ANANYA KALASINCHANA
‘Ananya Kalasinchana’, which was earlier known as ‘Ananya Abhivyakthi’, is a bi-lingual monthly (Kannada and English) magazine. For over 20 years, print version of the magazine was brought out and sent to the subscribers. It is a forum for artists to document their thoughts and express their interest. In 2019, it was made available, for free, digitally through an app, which carries magazines till date. The app can still be accessed here.
Kalasinchana takes on a new form of an online blog in 2022. While the forms of access have changed in tune with time, the content of the magazine has always remained relevant and useful to the artiste fraternity. The blog continues to consist of in-depth articles on music, dance and associated literature, as well as scientific interpretations of arts. It features reports and announcements about upcoming events by various organizations, including Ananya’s.
Ananya Kalasinchana is dedicated to the cause of arts and continues to be a much loved and read portal by students, practitioners and connoisseurs alike.
To contribute articles to Kalasinchana, please write to us at ananyakalasinchana@gmail.com
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Across Borders – Interview with NiviPadhy
NiviPadhy CO-FOUNDER AND CEO, TIKKL.COM – ONLINE STREAMING PLATFORM BASED OUT OF CALIFORNIA, USA In a world that is still reeling and recovering from the Covid pandemic, one cannot deny the speed with which a particular force acted upon global populations across...
SRUTIS AND THEIR FUNDAMENTAL (Part 7)
Chapter - 3 (continued) SRUTIS AND THEIR FUNDAMENTAL PROPERTIES 3.4.4 Analytical derivation of the 22 srutis We begin by referring to Table 3.2. which summarizes the relative frequencies of the 12 dominant swaras. This table is seen slightly modified in Table 3.6...
In the making of Charumathi
In the making of Charumathi -Srividya Angara Sinha The staging of a dance production is a complex and multi-layered process, from ideation, to execution. What one sees on stage is a final version that the dancer presents, or perhaps the first of many final versions...
Srutis and Srutibedhas (Part 4)
Chapter 3 SRUTIS AND THEIR FUNDAMENTAL PROPERTIES 3.4.1 The cycle of fifths and the cycle of fourths One way of deriving the 22 srutis of our music is to use the well-known cycle of fourths and the cycle of fifths. The ‘fifth’ note referred to above is nothing but...
Pandanallur Bᾶni – My steady side
Bharatanatyam is one of the oldest surviving classical dance forms of India. From the heavens to temples, from temples to courts and from the courts to sabhas, Bharatanatyam has evolved differently at each stage. From being known as the ‘Sadir’, ‘Chinna Melam’ and...
Maharajapuram Viswanatha Iyer (Part 2)
From “Murali Vani”, Sri B V K Sastry Felicitation Volume In Palani and its surrounding areas, his voice and music became before long an attraction for the people, and he was repeatedly asked to give performances: his schooling in laya was possibly achieved in this...
