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London-based Amol enthralls audience with his Marathi film background score

What is  India’s renowned vocalist  Rahul Deshpande’s debut-making Marathi film Amaltash’s London connection? Rahul Laud seeks the answer

The growing connection between Marathi films and London is demonstrated in the latest Marathi film Amaltash which hit the theatres on 8 March. Reviews for the film are rave. Actor Chinmayi Surve (wife of actor Sumeet Raghavan) has gone on record saying that this film is unique to Marathi films – “a must-watch and a must to be heard in big halls for its rich experience,” she said.  What makes the film  Amaltash so unique? The background score to the entire film plays a significant role and is a character of the film which is composed by London-based Amol Dhadphale with additional music by Johann Matthew and music director Bhushan Mate. The background score, in particular, transcends the cinematic experience as the discerning say it’s not run-of-the-mill, typecast, stereotyped sound usually seen in popular Marathi cinema. Amol was briefed by the producer and director of the film   Suhas Desale who had a clear vision that inspired Amol to watch Japanese anime.  The whole treatment is thus global giving it an international feel and beautifully synced with the images on the editing table. It was a challenging task for Amol to think creatively and compose orchestral music in a way that could resonate with Marathi culture, especially in a scenario where the film didn’t have the budget to use any live instruments. Amol composed and played the entire music out of his studio in London.

 Amol is a London-based film composer, pianist, harmonium player, and an experienced mastering engineer. He has been a practitioner of classical, jazz, and pop music and has performed in over 500 live concerts across the globe. At a recently held concert organised by the SAJDA Festival for Performing Arts, he accompanied on harmonium Koyel Bhattacharya – a disciple of the late Ustad Rashid Khan.  

By profession, Amol is recognized as a senior executive with a background in management consulting and has helped several Fortune 500 companies transform their business. Pune-born, he has lived across the globe in  Tokyo, Amsterdam, Dubai, California, and London.n This has helped Amol to be exposed to the finer nuances of international music and cultures. It’s his passion for music that attracted him to an opportunity to compose film for Amaltash he admits. Amol had met Desale during his visit to Rahul Deshpande’s home in Pune where Amol and Rahul were ‘jamming’ together for a Facebook livestream session. This introduction led to Amol and Suhas working together on the journey of Amaltash. 

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Lite Blogs Music

Bhangra Nation: A Musical Celebration of Identity and Unity Takes Birmingham by Storm

When a huge row changes the team forever, students Mary and Preeti start on journeys of discovery into what they stand for and who they want to be…reports Asian Lite News

Bhangra Nation is an uplifting, moving and funny new musical about friendship, family, rivalry and identity, brought to life with boundless energy and joy, incredible dance moves and a truly bhangin’ soundtrack. Originally called Bhangin’ It, this musical was premiered in San Diego in 2022.

As the Uni Bhangra dance team wait nervously backstage to find out if they’ve made it to Nationals, the real showdown has already begun as team mates Preeti and Mary clash over what Bhangra really means to them. Whilst Preeti, who is 100% South Asian, believes that the team needs to stick to tradition, Mary, who is bi-racial, is passionate about shaking things up to belong to today.

When a huge row changes the team forever, students Mary and Preeti start on journeys of discovery into what they stand for and who they want to be.

By focusing on the two students and their different ideals of dance, Bhangra Nation explores how we see ourselves and how we view others.

At the core of this approximately 150-minute musical is a story about how you fit in, according to its Director, Stafford Arima. “I think, no matter if you are British, South Asian, Canadian or whatever, we all struggle on so many levels on how to fit into the world these days,” he added. Asked what excites him about this musical, “that we’re pulling from the community of Birmingham but also introducing to the community of Birmingham new faces and new voices. We’re making it a big kind of soup of different ingredients from different places.”

A house-full audience reflecting multicultural Birmingham, attendees included director Stafford Arima, media representatives including Indy Deol, Satnam Rana, Amit Roy and Boy Chana, relatives of the cast and TV personality Dr Ranj. At the end, the audience took to their feet to applaud the fabulous cast. After the show, VIP guests were treated to drinks and food, the latter provided by Dishoom. Hats off to The REP’s Communications Team, including Aaliyah Collins, Samantha Lyster as well as Nada Zakula.

Local lad’s dream role

For 22-year-old Ajay Sahota, pictured, this is his first time on a professional stage. Ajay, from Great Barr in Birmingham, plays student Gobind. He had never dreamed he would be on stage at The REP, and is enjoying the experience. “I’ve only done amateur musicals at university and at school but I’ve always loved musical theatre and this show is a combination of dancing, singing and the cultural part of being a South Asian in the UK. It’s the perfect opportunity,”

Parambeer Samrai is a bhangra consultant from Walsall. “This show is fostering an understanding of cultural appreciation whether you’re South Asian, black or white,” says Parambeer. “We’re creating a memorable performance for all ages and we want this show to be accessible to anybody and everybody. Bhangra is a super cool dance and music tradition that lots of people in Birmingham enjoy but it’s not just about dancing. It’s about bringing people together and having fun.”

Bhangra Nation runs at Birmingham REP until 16 March. Receive one free teen (aged 13-19) ticket when you book a full priced ticket for a Mon to Thu performance.

ALSO READ-Birmingham Declares Bankruptcy After Equal Pay Claims, Halts Non-Essential Spending

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Dastaan Live: A Musical Journey Through the Voices of Masters

Ghosh, who also teaches at Ashoka University, and runs an NGO along with his partner at the Nizamuddin slums in Delhi, says that only those people inclined with their social and political ideas come on board, and that is the reason their music works…reports Asian Lite News

Faiz Ahmed Faiz, Sahir Ludhianvi, Majaaz, Nazeer Akbarabadi, Baba Nagarjuna, Paash and Kabir — ‘Dastaan Live’, an independent music band, does not believe in taking the convenient/safe road out, instead uses the words of these masters to reflect on the contemporary social realities.

Perhaps the reason that in recent times, this band has earned a cult following.

With 11 members – five vocalists, three percussionists and three guitarists — ‘Dastaan Live’ primarily works with music, poetry, visual art, lighting design and performance art, with music at its core.

They also incorporated puppetry in their music video of ‘Mat Ro Bachche’.

“For us, it is paramount to constantly challenge ourselves by incorporating varied genres and forms,” band co-founder Anirban Ghosh tells IANS.

The inaugural show of the project, titled ‘Surviving Democracy’, was conceptualised by Anirban Ghosh (Baan G), Nikhil Vasudevan and Sumant Balakrishnan in 2016, and since 2018, they have carefully chosen content that is in line with their critical and political work.

Ghosh, who also teaches at Ashoka University, and runs an NGO along with his partner at the Nizamuddin slums in Delhi, says that only those people inclined with their social and political ideas come on board, and that is the reason their music works.

“Most of us are interdisciplinary artistes. The genres they practice are just ‘byproducts’ — it is primarily the thought that matters. We are consistently pushing boundaries, and the project strives to enhance audience immersion, fostering dialogues, interpretations, and, above all, inspiring critical thinking,” adds Ghosh.

The band which was in Amritsar for the ‘Sacred Amritsar 2024’, presented by Sleepwell and produced by Teamwork Arts, staged their ‘rock opera’ – ‘Kabira Khada Bazaar Mein’, written by Bhisham Sahni and originally staged by theatre director M.K. Raina to critical acclaim. The show re-interprets the music of the play, retaining its core aesthetics and updating the arrangement and instrumentation for modern sensibilities.

“While Kabir is seen as a saint-seer, let us not forget that he asked very uncomfortable questions. We have always believed that the arts must raise pertinent inquiries and respond to what is going on around us. Anant Raina, who is a filmmaker, has come on board for this,” says Ghosh.

But are they not apprehensive about putting out critical content?

He says, “There will always be people uneasy with the kind of themes we work on. But it is important to speak out.”

Believing that it is important to have spaces where younger artistes across genres can push the envelope without the roadblocks that are synonymous with the market-driven arts ecosystem, Ghosh feels community arts may be the solution.

Even as several major independent bands continue to feel financial heat, the musician stresses the situation is no different for them.

However, accepting corporate funding and grants also means that their content gets compromised.

“And this is something we do not want to do.”

Planning an album, the group will be taking the Kabira show to different cities across the country.

“Kabir needs to be listened to more, much more by everybody,” he concludes.

ALSO READ-Raja Sir S M TAGORE: Tagore Medal Awards and the Royal College of Music

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NCPA’s Living Traditions Festival Spotlights Jharkhand’s Rich Folk Heritage

India is perhaps the most musical and musically diverse region in the world. This diversity is evident in the folk traditions associated with different regions. Through this festival, we try to showcase the folk traditions of different regions. During the NCPA’s Living Traditions’ 13th Edition, the focus is on Jharkhand.

Established in 2000, Jharkhand is one of the newest states located in the North-eastern part of India. Meaning ‘The land of forests and bushes’, the region has an amazing diversity of flora and fauna coupled with a variety of minerals and beautiful natural resources including hills and waterfalls. The state is equally or more rich in its cultural heritage. Be it Chhau, Mundari, Kathi Mage, Dasai, or Nagpuri and Jhoomar, these performing art-forms are not only means of entertainment for the different tribes of adivasis, but they also have a place in worship.

During the two day event, over 100 artistes comprising six well-known troupes from various parts of Jharkhand will present varied forms of music, dance and folk theatre. Each presentation will be introduced with an appropriate socio-cultural and aesthetic context. Additionally, on both days, artisans will demonstrate mask-making and bamboo artwork in the Experimental Theatre foyer.

•             #Day 1

•             When: March 8, Friday- 6.30 pm

•             Where: Experimental Theatre

•             Tickets: BookMyShow

Nagpuri songs by Prithviraj Sinhdeo & group

Regarded as a derivative of Bhojpuri, Nagpuri is the main language of Sadan, an ethno-linguistic group of the Chhota Nagpur region, which covers some areas of Jharkhand and neighbouring states of Bihar, Chhatisgarh and Orissa. It is also the main language of several tribal groups such as: Kharia, Munda, Bhumij, Kurukh and others. Couched in Nagpuri language, the musical renditions are based on diverse melodies, reflecting the typical folk flavour of the region. Until recently, only locally made instruments were used for accompaniment.

Ho Dance by Uma Kumari & group

Ho Munda are the scheduled tribe of Singbhum district of Jharkhand. Performed together by men and women, it is essentially regarded as a courtship dance. But often, it is also performed during the harvest season and wedding celebrations. White, red and yellow colours dominate attires of both men and women. Holding each other, they move with the melody of bansuri (bamboo flute) in a semi-circular fashion with graceful footsteps and waist movements, matching with the beat of drums and percussion instruments such as dama, dumeng and rutu, to name a few. The songs vary with the change of season and occasion; as a result, there are several variations of this dance form. Mage Porob, organised in the month of Magh, is the well-known dancing festival of the Ho Munda community. 

Gohaeer Jatra: Folk play written and directed by Deepak Lohar – A Presentation by Birsa Kala Kendra

The title of the play points to loud communication amidst the pandemonium of the countryside fair. This is the story of a village girl, Roopa, caught in human trafficking. The play unfolds the heartrending plight of the victim along with that of her brother, Kanhu, who also has his share of life struggles. The play has a tragic end, highlighting the menacing effects of rural poverty that is rampant in most Indian villages.

•             #Day 2

•             When: 9 March, Saturday – 6.30 pm

•             Where: Experimental Theatre

•             Tickets: BookMyShow

Kudmali Jhumar songs by Kamal Mahato & group 

Regarded as an Indo-Aryan language, Kudmali is one of the several languages spoken in Bihar. While mainly prevalent in the Chhota Nagpur region of Jharkhand, it is also widespread in the border regions of Orissa and West Bengal. Though mainly written in Bangla script, Kudmali literature is also available in other languages such as Devnagri and Odiya. Closely linked with the lives of common people, Kudmali folk songs are simple, yet appealing. There is no aspect of life in this region that can be considered complete without the inclusion of these extremely popular songs, known as Kudmali jhumar geet.

Chhau dance by Dildar Ansari & group

Recognised by the UNESCO as the intangible cultural heritage of the humanity, chhau is a popular dance form prevalent in the three states of eastern India: Jharkhand, Odisha and West Bengal. Although there are regional variations, generally, topics range from the great epics to mythology, nature, and even folklore, that are presented using combinations of hand, neck and eye movements. Some varieties also deploy martial arts techniques. Instruments used are: bamboo flute, cymbals and varieties of native drums. Within the state of Jharkhand, there are three prevalent styles of chhau: Saraikela, Kharsawa and Manbhum. This chhau dance presentation revolves around the hunting tradition of this region replete with lush green hills, forests, animals and tribals, in which hunters kill animals for their flesh. When persuaded by their wives to abandon the age-old anti-environmental practice, hunters understand the importance of maintaining an ecological balance by protecting all kinds of flora and fauna, that would in turn protect the human species.

Phurgal Dishom Rin Bir Ko: Folk play by Jeet Rai Hansda & group

The play portrays the saga of several adivasi men who fought relentlessly with the rulers of British Empire in pursuit of freedom. Starting in 1784, Baba Tilka Manjhi led uprising against British landlords at Bhagalpur. His brutal execution gave impetus to further rebellion by other young men including four brothers: Siddhu, Kaku, Chand and Bhairav around 1855, who dared to fight British along with thousands of adivasis from Santhal region. Legend has that their sisters as well as lovers also joined the freedom struggle. Later, Birsa Munda led the struggle from Chhota Nagpur region. The sacrifices made by these iconic leaders along with thousands of men, women and children are depicted in a style replete with song, dance and action. 

ALSO READ-NCPA Hosts Youth Theatre Extravaganza

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Gurugram to Groove to Sonu Nigam’s Melodies on March 9

 Stepping into the dynamic realm of Live Events and IP Projects, the Sonu Nigam Concerts stand as a pivotal offering among the numerous initiatives for 2024…reports Asian Lite News

Save the dates for an upcoming musical extravaganza – the eagerly anticipated Sonu Nigam Live in Concert 2024. Experience the magic in Surat on February 18th at CB Patel Cricket Ground, powered by LIC India, and let the rhythm resonate through Gurugram on March 9that Backyard Sports Club.nThis concert is more than just a performance; it’s a unique experience meticulously crafted by Laqshya Media Group and artist managed by ITW Playworx. 

Get ready for an exciting musical journey with Laqshya Media Group! with Sonu Nigam’s amazing tunes, from Bollywood hits to timeless melodies. The concert promises an enchanting evening featuring diverse hits ranging from Bollywood chart-toppers to timeless melodies.

In anticipation of his upcoming multicity tour, Sonu Nigam, the acclaimed artist, shared his sentiments about the event with a humanitarian touch, stating, “The transformative essence of music unites people and catalyzes positive transformations. Let’s come together and make a difference by joining me in this concert, orchestrated by Laqshya Media Group, not just for the love of music but also to create a meaningful impact through the universal language of melodies.”

 Stepping into the dynamic realm of Live Events and IP Projects, the Sonu Nigam Concerts stand as a pivotal offering among the numerous initiatives for 2024. Addressing this initiative, Atul Shrivastava, Chief Executive Officer of Laqshya Media Group, said, “India’s concerts and events industry has witnessed substantial growth, following an upward trajectory post the COVID-19 pandemic. We are exhilarated to contribute to this thriving space, curating countless memorable experiences for consumers nationwide.”

“Looking ahead, the Group is gearing up for an exciting future with a lineup of dynamic projects and ventures.

ALSO READ-Sudha Ragunathan Reflects on Four Decades of Musical Journey

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Lite Blogs Music

Sudha Ragunathan Reflects on Four Decades of Musical Journey

Known for her experiments within the traditional framework, she feels it is important to innovate to keep oneself fresh and invigorated…writes Sukant Deepak

Stressing that it is important to focus on simplifying music, while upholding its intrinsic values, to ascertain that it reaches a greater section, Carnatic vocalist Sudha Ragunathan, recipient of the Padma Bhushan honour, unlike many from her realm, says that even while global cultures are pervading, Indian classical music continues to draw a large audience.

“During my travels across the world, I see Carnatic music bringing together many minds and teachers and students of Indian music connect across the globe in technologically advanced environments. This gives a reassurance that Indian classical music continues to be a unique identity of our land,” she tells IANS.

Ragunathan, who has performed at the United Nations, the Theatre de la Ville, Paris, Lincoln Centre, Broadway and happens to be the only Indian vocalist to have participated in the Global Vocal Meeting organised by the ‘Burghof’ believes that workshops on music, lecture demonstrations, innovative attempts to showcase classical music, jugal bandhis…all of these continue to keep our tradition alive and uphold our culture and values through music.

Known for her experiments within the traditional framework, she feels it is important to innovate to keep oneself fresh and invigorated.

Adding that innovation keeps her alive, she adds, “Innovation for me can be in ways such as singing vivadhi ragas, singing kritis in vivadhi raga at concerts and doing ‘graha bedha’ and ‘swara bedha’. While we do innovate, purists do fall in line many times. In case they disagree, then I deem it that it falls under the category where everything undergoes change. Also, the way we present these innovations depends on the ability of the artists and the acceptance of the audience.”

Looking back at her four decades of a rich career, the Carnatic singer says the expectations from the audience have changed.

“Today there are myriad audience profiles and it is important to keep in mind that what matters most is the reach.”

Trained in the gurukul style of education under M.L. Vasanthakumari for 13 years, the vocalist, calling them the best years of her life remembers that it was not just music that she learnt from her.

“It was with her that the actual grooming and chiselling happened, to shape me into what I am today. Here, the teaching was different — in fact, there was no teaching at all. It was just keen listening and absorbing. Much of it was from her old records that I would listen and notate and the rest was while watching her singing live. There were only two songs that Amma taught me. Her style of teaching was a real challenge. M.L.V. Amma’s music was creative music, on the spot! She always kept you on tenterhooks and made you hang on to her and learn every drop of music that came from her. That was how she learnt from her guru G.N. Balasubramanian and she wanted to pass on the same style of teaching to her disciples as well. In a way, it equipped me with a kind of grasping capability and alertness that gave me the confidence that I could learn anything anytime with a focus and determination.”

For someone credited for initiating many young listeners to Carnatic music, she feels that while this school of music is complex, innovations within the boundary of classicism can make it seem less foreboding and more understandable.

“And this is what appeals to today’s youngsters, who are in a hurry for everything. It is heartening to see so many of the younger generation at my concerts. That motivates me further to work on a repertoire that can reach these young minds and make them understand the nuances and beauty of Carnatic music in a more simplified manner. Being more casual, attempting to bring in a newness to bring in cheer into the music — maybe a bit of casual conversation with them, depending on where and which kind of an audience you are performing for.”

Talk to her about the gender bias in the field of classical music, and she asserts, “Yes, there is — in more ways than one. And all women artists will stand with me when I say this. But let us not go there…”

The artist, who was part of a recent edition of HCL concerts, and launched ‘Sudhaarnava Academy for Musical Excellence’ a few years back has always stressed the importance of fitness for a classical singer.

“Firstly, healthy eating, yoga and meditation are primordial. That is to bring in balance and composure at all times. And then I get into a mood where there is lots of silence on the day before the concert, with limited conversations. I also work out whenever I can make the time because that also brings about a kind of discipline in taking care of your body, which again is very important for confidence on stage.”

Talking about the importance of corporates supporting the arts, Anshul Adhikari, Head, of HCL Concerts, stresses that corporate brands must invest in creativity as innovation lies at the heart of most successful enterprises.

“Indian performing arts are an exploration of the human conditioning and expression in its most potent forms, and this acts as a catalyst for creativity which people can imbibe.”

ALSO READ-SM Krishna, Sudha Murty among Padma awardees

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Lite Blogs Music

A Musical Tapestry from Beethoven to Sufi, Jazz to Multiverse

For Russian-born American vocalist and trumpeter Ilya Serov, the segue into jazz from his formal education in classical music at St. Petersburg Conservatory was a natural move because music needs no labels. For his first time in India, he brings contemporary takes on jazz classics and some original compositions too…reports Asian Lite News

The last time I heard Beethoven’s “Pastoral” Symphony and exchanged notes with my fellow concertgoer after the encore, I remember being intrigued by how the thunderstorm in the fourth movement had evoked utterly disparate emotions in us, sitting inches away from each other. For her, the timpani, trombones and strings had harmonised to yield catharsis for a stormy phase of life. To my ears, it brought the promise of rain on a very sultry June evening. That’s music. It moves people differently. But move, it does.

The “Pastoral”, Mendelssohn’s “Italian”, Saint-Saëns’s “Organ Symphony” and Brahms’s Symphony No. 2 will all be played during the SOI Spring 2024 Season. Some of these belong to what’s called programme music while Brahms’s composition falls under absolute music. The former denotes music intended to evoke images, the latter, not so much. Do such categories, however, make any difference to the experience of a listener? Musicologist Suddhaseel Sen discusses this in the cover story of the February issue.

Sufi music, on the other hand, is meant to bridge the gap between mortals and the divine. The poetry, ghazals or Sufiana kalam of bards, minstrels and mystics is associated with an all-surrendering quality so pure, it breaks down the barriers that hold one back. The three-day festival of Sama’a holds that promise for those willing to surrender to the music.

For Russian-born American vocalist and trumpeter Ilya Serov, the segue into jazz from his formal education in classical music at St. Petersburg Conservatory was a natural move because music needs no labels. For his first time in India, he brings contemporary takes on jazz classics and some original compositions too.

Reimaging traditional movement to explore possibilities in the realm of dance encapsulates the spirit of Spectrum, the NCPA’s festival of dances from around India and the world. From a celebration of Lata Mangeshkar’s unforgettable melodies to aspects of human existence told in contemporary language, the line-up lives up to the title of the festival.

“We have all the time we’ve always had,” says Marriane to Roland in Nick Payne’s play, Constellations. The NCPA production, which returns to the Experimental Theatre with a new cast, brings the idea of the multiverse to the stage. Quantum mechanics is integral to the script but only to grapple with the enigma of human existence. In an ensemble of parallel universes, time acquires a new meaning. What if we indeed had all the time we’ve always had? 

ALSO READ-Beethoven and influence of Indian metaphysics

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FEATURE Music UK News

Rishi Sunak Endorses 7th Annual World Music Conference

Hon Prime Minister, of Great Britain, Rt Hon Mr. Rishi MP, endorses the 7th annual World Music Conference on Music and Intelligence…writes Sruthi Ramakrishnan FRAS

The British Carnatic Choir hosted the 7th Annual virtual World Music Conference on 15th December 2023 under the esteemed patronage of the United Kingdom Commission for the UNESCO.

It is the flagship music conference in the Midlands, which aims to bring together artists and musicians of all ages, faiths, races, and cultural backgrounds, with the hope of sharing intercultural values, practices, knowledge, commonalities and to promote peace, harmony, and togetherness.

The conference is supported by the conference Chief Patron- His Excellency Dr. Shashank Vikram, IFS, Consul General of India in Birmingham, Cllr Chaman Lal, Lord Mayor of Birmingham and the Patron of the British Carnatic Choir, Mr. Andy Street, CBE, Combined Mayor of the West Midlands, Sir John Crabtree OBE, His Majesty’s Lord Lieutenant of the West Midlands, Dr. Paul Sabapathy CBE, Former Lord Lieutenant of the West Midlands and Patron of the British Carnatic Choir.

James Ömer Bridge, Secretary-General and Chief Executive of the UK National Commission for UNESCO says:

‘We were delighted to offer Patronage to the 7th World Music Conference held in December 2023. The conference brings together music communities from around the world to celebrate, share and learn from one another, thus upholding UNESCO’s constitution by building “…mutual understanding and a truer and more perfect knowledge of each other’s lives”.’

The WMC strives to create a platform that allows individuals and communities to develop musical skills, enhance cognitive competence and creativity, and ultimately foster a deeper appreciation of music.

Dr. Chithra Ramakrishnan, MBE, FRSA, FRAS, Founder, Director of The British Carnatic Choir, Founder, Curator of the World Music Conference comments on the theme of this year’s conference:

“The endorsement from our Hon Prime Minister, Rt.Hon. Rishi Sunak, MP is a tremendous honour and a testament to the significance of our most recent event. The Prime Minister’s recognition underscores the importance of exploring the intersection of music and intelligence, and we are grateful for the encouragement to continue our mission.

“We extend our deepest gratitude to the Right Honourable Prime Minister for supporting our cause. The endorsement not only adds prestige to our conference but also highlights the commitment to fostering discussions on the transformative power of music in enhancing intelligence and creativity. A Heartfelt Thank You to the Prime Minister, Rt Hon Rishi Sunak MP.

“It is our intention that this conference could springboard the redefinition of educational curriculums, positively impacting the way we currently go about teaching music to the younger generation.  our conference seeks to explore the synergistic relationship between music and intelligence, with focus on world music. The WMC seeks to respect intercultural variation and promote appreciation through music.

“This theme is topical at present, especially with the rapid growth of AI and its proliferation into various fields, from manufacturing to healthcare. This year, the conference vowed to examine the utilisation of AI into music practice and performance, considering how these situations can be enhanced for all stakeholders involved.”

MUSIC AND INTELLIGENCE

This year’s goals were centred around the theme of “Music and Intelligence”.

Identifying and establishing the relationship between music and intelligence in various cultures, considering the following key themes:

  • The psychological and neurological impacts of music on the brain.
  • How practicing music can be modified to increase intelligence.
  • The role of Artificial Intelligence in music composition, appreciation, and understanding.

The conference aimed to achieve these through a series of interactive, hands-on workshops, performances, keynote speeches, by renowned global experts and professionals.

Some of the featured keynote speakers/presenters at the conference were

 Professor Francisco Tigre Moura, Professor of Marketing, IU International University of Applied Sciences, Germany,

Professor Nassim Aissa Belbaly, Empathetic AI Founder, Professor of Artificial Intelligence, Australia

 Dr. Shantala Hegde, Additional Professor (Neuropsychology) National Institute of Mental Health and Neurosciences, Bengaluru, India

Professor Islah Ali-MacLachlan, Associate Professor, Audio Engineering and acoustics, Birmingham City University, Birmingham, UK

Dr. Lakshmi Balraj- Indian classical vocalist, Chief Officer and Head, Indian Dental Association, Mumbai.

Diamond Duggal, British-Indian music producer, composer, musician and AI researcher. London.

Dr. Ramya Palacholla, Director, Digital Science and AI, AstraZeneca, U.S.

The conference featured a special highlight called ‘Global Young Trailblazers’, a segment by young musicians  from different continents  showcasing  how they embraced AI in their music.

British Carnatic Choir Awards 2023-Celebrating Excellence in the Arts.

The 7th annual World Music Conference hosted the virtual awards ceremony of the 9th annual British Carnatic Choir Awards for arts and culture -2023.

The British Carnatic Choir (BCC) Awards for Arts and Culture honours individuals and organisations that have made a positive impact on society through their creativity and commitment.

The distinguished awardees for 2023 were-  

1. Professor Linda Merrick CBE- Principal of the Royal Northern College of Music.

2. Mr. Vibhaker Baxi- Chairman and Managing Director of UK-based Navras Records Limited

3. Professor Adam Palma- Professor of Jazz Guitar and a Voting member of The Grammy Recording Academy

4. Lucas Pedrosa – Guitarist, producer and arranger at Igreja Batista Nações Unidas – United Nations Baptist Church, São Paulo, Brazil.

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Bollywood Music

Bollyboom Music Extravaganza to Kick Off with Pune Concert on January 19

Colonial Cousins is the 90’s Indian musical duo comprising Hariharan and Leslee Lewis, who achieved immense success with their eponymous debut album, which went platinum in India and dominated music charts in 1996…reports Asian Lite News

“Bollyboom”, a Percept Live Intellectual Property, announced the most eagerly awaited ‘Bollyboom Arena Colonial Cousins India Reunion Tour 2024’ which will see legendary award winning Indian musicians Hariharan and Leslee Lewis reunite after a decade to take fans through a nostalgic journey with their music. The 11 city pan-India tour will see the artists visiting Pune, Bengaluru, Delhi, Hyderabad, Mumbai, Coimbatore, Chennai, Kochi, Jaipur, Indore and Kolkata.

Phase I of the multi-city Bollyboom Music extravaganza will kick off on 19 January, 2024 in Pune at the Phoenix Marketcity, followed by Bengaluru on 27 January, 2024 at Phoenix Marketcity, 2 February, 2024 at the V Club in Delhi, 4 February, 2024 in Hyderabad at HCC, to culminate in Mumbai on March 1, 2024. Phase II will see the ‘Bollyboom Colonial Cousins India Tour’ visit Coimbatore on 24 May 2024, Chennai on 26 May 2024, Kochi on 31 May 2024, Jaipur on 2 June 2024, Indore and conclude in Kolkata on 9 June 2024.

Colonial Cousins is the 90’s Indian musical duo comprising Hariharan and Leslee Lewis, who achieved immense success with their eponymous debut album, which went platinum in India and dominated music charts in 1996. They garnered numerous accolades including the MTV Asia Viewers’ Choice Award and the US Billboard’s Viewers’ Award. Renowned for pioneering Indian fusion music, they were the first Indian performers at MTV Unplugged. Their song ‘Krishna’ boasts 6.2 million views on YouTube. Hariharan, a renowned Indian playback, bhajan and ghazal singer, has sung over 15,000 notable songs in 10 languages and was honored with the Padma Shri in 2004 and is also a two-time National Award winner. Leslee Lewis, popularly known as ‘Lezz’, is one of the first Indian composers to have introduced the Indian audiences to Rock and Pop music, and was instrumental in conceiving and creating all the music for Coke Studio, MTV India’s debut season, besides composing and producing music for artists like KayKay and Sunita Rao.

Along with the Colonial Cousins popular music tracks that will take fans on a nostalgic trip down memory lane, Bollyboom will also offer a 360-degree live entertainment experience for Bollywood music fans.
Said Hariharan and Leslee Lewis of the Colonial Cousins, “We are so looking forward to getting on the road again after a hiatus of over a decade. This will be the first ever tour of the Colonial Cousins where we are really excited to meet our fans who have supported us over all these years and take them down memory lane with songs like Sa no dha pa, Krishna, Indian rain and each of our own songs. It will be a night to remember forever. That’s a promise.”

Joji George, CEO, Percept Live said, “Bollyboom stands for global Indian sounds, and who better than the legends Hariharan and Leslee Lewis of the Colonial Cousins. We are delighted to be the ones to bring them both together on this reunion tour. Anyone who is from the 80’s and 90’s can’t miss this one. Come with your kids and introduce them to music that has stood the test of time.”

The Official Ticketing Partner for the ‘Bollyboom Colonial Cousins India Tour’ is Bookmyshow, and Tickets are live on Bookmyshow.com at: in.bookmyshow.com/events/colonial-cousins-india-reunion-tour-2024/ET00381965

Fans can reach out to us on our social media pages and follow us for more information and regular updates at:
Website: www.bollyboom.in/
Facebook: www.facebook.com/bollyboomindia
Instagram: www.instagram.com/BollyboomIndia/
Twitter: twitter.com/BollyBoomIndia

‘Bollyboom’, a Percept Intellectual Property, is the world’s first and biggest Bollywood Dance Music IP, offering a scintillating blend of music, dance and entertainment. Bollywood music has been an intrinsic part of every Indian and combined with a large than life production, infusion of dance music and incredible SFX, Bollyboom provides a completely new twist to this genre of popular music to create a unique live entertainment experience for Bollywood music fans across the globe.

Bollyboom offers a blend of Trance, House, Hip Hop, Electro Funk, Synthetic, Pop, Club Music, Techno, Trance, Hardstyle, Sufi and Dubstep music. The concerts belt out popular Bollywood numbers combined with visually mesmerizing SFX and state-of-the-art technology, thereby enhancing the entire musical experience. Bollyboom has been seen in multiple variants across India such as Arenas, Club Nights, Mini Arenas, and has also hosted a couple of Pop Up Parties with an exclusive guest list offering customers a unique and fresh nightclub experience. Bollyboom also offers a holistic Bollywood experience with shopping zones, food courts, and a host of fun and interactive activities thereby creating a magical and memorable experience for Bollywood music aficionados.

Bollyboom is a Percept Intellectual Property. Percept is at an enviable leadership position in the Entertainment, Media and Communications domain with a team of over 200 people and 28 offices across India and the Middle East.

Percept Live, established in the year 2012, is the live entertainment division of Percept Limited. It owns and manages all the Intellectual Properties created in the Live Entertainment, Sports, Fashion, Digital and Media space. Percept has been in the ‘Ideas’ business for the past 35 years and has been instrumental in creating many legendary ‘Intellectual Properties’ in the past for its clients. The creation of a dedicated ‘Intellectual Properties’ business was but a further extension to Percept’s existing knowledge and expertise in the Entertainment, Media and Communications domain with a vision to convert path breaking innovative ideas into Assets in order to create long term value for all its Stakeholders. IPs owned by Percept Live include Sunburn, Bollyboom, Solaris, EPL (Eat Play Love), Windsong, IMS (India Model Search) and XCC (Xtreme Combat Championship).

Percept Live is a Percept company. With a team of over 200 people and 28 offices across India and the Middle East, Percept is at an enviable leadership position in the Entertainment, Media and Communications domain.

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Lite Blogs Music

Harmony in Sound and Society

The singer, who performed to a full house at the festival venue is known for his ‘innovations’, one of the primary issues that purists have being that he renders varnams (traditionally introductory pieces) in the middle of a concert…writes Sukant Deepak

He says growing up in an environment at home where questioning and debating was encouraged, where one had the space to put forth his thoughts, no matter how radical, have been instrumental in shaping him the person he is.

Ramon Magsaysay Award winner TM Krishna, who is not just a musician and author, stresses, “And then I went to a Krishnamurti School that further cemented the resolve that you cannot remain quiet, that you are part of the question…”

“The duet of the outside and inside, and that is what pushes me to constantly engage with what we encounter politically and socially, “ he tells IANS on the sidelines of the ongoing Kerala Literature Festival (KLF), Asia’s largest literature festival.

For someone, whose performing career began at the age of 12, he has multiple books to his credit including ‘Sebastin And Sons’, where he talks about the integrity of the Mridangam on the Karnatik stage and the Dalit Christian communities involved in the making of percussion instrument, and ‘Reshaping Art’, where he raises questions about how art is made, performed and disseminated, and addressing issues as caste, class, and gender within society while exploring the contours of democracy, culture, and learning.

“Currently I am finishing a book which has been pending for a long time on the symbols of India — the anthem, flag, preamble of the constitution, the emblem, and motto. Now it is on the edit desk and I am excited to get it done,” he says.

Stressing that being a musician, his life, and therefore all thoughts evolve from sound, Krishna adds, “Therefore all my inquiries in the public space emerge from what I learn in music, and what it offers me as experiences. It gives me many answers too. So when someone asks me how my music and writing come together — sounds help me answer questions. I don’t see them as disparities. I feel a continuum.”

Occupying almost a ‘rockstar’ space, Krishna laughs that his exposure, and learning so much, becoming a writer and activist has also helped him with a diverse understanding of life and that has lent him the position he has today.”

The singer, who performed to a full house at the festival venue is known for his ‘innovations’, one of the primary issues that purists have being that he renders varnams (traditionally introductory pieces) in the middle of a concert.

“Now there is a double side to it, and of course, that is where my privilege comes in. But if I cannot hold myself against the pressure, what is the point of it all. Imagine the people who have the ideas to push but cannot — so it opens possibilities for them — they should be able to ask those questions.”

Krishna, who performed at Shaheen Bagh during the peak of the protests, and believes that art by its very nature is a social being, says the movement moved him immensely.

“I sometimes expect people to do what I am doing, and maybe that is not fair. However, I am sure that it is possible within their way to try and go to spaces or touch upon ideas that make them uncomfortable. If you cannot do that, you are not making art. Also, let us not forget that several torch bearers are completely invisible. Just because they are not speaking the social language of activism, does not mean they are not hard at work to ensure instrumental changes.”

Talk to him about self-censorship, and he asserts that at one level we all are self-censoring — the greatest fear being that we do not know when it starts to become ‘normal’. “My peeve with artists of privilege is when they try to give financial reasons for not speaking up. I have had many concerts cancelled and several organizers backing out…”

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