Akshay Kumar’s homecoming
By Kavita Bhargava
VISITING the mountainous state of Jammu and Kashmir has always been a homecoming for Bollywood’s hearthrob and action hero Akshay Kumar. His mother originally hails from Anantnag district of the Kashmir valley which is why he has been a regular visitor to this state for so many years now.

Opera to herald millennium
By Jaishree Balasubramanian
A three-act opera tracing the imaginary voyage of the sun from sunset on December 31 to the dawn of the new millennium will be held at the foot of the pyramids, the only surviving wonder of the ancient world, to usher in the year 2000.

A satire on socialism
By Bhupinder Dharmani
A dramatic presentation of “ Gadhe ki Baraat” was made by Saptak, a cultural organisation of Rohtak, at the open- air theatre of Government National College, Sirsa recently. The show was organised by the Police Public Organisation, Setu.

Audioscan by ASC
More pop singers on horizon
MUSAFIR (Milestones): Hindi pop singers are emerging out of the woodwork like never before. In this cacophony, it is very difficult to stand out. Sooraj is one of the few who have a rich, baritone voice and may be heard quite often in the days to come. His voice reminds you of Shailendra Singh’s, but he has a style all his own.

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Spreading Krishna’s musical message
By Nonika Singh

THE fluid notes of the flute instantaneously fill the common man’s kaleidoscope with two images. One that of beatific eternal Lord Krishna and the other of the modern day mortal i.e. the exuberant ever-smiling visage of Pandit Hari Prasad Chaurasia. However, the flute maestro humbled by the comparison refuses to share the pedestal with God himself. Brushing aside any suggestions or allusions, he insists that he can’t be gauged by the same parameters which define Krishna’s musical spell.

Instead, he calls himself a mere messenger, a postman who has been destined to spread Krishna’s message across the world, via his chosen instrument. In the City Beautiful recently, exhausted after a two-hour mesmerising performance at Nehru Bhavan, the Padam Bhushan recipient reflects: “I often sit back and marvel at the musical wizardry of Krishna. The mystique surrounding his music which could draw all beings on this universe like a magnet to date remains an enigma to me. At times I feel envious as to why I can’t achieve the same intensity and power”. Small wonder that though the legendary artiste has touched musical crescendo, he is still awaiting the turning point in his journey.

His discovery process continues unbroken as he claims to be a learner who even today takes lessons from Annapurna Devi, a sadabahar player (daughter of famous Baba Slauddin) whom he affectionately calls his “Guru Mata”. Hailing from a family of wrestlers of Allahabad, interestingly his early childhood was spent between obvious wrestling bouts to appease his father and tacit lonely singing sessions where he hummed to himself. His formal training began in the realm of vocal music and the desire to play flute came much later as he imbibed the masterly art of flute playing from Pt Bhola Nath.

According to Hari Prasad, the flute is an universal instrument, perhaps known by different names, and found in varied shapes and sizes around the globe. Moreover, the flute is no ordinary “saaz” where you touch the notes and music will emanate. A piece of bamboo with no taal, it is close to the vocal chords and requires the energy of one’s entire being to be channelised to create the tantalising musical graph.

The inspiration for his liquid notes which traverse a whole gamut of emotions comes from nature and beauty. Music he believes is a God-gifted talent only honed by hard work and determination. Besides, an artiste’s world, he remarks, is pure and unadulterated expanse where only the voice of the soul echoes and resonates.

However, that is not to imply that artistes are marooned on an island, cut off from the world at large. Panditji, who thrives upon communion with his audiences and punctuates his performances with light-hearted banter, isn’t a hardliner who believes in rataining the purity of Indian classical music. Sure his flute can (does) unfold a mind-boggling range of ragas, yet his repertoire includes much more. Thanks to his open mindset, he found himself amidst what is considered crass, commercial Bollywood. But his tryst with filmdom has culminated in arresting melodies, especially for Yash Chopra’s magnum opuses like “Lamhe”, “Chandini”, “Darr” etc in which he teamed with yet another musical great, Pt Shiv Kumar Sharma, the noted santoor player.

Calling his filmi experience a wonderful association, he says, “When I play classical music, I must stick to its fundamentals and not digress from its essence. But when I am composing music for the masses, I must bear in mind that the man on the streets may not be a connoisseur of Indian classical music, but a music lover nevertheless who will appreciate good music. If he knows Lata Mangeshkar, why deny him the music of Hari Prasad?” Besides, he argues, such forays alone can bridge the gap between those steeped in tradition and those on the other side of the fence, who are swept off their feet by Western onslaught.

He rues, “Today the West is waking up to the strengths of our traditional system and embracing indigenous concepts like yoga, food and music. Alas, we have turned a blind eye to all that is precious and timeless in our own cultural heritage.” He contends that artistes alone cannot play the part of custodians of culture. Government initiative and private patronage is an essential imperative. Certain institutions have to be strengthened so that our children instead of learning in an antiseptic ambience (of schools and colleges) devoid of values inculcate our traditions in a gurukul which is governed by complete surrender to our culture.

On his part, he is all set to recreate Vrindavan gurukul in Bombay. Well, not teeming with gopis, as he says in a lighter vein, “If I were to cast a spell over women as Krishna did over gopis, the society would perhaps lynch me alive.” Jokes apart, the gifted musician confesses to being a romantic at heart and muses that love is the life sustenance force. Be it’s divine manifestation of human form or romantic passion, it is love that spurs us on. So what better way of spreading love than though the musical balm which spills over from his magical flute.

Akshay Kumar’s homecoming
By Kavita Bhargava

VISITING the mountainous state of Jammu and Kashmir has always been a homecoming for Bollywood’s hearthrob and action hero Akshay Kumar. His mother originally hails from Anantnag district of the Kashmir valley which is why he has been a regular visitor to this state for so many years now.

A staunch devotee of Mata Vaishno Devi, Akshay, who regularly visits the cave shrine of the goddess situated in Trikuta hills near Katra in Jammu, a practice which he followed even before joining the film industry during his Bangkok days, was in Jammu recently along with his family members.

Talking to this correspondent, he expressed concern over the bloodshed and violence in the state which has been continuing for the past so many years. He hoped that someday better sense will prevail upon the leadership of the neighbouring country and the state will regain normalcy. “Let us hope for a peaceful solution to the problems in the state.” he said.

Justifying the Indian Army action and its stand on Kargil, Akshay said if the enemy had gone to this extent, India should have snapped every tie with that country.

Disclosing that he had donated Rs 5 lakh for the Prime Minister’s Relief Fund for Kargil martyrs besides participating in a charity cricket match between cricketers and Bollywood stars organised by Kapil Dev, he said it was quite unfortunate that Kargil issue had surfaced. “In fact, I met a number of Army jawans at Katra and Jammu. They told me that had they been granted permission to cross the Line of Control, they would have destroyed Pakistan and avenged the death of their colleagues,” said Akshay.

Talking about his new film “Sangarsh”, he said he had high hopes from this film as he had performed a different role from his usual action hero image. “You will be seeing an altogether different Akshay in this film in which Preity Zinta plays a CBI trainee opposite me. I am a hardened criminal with whose help she tries to arrest Lajja Shanker Pandey portrayed by Ashutosh Rana, who indulges in child sacrifice under the belief that he would be able to live long by doing so.”

Asked what kind of role he would love to perform, he said he had already played such a role in his forthcoming film “Janwar”.

As man is an animal and there is some kind of hidden beast inside every man, the story also revolves around such a person. The protagonist undergoes a complete transformation after a child enters his life and reshapes it. This film has Karisma Kapoor opposite him.

“My audience will get to see very good stuff in this film,” he added.

Regarding his marriage plans, Akshay said as he was too busy with films, he would not enter that arena for another three to four years. “My first priority at present is my career,” he added.

For his Punjabi Bhatia hailing from Amritsar, “believing in God is living life with confidence” is the real key to success.

Opera to herald millennium
By Jaishree Balasubramanian

A three-act opera tracing the imaginary voyage of the sun from sunset on December 31 to the dawn of the new millennium will be held at the foot of the pyramids, the only surviving wonder of the ancient world, to usher in the year 2000.

The extravaganza, which is to cost Egypt $ 9.5 million (US), will be performed by electronic new age music guru, Jean Michel Jaree of France, who will present before 50,000 persons his opera, “The Twelve Dreams of the Sun”, conceptualised especially for the millennium celebrations.

Egypt’s Culture Minister, Farouk Hosny said similar celebrations in the rest of the world would probably cost those countries much more.

“A major part of our budget has been paid for by the Pharoahs”, he said referring to the pyramids.

No one across the globe has been able to replicate the 4,500-year-old monument as yet. The secret of its architecture died with the Pharoahs.

Mr Hosny, however, has defended the large budget for the celebrations saying it was a limited amount of money considering the large benefits Egypt would reap by way of promoting the country tourism etc.

He said international television companies had applied for telecasting the millennium celebrations at the pyramids.

Besides the opera, at the dawn of the new millennium a helicopter will lower a small triangle-shaped capstone atop the great pyramid the apex point of which was plundered away hundreds of years ago by grave robbers.

Though the millennium celebrations fall during Ramzan, the holy fasting month for Muslims, the authorities have said they have taken that into consideration while organising the event.

“Nothing in this celebrations will harm Islamic traditions”, Mr Hosny said stressing the real celebrations would begin only after 10.30 (local time) that night.

Jean Michel Jaree told reporters that the idea behind his opera was to accompany the sun, which was revered by ancient Egyptians, into the new millennium.

“To go on an imaginary journey with the sun from December 31, 1999, to the sunrise on January 1, 2000, he said.

The grand finale will be performed just before sunrise. — PTI

A satire on socialism
By Bhupinder Dharmani

A dramatic presentation of “ Gadhe ki Baraat” was made by Saptak, a cultural organisation of Rohtak, at the open- air theatre of Government National College, Sirsa recently. The show was organised by the Police Public Organisation, Setu.

The 96th stage show of this Hindi adaptation of a Marathi play is a satire on the theme of socialism. Can there be a bridge between the privileged and the plebeians was the eternal social question that is dealt with in the play.

Through the background chorus, Kallu main ki nautanki..., the presentation successfully blended sarcasm with humour making the play palatable to children as well as adults.

The audience consisting of people from all sections of the society cheered the delectable dialogues mocking the current socio-political tendencies. An accursed donkey, that has inherited the soul of Chitre Sen, shows a metamorphosis of motives by disowning his roots as soon as he reaches the court and becomes the king’s son-in-law.

However, the play ends on a tragic note that the gulf between the rich and the poor, the ruler and the ruled will remain unbridged.

The Deputy Commissioner, Sirsa, Dr Avtar Singh, the D.C., Fatehabad, Mr Shekar, and the president of the youth wing of the INLD, Mr Ajay Chautala, were the guests of honour on the occasion.

The director of the play, Vishawa Deep Trikha, said ‘Saptak’ planned to give the 100th presentation of the play at the IAS Academy, Mussoorie, soon.

Audioscan by ASC
More pop singers on horizon

MUSAFIR (Milestones): Hindi pop singers are emerging out of the woodwork like never before. In this cacophony, it is very difficult to stand out. Sooraj is one of the few who have a rich, baritone voice and may be heard quite often in the days to come. His voice reminds you of Shailendra Singh’s, but he has a style all his own.

Here he is backed by a spirited band of musicians, who have given him some highly hummable tunes. In fact, Sooraj himself is the composer of quite a few songs. The entire team is new, with lyrics by Abbas, Kumar Gill, Chetan Thakkar and Suhaas. The composing department is manned by Sooraj, Sidharth and Suhaas.

The title song is perhaps the best of the lot. Its lyrics are also more meaningful than those of others. Meri jaan... mixes Hindi and English all the way. Badal... has Sooraj yoddling to his heart’s content.

Phir ayee teri yaad... makes an excellent use of the piano. The background music of Samundar... reminds you of the Mehbooba, mehbooba... song from “Sholay” initially, but charts a fresh course later on.

But the straightest path to the popularity charts seems reserved for “Hey ya... where Sooraj portrays a free soul with elan.

The inlay card gives the lyrics of all songs.

SUNO TO DIWANA DIL (HMV): Kamaal Khan is on his way up despite limitations of his range. High-profile releases of the albums also help him a lot.

Somehow, tunes of several songs in this cassette do not impress you as much as they should. And then Kamaal has too much “desi” affectation to really pass off as a pop icon. Some of his presentations sound like typical Bollywood songs.

Four of these have been composed by him while the other four have been set to music by Anand Raj Anand. Lyrics are by Anand Raj Anand and Roop Jauhari.

Most of the hard work seems to have been done on the title song, Suno to diwana dil..., which has been written by V.K. Mehta.

MELODIES (Archies): The piano is such an ideal instrument for rendering songs which are already on the lips of the listeners. Here, the evergreen hits that have been played out are Din dhal jaye... (“Guide”), Chingari Koi bhadke... (Amar Prem”), Jab koi baat bigad jaye... (“Jurm”), Kabhi khud pe kabhi haalat pe rona aya... (“Kala Bazaar”), Tum pukar lo... (Khamoshi”), Kisi ki muskurahaton pe ho nisar... (“Anari”), Phoolon ke rang se... (“Prem Pujari”), Tere bina zindagi se... (“Aandhi”), and Tumse naaraz nahin zindagi.... (“Masoom”).

What a pity that the name of the artiste. Preet Raj Singh, is mentioned only on the rear of the inlay card, as if in passing. He has done a wonderful job, keeping the tempo extremely slow and seductive.

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More on Lata awards

This refers to Mr M.L. Dhawan’s letter (October 8, Arts Tribune) on the Lata Mangeshkar Award. The writer, unfortunately, got his facts mixed up. There are actually two Lata Mangeshkar Awards.

Singer Talat Mahmood won the Lata Mangeshkar Puraskar, awarded annually by the Madhya Pradesh Government, in 1995. The award was instituted in 1984 and music maestro Naushad was the first recipient. The 15th annual award was given to veteran composer Ilaiyaraja, from South India, in 1998. Other awardees include singers Kishore Kumar, Manna Dey, Asha Bhosle, Sandhya Mukherjee and Jagjit Singh, along with composers Jaidev, Khayyam, Laxmikant-Pyarelal, Kalyanji-Anandji, R.D. Burman and Anil Biswas. This award was turned down by O.P. Nayyar.

The Ganasamragyi Lata Mangeshkar Puraskar was instituted by the Maharashtra Government in 1992, when Lataji completed 50 glorious years of her singing career. The first recipient of this award, which is announced on Lataji’s birthday, September 28, every year, was Manik Verma. Asha Bhosle is the eighth artiste to receive this prestigious award. The others include Sudhir Phadke, Gajanan Watve, Datta Daojekar, Pt. Jitendra Abhisheki, Pt. Hridaynath Mangeshkar and Jyotsna Bhole.

Jalandhar
NITIN BATRA