Time Table & Fee Structure For International Students

Bharatanatyam is a major form of Bharatanatyam remained exclusive to Hindu temples through the 19th century. It was banned by the colonial British government in 1910, but the Indian community protested against the ban and expanded it outside the temples in the 20th century. Modern stage productions of Bharatanatyam have incorporated technical performances, pure dance based on non-religious ideas and fusion themes.

GURU – THE TEACHER: VIDHUSHI SHAMBHAVI ACHARYA
Born in an artisan family, fine art is her blood and she took up Bharathanatyam at the age of 7 the guru Vidwan Sudhir Rao, Kodavoor at his centre, Jnana Deepa Nrithyakala Kendra, Bannaje, Udupi and after that she continued with Vidushi Manasi Sudhir of Nrithyanikethana Kodavoor, for 12 years and completed her Vidhwath in Bharathanatyam. During taring period she participated in more than 100 programs in different places like – Bombay, Banglore, Mysore, state level program at Rangamane puttur, udupi Rajangana, Mangalore Town Hall etc…

Then she started her own institution called Narthiki ® at Udupi, created her own group, for fast 5 years she is working as nruthya guru in several schools, and also at Sadhana. Still she is undergoing advance studies with Natyamayuri, Smt Vidushi Lakshmi Gururaj.

BASICS – GRADE 1

PROGRAM PERIOD :
WEEKLY 3 CLASSES OF EACH 2:00 HRS, 12 WEEKS, IN TOTAL 72 HRS
CURRICULUM :

UNDER STANDING THE TRADITION AND BASICS OF BHARATHANATYAM
BASIC EXERCISE, BASICS STEPS CALLED AS ADAVUGALU
LEARNING DIFFERENT MOVE MENTS CALLED HASTHA KSHETHRA ETC
LEARNING MUDRAS – HAND POSTURES
LEARNING FORMATIONS, SOME BASIC DANCE LIKE DEVARA NAMA/FOLK ETC.

INTERMEDIATORY – GRADE 2

PROGRAM PERIOD :
WEEKLY 3 CLASSES OF EACH 3:00 HRS, 12 WEEKS, IN TOTAL 108 HRS
CURRICULUM :

IN THIS GRADE STUDENTS HAS TO UNDERSTAND GO RIGOROUS PRACTICE OF SEVERAL COMPLECATED ADAVUGALU AND POSTURES
MUCH MORE UNDERSTANDING SAHITHYA – LITERATURE, ACCORDING TO THAT LEARNING OF NAVARASAS – NINE EXPRESSIONS – (THE NAVARASA, IN THE SCRIPTURES REFER TO THE NINE EXPRESSIONS THAT HUMANS OFTEN SHOW. THESE ARE LOVE (SHRINGAARA), LAUGHTER (HAASYA), KIND-HEARTEDNESS OR COMPASSION (KARUNA), ANGER (ROUDRA), COURAGE (VEERA), FEAR (BHAYAANAKA), DISGUST (BHEEBHATSYA), WONDER OR SURPRISE (ADBHUTHA) AND PEACE OR TRANQUILITY (SHAANTHA).)
LEARN ALARIPU, JATHI SWARA, DEVARANAMA, ABHINAYA, NRUTHA AND NRUTHYA, THILLANA ETC.

The tabla is a membranophone percussion instrument originating from the Indian subcontinent, consisting of a pair of drums, used in traditional, classical, popular and folk music. It has been a particularly important instrument in Hindustani classical music since the 18th century, and remains in us in,Pakistan Afghanistan Nepal Bangladesh, and Sri Lanka. The name tabla likely comes from tabla, the Persian and Arabic word for drum. However, the ultimate origin of the musical instrument is contested by scholars, some tracing it to West Asia, others tracing the evolution of indigenous musical instruments of the Indian subcontinent.

The tabla consists of two single-headed, barrel-shaped small drums of slightly different size and shape: daya also called dahina meaning right (also called “tabla”), and baya also called bahina meaning left (also called “dagga”). The daya tabla is played by the musician’s right hand (dominant hand), and is about 15 centimetres (~6 in) in diameter and 25 centimetres (~10 in) high. The baya tabla is a bit bigger and deep kettledrum shaped, about 20 centimetres (~8 in) in diameter and 25 centimetres (~10 in) in height. Each is made of hollowed out wood or clay or brass, the daya drum laced with hoops, thongs and wooden dowels on its sides. The dowels and hoops are used to tighten the tension of the membrane. The daya is tuned to the ground note of the raga called Sa (tonic in India music). The baya construction and tuning is about a fifth to an octave below that of the daya drum. The musician uses his hand’s heel pressure to change the pitch and tone colour of each drum during a performance.

The playing technique is complex and involves extensive use of the fingers and palms in various configurations to create a wide variety of different sounds and rhythms, reflected in mnemonic syllables (bol). In the Hindustani style tabla is played in two ways: band bol and khula bol. In the sense of classical music it is termed “tali” and “khali”. It is one of the main qawali instrument used by Sufi musicians of Bangladesh, Pakistan and India. The tabla is also an important instrument in the bhakti devotional traditions of Hinduism and Sikhism, such as during bhajan and kirtan singing.

GURU – THE TEACHER : SRI RAGHAVENDRA HEGADE

SRI RAGHAVENDRA HEGDE BORN IN A SMALL VILLAGE CALLED MARUKERI, BHATKAL OF SOTHERN INDIA, BASIC FARMERS AND ARECA GROVERS, HE LEARNT TABLA WITH GREAT GUR VIDHVAN SHREE MADIVALAYYA SALI AND FURTHER WITH DR. SANTHOSH CHANDHAVARKAR. HE COMPLETED HIS VIDHWATH GRADE IN TABLA. HE IS A WELL KNOWN TABLA ACCOMPANYIST HAVE MORE THAN 10 YEARS OF EXPERIENCE AND PERFORMED IN MORE THAN 100 CONCERTS. ALSO HE IS WORKING WITH SADHANA SINCE LAST 8 YEARS AS TABLA GURU.

BASICS – GRADE 1

PROGRAM PERIOD :

WEEKLY 2 CLASSES OF EACH 2:30 HRS, 12 WEEKS, IN TOTAL 60 HRS
CURRICULUM :

UNDER STANDING THE TRADITION AND BASICS OF TABLA THE INDIAN PERCUSSION USED ALONG WITH BHARATHIYA SHASTHRIYA SANGEETHA AND IT’S DIFFERENT FORMS
UNDERSTANDING AND LEARNING BASIC BOLES (SYLLABLES), PRACTICING THAT
UNDERSTANDING 4 TALAS A REATHEM PATTERN AND PRACTICING THAT IN ONE TEMPO
PRACTICING TALAS WHILE OTHERS SINGING – MEANS ACCOMPANYING

INTERMEDIATORY – GRADE 2

PROGRAM PERIOD :

WEEKLY 2 CLASSES OF EACH 2:30 HRS, 12 WEEKS, IN TOTAL 60 HRS

CURRICULUM :

IN THIS GRADE STUDENTS HAS TO UNDERSTAND BASICS OF HINDUSTHANI VOCAL ALSO
MUCH MORE UNDERSTANDING HINDUSTHANI SHASTHRIYA TALAS ALONG WITH INTRODUCTION ABOUT MUSICAL INSTRUMENTS USED IN THIS FORM
MUCH MORE EXERCISE NEEDS FOR HAND, MUKDA, THUKDA, KHAIDA, LAGGI, CHAKRADHAR TO BE LEARNT THESES ARE SAME AS ROLLING IN DIFFERENT PATTERN
DEEPER UNDERSTANDING OF LAYA – TEMPO, EACH TYPE OF SINGING HAS ITS OWN LAYA/TEMPO, LIKE VILAMBITH – SLOWEST TEMPO, MADHYA LAYA – MEDIUM TEMPO, DRUTH – FAST TEMPO AND ATHI DRUTH – FASTER TEMPO ETC.
REGULAR PRACTICING DURING VOCAL CLASS, BAITAKS – A UNPLUGED PROGRAMS, ALSO ACCOMPANYING DURING IN HOUSE PROGRAMS

The Gandharva Veda is a Sanskrit scripture describing the theory of music and its applications in not just musical form and systems but also in physics, medicine and magic.Ravana and Narada from Hindu mythology are accomplished musicians; Saraswati with her veena is the goddess of music. Gandharvas are presented as spirits who are musical masters, and the gandharva style looks to music primarily for pleasure, accompanied by the soma rasa. In the Vishnudharmottara Purana, the Naga king Ashvatara asks to know the swaras from Saraswati

Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music. Hindustani music places more emphasis on improvisation and exploring all aspects of a raga, while Carnatic music is primarily composition-based. The central notion in both these systems is that of a melodic mode or raga, sung to a rhythmic cycle or tala. It is melodic music, with no concept of harmony. These principles were refined in the musical treatises Natya Shastra, by Bharata (2nd–3rd century CE), and Dattilam(probably 3rd–4th century CE)

Until the late 19th century, Hindustani classical music was imparted on a one-on-one basis through the guru-shishya (“mentor-protege) tradition. This system had many benefits, but also several drawbacks; in many cases, the shishya had to spend most of his time serving his guru with a hope that the guru might teach him a “cheez” (piece or nuance) or two. In addition, the system forced the music to be limited to a small subsection of the Indian community. To a large extent it was limited to the palaces and dance halls. It was shunned by the intellectuals, avoided by the educated middle class, and in general looked down upon as a frivolous practice.

Also, at the turn of the century, Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande spread Hindustani classical music to the masses in general by organizing music conferences, starting schools, teaching music in classrooms, devising a standardized grading and testing system, and standardizing the notation system.

GURU THE TEACHER: VIDHVAN SRI GAJANAN HEBBAR: (GWALIAR GHARANA)

Born in a farmers family, in southern India, started his music journey at the age of 14, joined Sri Anantha Hebbar, who taught basics of hindusthani music. After several years he joined Vidhvan Ashok Hugganavar, for advance learning of shasthriya sangeetha. His quest for learning music took him to age old Pandith Sri Narayana Pandith, he surrender to him and his knowledge, got trained for 8 years. In the mean time he met Ustad Fayaz Khan, stated learning Saarangee, a string instrument and also learnt Harmonium by himself. Now his is a full pledged vocalist, musician and well respected guru in this region.

He is well versed with all aspects of Hindusthani Music, with Vidhwath Degree from Karnataka State Govt., recognized by many institutions, like Ghandharva Maha Vidyalaya Mandala of Mumbai. With more than 25 years of experience in hindusthani shasthriya sangeetha, he performed all over Karnataka, Mumbai and Kerala, gave more than 100 concerts and workshops. His specialization in presenting Bada Kyal, Tumri, Nirguni and Bhajan are well accepted in the music field. He was awrded with Rajyothsava Puraskar for his service for music. He is working as a hindusthani guru at Sadhana for past 11 years. Now he has more than 200 students studying under him.

BASICS – GRADE 1

PROGRAM PERIOD :
WEEKLY 2 CLASSES OF EACH 2:30 HRS, 12 WEEKS, IN TOTAL 60 HRS

CURRICULUM :

UNDER STANDING THE TRADITION AND BASICS OF INDIAN – i.e., BHARATHIYA SHASTHRIYA SANGEETHA AND IT’S FORMS
UNDERSTANDING HINDUSTHANI SHASTHRIYA SANGEETHA (HINDUSTHANI VOCAL)
UNDERSTANDING INDIVIDUALS SHRUTHI (SCALE), SWARS (NOTES), LEARNING ALNKARAS (VOCAL EXERCISE)
UNDERSTADING WHAT ACTUALY RAGS AND LEARNING SOME OF THEM (6 RAGAS), LEARNING NOTES OF SUCH RAGAS AND SWARA PRACTICE
LEARNING CHOTA KHYAL OR CHEEZ – SMALL POEMS OF PERTICULAR RAGS, SING THEM ALONG WITH TABLA (RITHAM), LEARN THAN PATTERNS AND ICLUDED THEM WHILE SINGING RAGAS.
ALMOST THESE PRACTICES REMAINS IN SINGLE TEMPO CALLED DRUTH, MEANS FAST TEMPO.
LEARN SOME BHAJANS, ATTEND PROGRAMS ETC.

INTERMEDIATORY – GRADE 2

PROGRAM PERIOD :
WEEKLY 2 CLASSES OF EACH 2:30 HRS, 12 WEEKS, IN TOTAL 60 HRS

CURRICULUM :

MUCH MORE UNDERSTANDING HINDUSTHANI SHASTHRIYA SANGEETHA ALONG WITH INTRODUCTION ABOUT MUSICAL INSTRUMENTS USED IN THIS FORM
MUCH MORE EXERCISE OF ALNKARAS ALONG WITH ALAPS (VOCAL EXERCISE)
DEEPER UNDERSTADING OF RAGS AND PRESENTING THEM, ALONG WITH TIME FRAME OF RAGS, RASA’S OF RAGAS (FLAVOUR), HOW TO PRESENT IN DIFFERENT TEMPO CALLED VILAMBITH – SLOWEST TEMPO, MADHYA LAYA – MEDIUM TEMPO AND ATHI DRUTH – FASTER TEMPO ETC. LEARNING SOME OF THEM (12 RAGAS), LEARNING NOTES OF SUCH RAGAS AND SWARA PRACTICE
LEARNING CHOTA KHYAL OR CHEEZ, BHADA KHYAL, TUMRI, HOLI GEETH, GAZALS AND BHAJANS SING THEM ALONG WITH TABLA (RITHAM), LEARN THAAN (GROUP OF NOTES) PATTERNS AND ICLUDED THEM WHILE SINGING RAGAS.
PRESENT SOME OF RAGAS IN INHOUSE PROGRAMS ALSO OUTSIDE PROGRAMS ARRAGED BY SADHANA AND ATTEND PROGRAMS ETC.