Bhakti Shringara - A Tapestry of Emotions by Singapore Indian Fine Arts Society

Featuring senior students on vocals, sitar, violin, mridangam, tabla and keyboard with music arrangements by teachers of SIFAS, Bhakti Shringara will take you on a musical journey that winds through various poetic compositions to capture the soul & essence of two rasas - bhakti and shringara. 

This week, we spoke to SIFAS tutors Guru Nellai N Ravindran, from the Carnatic faculty & Guru Sonali Biswas, from the Hindustani faculty to learn more about their experience working on this unique production. 

Bhakti signifies the pure devotion of an eternal relationship with divinity whilst shringara, considered the mother of all rasas, signifies pure love. Presented by Singapore Indian Fine Arts Society (SIFAS) in collaboration with Esplanade - Theatres on the Bay as part of the Raga series. 

Get your tickets here: http://www.sistic.com.sg/events/bhakti0714

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1) SIFAS ALUMNI: Traditionally, rasas have not been given as much importance in Indian Classical Music as in Indian Classical Dance. What inspired you to present rasas and specifically, Bhakti and Shringara through the SIFAS Orchestra?

GURU RAVINDRAN: It seems that Rasas are dominant in dance, more than in music, with more varieties. But rasas are always in-built in Indian music forms. Dance too needs the help of music to bring out the rasas in proper perspective, so that the audience get the feel, listen, see and enjoy the performances. (Music is an integral part of dance.) In both forms of Indian Classical music, Carnatic and Hindustani, Bhakti is very common rasa and Shringara is philosophically, a beautiful branch or another form of Bhakti. Different Ragas arouse different rasas when performed by the right artistes and listened by a matured listener. These were the thoughts behind the idea of having rasas as theme for a music concert.

GURU SONALI: The rasas were first described by Bharata Muni in the context of drama in his theoretical treatise, the Natya Shastra. While the nine rasas can be expressed through dance, the emotions they denote can only be fully evoked with the help of music. The rasas play an important role by bringing out the aesthetic of a musical composition, making it pleasing to both the artist and listener. Even the definition of raga is incomplete without rasa. Two of the most important emotions of human beings are Bhakti (devotion) and Shringar (erotism). For this production, we have chosen those ragas whose swaras and lyrics depict these emotions and can easily touch the heart of the listener

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2) SIFAS ALUMNI: This presentation features SIFAS alumni and senior students from both the Carnatic and Hindustani traditions of Indian Classical Music. Was it challenging to arrange compositions catering to both these styles? 

GURU RAVINDRAN: It was not challenging, but needed an understanding between the tutors, who are in-charge of the affairs, to decide the course of the concert. Discussions went on, as to how to start the concert and how to end the concert, like proceeding from Guru to Lord Ganesha and various deities. We will try to induce various emotions from the Rasikas, with the inclusion of variety of ragas and compositions.

GURU SONALI: The Carnatic and Hindustani students will be performing in their own styles for the majority of the performance. The finale will see some fusion where Hindustani students are singing and playing a thillana, which is really interesting and somewhat challenging also.

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3) SIFAS ALUMNI: How is teaching and conducting an orchestra different from the day-to-day solo or group classes? What are your thoughts about the SIFAS Orchestra? 

GURU RAVINDRAN: Composing and teaching for an orchestra is totally different from teaching individual students. Composer should understand various things, like capabilities of the participating students and composing accordingly, time available for practice, the use of instruments, selection of ragas and lyrics etc. After these, there are two ways to make an orchestra successful. While participating in an orchestra, students should completely forget their individualism, ability to improvise as individuals etc. and should become a part and parcel of the team and work for the success of the concert, following very seriously, the instructions of the composer/conductor.

GURU SONALI: The coordination and synchronization of the sounds are very important in an orchestra. In solo or group classes, we mentor the students by showing them proper guidelines. The teacher of an orchestra must first be ready with an idea of the production. The teacher then has to teach the compositions, music arrangements, coordination and harmony to the trained students to bring out the best result. The SIFAS Orchestra is doing well.

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