Kuchipudi: Dance, Drama and the Contemporary Stage
Kuchipudi began as theater performed by men from one Andhra village. Its later solo and ensemble forms still carry that theatrical habit, and knowing the history helps you see it.
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Bringing a Young Listener to a Concert
A child at a concert needs much the same as any newcomer: something to listen for, and room to take a break. Some practical suggestions for caregivers.
Why the Drone Matters
The drone sounds from the first note of a concert to the last. Here is what the tanpura plays, where its buzz comes from, and why musicians tune to it.
Odissi: Movement, Music and Repertoire
Odissi's look comes from a few distinctive movement principles, and its recital order from a group of gurus who met in the late 1950s. Both are worth knowing, and neither is the whole story.
Photography and Recording at a Live Performance
At a live performance, the decision to photograph or record is not yours alone. Here is how event rules and courtesy fit together, and why artists set limits.
One Way to Follow a Carnatic Recital
Many Carnatic concerts follow a broadly familiar course, shaped in the 1920s. Here is one common pattern, offered as a map rather than a rule.
Harikatha: Music in the Service of a Story
In harikatha, a single performer tells a sacred story through speech and song. Its Tamil form took shape in nineteenth-century Thanjavur, and other regions developed traditions of their own.
How a Classical Concert Unfolds
A Carnatic concert, a Hindustani recital and a dance program are arranged in different ways. Knowing the broad outlines helps you sense where you are in an evening.
Hearing a Tani Avartanam
The tani avartanam can sound like a torrent of strokes, but it moves through recognizable stages. Knowing them makes the percussion solo much easier to follow.
The Veena: Resonance, Phrase and Touch
The Saraswati veena is the principal plucked instrument of Carnatic music. Its frets, strings and playing technique shape a sound that is easy to recognize.