of the topic got rare attention at a recent conference in New Delhi on the North East. Nazrul Haque and Malini Bhattacharjee, from Bangalore’s Azim Premji University, presented a paper — Identities in Quandary: The Complex Narrative of ‘Assamese Muslims’ — at “Reimagining the North East: Narratives, Networks and Negotiations”, hosted by Jamia Millia Islamia’s Centre for the North East. The research paper stood out for throwing light on an important slice of Assam history, often overlooked.
Haque and Bhattacharjee expounded on the advent of Islam in Assam through the invading Muslim armies since the 13th Century; their defeated soldiers taken captive by the Ahom kings creating, first, the Gorias, and later the Morias in the mid-16th Century. While Desis are people from the Koch and Nath communities converted to Islam, they highlight that many others became Muslims in Assam at the call of the Sufi saint Azan Fakir in mid-17th Century.
The Bengali-speaking Muslims, the paper points out, emigrated from erstwhile East Bengal to Assam during the British rule from 1826 to 1947. It “reached its peak during 1971 with the creation of Bangladesh”, leading the 1971 Census to record a 34.98 per cent increase in Assam’s population from the 1961 Census. However, Assamese language and local culture continued to be the binding force for the rest of the communities across religions.
In this interview, the duo states that language being the defining factor of the 1980s Assam Students’ Movement against illegal immigration, Assamese Muslims took part in it but “later became suspicious in an increasingly communal environment.”
Excerpts from the interview:
What attracted both of you to the topic? How long you have been researching on it?
Haque: We both are from Assam and have grown up witnessing the syncretic nature of our local culture (irrespective of religion and in spite of it) and also the changing narratives of that ethnic bonding. For the last few years, we could also sense a tension among indigenous Muslims of Assam and the various reasons for that — rise of global Islam, increasing religious intolerance in India, demand of democracy and politics, controversy surrounding the issue of ‘immigration’, etc. That made us interested in the topic as this case study speaks to a very important and global phenomenon. We did our first field interviews last November.
What is the size of their population?
Haque: There are no government figures, for obvious reasons. However, organisations like All Assam Goria, Moria, Desi Jatiya Parishad quote a number of around 30 lakhs. Some academics point out that in 1901, there were 2,48,842 Muslims in the Brahmaputra valley. The count, as per 1951 Census, was 19,81,859 (15 lakh were estimated to be of East Bengal origin).
In this identity war of ethnicity versus religion, how much are Assamese Muslims under pressure to side with religion? How much of it is political pressure?
Haque: The force of religion is quite powerful, as almost everyone we interviewed had admitted. There are changes in important social ceremonies, food habits, folk music, literature, the way people dress and conduct their daily life. There are political pressures too and more so because of the rise of the BJP and AIUDF in Assam politics, almost simultaneously.
How representative of the community are organisations like AAGMDJP?
Haque: It seems there are too many contradictions even within organisations ‘representing’ indigenous Muslims of Assam. Who are ‘indigenous’ and who are not? However, one fact is important — of all such bodies, AAGMDJP is the only one well accepted by all other ethnic organisations (Tai Ahom Students Union, Ahom Royal Society, Moran Students Union, Motok Students Union, Dimasa Students Union, Sonowal Kachari Parishad, All Bodo Students Union) and for some years, they are almost working together. That was evident in some public meetings we attended.
How much have Assamese Muslims suffered in the Bodo-Muslim violence? How strong is the tendency to club them with Bengali-speaking Muslims because of religion?
Bhattacharjee: There are many layers to this question and they are complex. One thing is distinct — the Bodoland violence was not (only) because of religion. Even now, the stands taken by various groups (including the BJP, the RSS or Hindu Yuva Chatra Parishad) are clear and publicly so — that one can’t club all Muslims in Assam under one religious umbrella. However, interests representing people from East Bengal origin (even Na Asomiyas) definitely try to make it a Hindu-Muslim issue and our sense is that so do intellectuals who don’t have first-hand knowledge of the region.
source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus / by Sangeeta Barooah Pisharoty / March 11th, 2015
Urdu’s finest poets, authors, performers and artists from Indiaand other countries like Pakistan, US and Canada come together to bring alive the lyrical beauty and resonating eloquence of the language.
Eminent names such as Javed Akhtar, Rekha Bhardwaj, Gopi Chand Narang, Zia Mohyeddin, Intizar Hussain, Rakshanda Jalil, Ashok Vajpayee, Musaffar Ali, Nida Fazri, Purshottam Agarwal are set to participate in two-day festival, ‘Jashn-e-Rekhta’ that begins here March 14.
The festival is organised by Rekhta Foundation, a non profit body, in collaboration with India International Centre (IIC) to bring the glorious past, the beauty, power and versatility of Urdu.
All the genres of the language can be found in one place through live performances, panel discussions, film screenings and interactive sessions, organisers said in a statement.
The language of lovers, idealists and poets will be celebrated through qawwalis, gazal renditions, mushaira and the 16th-century Urdu oral storytelling art form – Dastangoi.
“Marking its debut year the festival aims to bring the quintessential spirit of Urdu – its inclusive ethos and creative richness and it an annual affair,” organisers said.
National award winning playback singer Rekha Bhardwaj, is set to open the festival on March 13 with her melodious songs.
Other days will see vocalist Vidya Shah and Danish Hussain pay tribute to Begum Akhtar on her birth centenary. A qawwali performance by Dhruv Sangari and an evening dedicated to ghazals by Radhika Chopra and Hamid Ali Khan are in the line up.
Among the debates lined up at the festival is one titled “Changing Face of Mushaira”, which is set to feature Kumar Vishwas of the Aam Aadmi Party with Munawwar Rana, Satyapal Anand and Ravish Kumar.
“The World of Women in Urdu Literature” would see Azra Abbas, Sukrita Paul Kumar and Tarannum Riyaz debate and moderated by Baran Farooqi.
One of the interesting debates include “Internet ke Duniya mein Urdu” moderated by Pervaiz Alam and features Ajmal Kamal, Ali Madeeh Hashmi, Lalit Kumar and Rana Safvi.
“Urdu and Hindi: Convergence and Divergence” would see Ashok Vajpeyi, Kedarnath Singh and Shamim Hanfi in discussion.
Lyricist Javed Akhtar will be in conversation with Sukrita Paul Kumar on the first day which will also see the screening of the film “Garam Hava”.
Book exhibitions, calligraphic art and street plays are among the other highlights of the festival.
Organisers say they want to make the festival a “one stop destination” for Urdu admirers.
source: http://www.business-standard.com / Business Standard / Home> PTI Stories> National> News / PTI / New Delhi – March 10th, 2015
City hotelier Nadeem buys the moped for Rs. 12,000
Mysuru :
Luna, the much sought moped by many in earlier days, will now remain as memories as the last moped was sold at a showroom in city recently.
Nadeem Ahmed Khan of Taj Biriyani on Mysuru-Bengaluru highway, out of love for the moped, bought the Luna TFR 49CC moped manufactured by Kinetic Engineering at Kangtani Motors on Chamaraja Double Road bearing Engine No. CJ 13028771 and Chassis No. CJ 03023920 for Rs. 12,000 which included Rs. 1,610 lifetime tax and has got it registered at RTO (East).
In the mid-1980s, the Luna moped from the Pune-based Kinetic Group was a popular brand on Indian roads – a low-cost two-wheeler that helped bicycle riders upgrade to a better mode of transport. It was sleek, stylish, sported a chrome body and had both a regular as well as a pedal kick start.
It was a much sought moped for middle income group as it was giving a mileage of about 40 to 50 km per litre with a speed of 50 km per hour. The customers had to wait for months for the moped to be delivered to them after booking it.
With the advancement of science and technology in automobile sector and new vehicles with latest technologies being launched, the demand for Luna decreased or almost stopped which made the manufacturer stop producing the moped.
Nadeem, speaking to Star of Mysore said that he bought the moped out of love towards it and added that money was not a concern to him as the moped would not be available in the market anymore.
He said that he would keep the moped at his house and would use it occasionally.
It may be recalled that Nadeem had got a sheep from Australia during last Bakrid, had also purchased a huge sea fish and lobsters to serve for his customers at Taj Biriyani.
source: http://www.starofmysore.com / Star of Mysore / Home> General News / March 10th, 2015
Created at Sri Kanteerava Narasimharaja Wadiyar Sports Club, Mysuru
Narayan is seen preparing the famous mutton Biryani at Mysore Sports Club
by S.N. Venkatnag Sobers
In his recent interview to The Sunday Times, Yaduveer Krishnadatta Chamaraja Wadiyar, who has been adopted to the Mysore Royal Family of Wadiyars, when asked about his favourite food said, ‘‘I cannot say I have a favourite. But, if cornered, I would probably have to go with the famous Biryani from the Mysore Sports Club.”
In fact, he is not alone. Thousands of Mysoreans have been relishing the famous mouth-watering mutton biryani at the Mysore Sports Club over the past few decades.
The man behind the famous mutton biryani is Narayan, who has been working at the Mysore Sports Club for the past 32 years. Wanting to discover the man who created a Biryani that satiated the royal palate, Star of Mysore went to Sports Club to talk to this master chef. He is Narayan.
Speaking to Star of Mysore, Narayan said that members of the Royal Family including late Srikanta Datta Narasimharaja Wadiyar, Chaduranga Kantharaj Urs, Gayathri Devi, Yaduveer Krishnadatta Chamaraja Wadiyar and others were fond of the biryani cooked by him.
Mysore Sports Club introduced Mutton Biryani to its guests in 1989 and since then, it has been relished by many. Earlier to this, cooks from outside were invited to prepare biryani during events organised at the club.
Narayan said that he learnt the art cooking biryani through his guru Abdul Sattar, who lived in Mandi Mohalla.
“When I joined the Sports Club as a kitchen assistant, the then Secretaries B.A. Nanaiah and Dr. N.M. Srinivas encouraged me to learn the art of cooking biryani and since then, I have been cooking the delicacy,” he said.
Speaking about his cooking style, Narayan said that he starts preparing for biryani at around 12 noon by marinating mutton and adding necessary masala. Once the mutton is cooked, the half cooked basmati rice is added to mutton and is kept for blending for about one-and-a-half hours. Later, the hot biryani is served to the guests at the Club from 7.15 pm.
Everyday around 15-20 kg mutton biryani is prepared at Mysore Sports Club and not bit of it remains in the end. In fact, the biryani is so famous that even the non-members of Mysore Sports Club do not miss out a chance tickling their taste buds whenever they get an opportunity to visit the club. In fact most of the non-members demand the club members not to book them rooms at the Club but for a parcel of mutton biryani.
Given an opportunity, one must visit the Mysore Sports Club to savour this gastronomic delight.
source:http://www.starofmysore.com / Star of Mysore / Home> Feature Articles / Thursday – March 05th, 2015
He was born in Woodstock and became a raga exponent in Kolkata, his bansuri featuring in a Grammy-winning album and Oscar-winning film along the way.
Flautist Steve Gorn is in town to perform at a concert presented by Calcutta Classical Guitar Society in association with Flute Lover’s Association on Wednesday.
Gorn had first come to India in 1970. He visited Kolkata a year later. “I had a Western music background. My father was a pianist and I played jazz saxophone and Western flute. During the late 1960s, though, many in our generation got influenced by Ustad Bismillah Khan’s shehnai. I came to Varanasi to explore Indian classical music and even tried the the shehnai. But since I was already playing the flute, I shifted to bansuri,” he said.
Gorn next travelled to Kolkata and began learning bansuri from Gaur Goswami, a disciple of the legendary Pandit Pannalal Ghosh. “I stayed around Gariahat and would take a tram to Shyambazar. That year, 1971, was a troubled time because of the Bangladesh war. Bombs were going off, curfews were imposed and thousands of refugees strea- med in. But I was young and couldn’t gauge the political situation. Now of course I know things better,” he told TOI.
“But back then, the music used to be a lot different from what it is now. Kolkata had an old-world charm and the music I love comes from that era — the music of stalwarts such as sitar maestro Pandit Nikhil Banerjee. For me, it is the ‘bhav’ or ‘ras’ of Indian classical music that is more important than anything else,” he said.
By 1972, Gorn and his wife had spent about 16 months in India. Then came a long gap and he returned again in 1986. “But Indian classical music continued to influence my compositions for films, dance shows and theaters,” he said. It also took him around the globe. Last year, he performed in China, Japan, Bulgaria, Czech Republic and Holland. “That’s why I speak only smattering of Hindi and Bengali,” he says apologetically.
Pandit Hariprasad Chaurasia heaps praises on Gorn. “He is a very good musician and a nice human being. We are very good friends and I have visited his home many times,” the flute maestro told TOI on Tuesday.
In 2004, Gorn played the flute for “Born Into Brothels” which was shot in Sonagachi and bagged an Oscar. “One scene is very close to my heart — a boy flies a kite and the flute melody also rises with its flight,” he said.
In 2011, he featured in the Grammy-winning album “Miho – Journey to the Mountain”. “Dhruba, the nephew of Pannalal Ghosh, played sarangi in the album. Miho is a museum in Japan and the music director was invited to visit and create music reflect the Asian artworks that were on display,” he told TOI.
Gorn has also been a part of several Grammy-nominated albums, including two this year.
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> City> Kolkata / by Shounak Ghosal, TNN / March 11th, 2015
Zoo Authority of Karnataka (ZAK) Chairperson Rehana Banu is seen delivering inaugural address during the award function organised by R.S. Naidu Art and Cultural Welfare Trust in memory of Freedom Fighter R.S. Naidu at Nadabrahma Sangeetha Sabha in city recently as Sanjhi Artist S.F. Huseni, Freedom Fighter M.R. Ramashesh, Brahmana Association Chairman Raghuram and R.S. Naidu Trust President P.Y. Venkatadri look on.
Mysuru :
Freedom fighter M.R. Ramashesh and Sanjhi Artist S.F. Huseni were conferred with ‘RSN Memorial Award’ at a programme organised by R.S. Naidu Art and Cultural Welfare Trust in memory of freedom fighter R.S. Naidu at Nadabrahma Sangeetha Sabha in city recently.
Speaking after inaugurating the programme, Zoo Authority of Karnataka (ZAK) Chairperson Rehana Banu said, “Many artists across the country have contributed in their respective fields despite lack of encouragement and recognition. They should be lauded for their commitment and passion. We should encourage the artists through felicitation programmes.”
After the award function, Indu Shekhar and Troupe presented a musical programme.
Renowned artists of Mysuru and Bengaluru sang the old film songs sung by P.B. Sreenivas, S.P. Balasubramanyam, P. Susheela, S. Janaki and others. They even sang the songs from the movies of Dr. Rajkumar, Dr. Vishnuvardhan and Puttanna Kanagal.
The following songs were sung on the occasion: ‘Hindusthanu endu mareyada…’ from the movie Amrutha Ghalige, ‘Snehada kadalalli…’, ‘Aseya bhava olavina jeeva’, ‘Karunada thayi’, ‘Haadu haleyadaadarenu’, ‘Jeeva veene needu midithada sangeetha’, which made the audience to travel down the memory lane.
Mike Chandru compered the musical programme.
Singers including Indrani Anantharam, CFTRI Krishnamurthy, KEB Gangadhar, Srinivas Hemanth, Vijayanand, Joyce Peters, Anantharam, Kiran Kumar, Geethalakshmi Keni, Vijay Manasa and others took part in the function.
R.S. Naidu Art and Cultural Welfare Trust President P.Y. Venkatadri and Trustee M.K. Ramesh; K. Raghuram, Chairman, Brahmana Association; Mysuru Anand and Parthasarathy were present on the occasion.
source: http://www.starofmysore.com / Star of Mysore / Home> General News / Wednesday – March 04th, 2015
