Freelance offer for this Kutchery Season

[praveen]

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Folks,

I am sure there are many of us who are in Chennai and looking forward to this Kutchery season.

I am looking for one or maybe two people who will be attending the various concerts in Chennai during this season and post their reviews on this website. The reviews must be posted within a day or two.

I am willing to compensate you for this and can pay upto a maximum of Rs.4000.

If it is only one person then the full amount goes to you, if there is two, then it will be split 50:50. So 2000 per person.

The reviews must be atleast 500 words and can include a image or two (no self potraits).
50% of the concerts should be of prominent singers - Sudha Raghunathan, Nithyasree Mahadevan, Kadri Gopalnath etc...

Now if anyone is interested in taking up this offer, please leave a reply here with the following information
how many concerts are you attending, whose concerts and how soon can you post a review.

If you from Chennai/India, i can courier you the cheque or transfer it online.
If you are outside India, i can pay you via PayPal.

Preference would be given to established/regular members and/or to those members who have a decent number of posts.

 

[Servall]

Hi Praveen:

Great idea; although I enjoy carnautic music, not proficient enough to critique concerts...so I will pass!!

Preference would be given to established/regular members and/or to those members who have a decent number of posts.

However, can you clarify one thing for the aspiring critics:

Do you expect the candidates who will write reviews of concerts to possess a level of proficiency in carnautic music, experienced in giving concerts and music qualifications etc, to critique intelligently indicating the plus and minus of
these concerts, as to where the performer might have done better and so on?

If the reviewer cannot analyse the nuances of the content of the concert, what are you expecting the review to reflect?

One such critique that comes to my mind is Subbudu.....you get my point right?

Thanks

 

[praveen]

Do you expect the candidates who will write reviews of concerts to possess a level of proficiency in carnautic music, experienced in giving concerts and music qualifications etc, to critique intelligently indicating the plus and minus of
these concerts, as to where the performer might have done better and so on?

If the person can go into detail, provided he has the requiste knowledge, to identify the plus and minus, it would be awesome.

But I am looking for a review more from a music lover's perspective. Someone who goes there for the fun of attending a concert, someone who likes carnatic music and someone who quite simply loves the kutcheri season for the food part.

The reviews need not be just on the concert entirely, it can also include other things like the food that is being served, people who came, crowds etc..

End of it, something that is entertaining for us, the readers.

 

[Servall]

Praveen:

If the person can go into detail, provided (s)he has the requiste knowledge, to identify the plus and minus, it would be awesome.

OR how about 1 male and 1 female reviewers just to get different perspective!!!

Being politically correct!!!!:nono:

I am just being silly!!!!

 

[kunjuppu]

dhananjayan on today's bharatanatyam practices

this article written by the famous dhananjayan, afaik, the most commercially successful nattuvanganar of modern times, in today's hindu.

to sum up, it is a elegy to vanity, ie 'since i have left the scene, the whole industry has gone to dogs'. it is fault finding to the core, starting from the practices of the sabhas to the 'unprofessionalism' of today's 'gurus' to the lack of commitment of today's students. above everything looms the power of and the need for money, to enter this field.

coming from a family where now we have brand name bharatanatyam dancers, and several not so famous ones, i wish to dispute dhananjayan.

for one thing, D forgets that he too was a cub from kerala, who started with bare knowledge of the art, and over the years, his artistry skill improved, and along with it, his marketability. folks like me, who know him since 1970s, when he started out with a handful of students, and whose successes he depended, to enlarge fame.

in that context, i am surprised why he should put down the current scene, because many of today's prominent dancers have crossed his path at one time or the other.

D decries the practice of hurried arangetrams, but he along with other nattuvanganars, have been going to the usa, conducting crash summer courses, which ended up with arangetrams or half-arangetrams. i think a semi familiarity is better than no familiarity at all.

is bharatanatyam a victim of its own success. after all, it was only since 1920s, that the congress party's jambawans, decried that 'respectability' should be bestowed to the art, and in the process, destroyed the entire devadasi community. there are no more the numerous 'pillais' and 'ammas' who dominated this art. today it is all almost entirely brahmins, for with the devadasi act of 1947, death knell was spelt not only to a community, but in true shavian manner, true art was usurped by 'respectability'.

when the collector's daughter started to dance, any stigma associated with the ex devadasi art was effectively removed. when these started coming in hordes, as of now, there is complaint of over population. will anyone ever win?

 

[suraju06]

is bharatanatyam a victim of its own success. after all, it was only since 1920s, that the congress party's jambawans, decried that 'respectability' should be bestowed to the art, and in the process, destroyed the entire devadasi community. there are no more the numerous 'pillais' and 'ammas' who dominated this art. today it is all almost entirely brahmins, for with the devadasi act of 1947, death knell was spelt not only to a community, but in true shavian manner, true art was usurped by 'respectability'.

Kunjuppu,

This is a subject which has been repeatedly analysed by connoisseurs in club meetings. Satir (சதிர்) with its pillais and ammas, like its equivalent tumri and mushaira had a beauty beyond words. If you watch Padmini dancing for the மறைந்திருந்து பார்க்கும் மர்மமென்ன in தில்லானா மோகனம்பாள் you understand how beautiful is satir. Particularly the line "எங்கிருந்தாலும் உன்னை நான் அறிவேன் உன்னை என்னை அல்லால் வேறு யாரறிவார்" or "மோஹத்திலே என்னை மூழ்கவைத்து ஒரு ஓரத்திலே நின்று கள்வனைப்போல்" is satir at its best. Those combination of mudras and bhava can not be brought out so beautifully in more clinically pure bharatanaatyam. But you can not compare oranges and apples. In Bharatanatyam the artistes conversation with the audience takes place at a different level. If you want to enjoy sensuous/lilting music go a tumri kutcheri where the artiste's voice caresses and whishpers into your ears sweet notes of cascading music and interim periods of 'loud' silences. Go to a mushaira and enjoy a very intelligent female artiste dancing and pouring out her heart in chaste urdu/hindustani. It is an experience worth bags of money. Perhaps Satir was to go as the result of inexorable march of time. Do you know that Satir was considered by some as the symbol of a decaying culture (read brahmin culture)? Yes the true art was usurped. You said it.

Cheers.

 

[praveen]

Due to lack of any interest, this offer is now retracted.