Born in 1967 he belongs to a family of musical tradition. His father and first teacher Late Pt. Shankarrao Popatkar was renowned tabla artist of India and had played in national programs of music in All India Radio. At present he is under the musical guidance of Pt. Gopalrao Wadegaonkar. In 1986 he received the prestigious Tal Mani Award and one year later he started working at All India Radio in Nagpur. In 1988 he started performing abroad as a solo artist as well as an accompanist of all forms of indian music (vocal, instrumental and dance) in England, Switzerland, Turkey, Austria, France, Germany, Italy, Greece, Russia, Japan, Australia, Singapore, Belgium, Netherlands, Poland and Portugal.
Thursday, September 4, 2008
instrumental artist
One of the unparalleled music ambassadors, India has contributed to the world is Santoor Maestro Pandit Tarun Bhattacharya. He has been for the last 30 years a potential flag bearer of Indian classical music at top notch world concerts, from Royal Albert Hall to Kremlin (Russia), to Palace-de-beaux (Brussels) to Theater- De-La-Ville (France) to Apollo Theatre (Spain) to Jubilee auditorium (Canada), etc. having an endless list of mesmerized audience from Prince Charles to late George Harrison to Paolo Solaris, etc.
Being the only Santoor Maestro from the famous Maihar Gharana, Pandit Bhattacharya has revolutionized Santoor, the instrument, as well as it style of playing. He is known as the first champion (1980) who proved that one could ‘meend’ or glide notes at the lower octave in a hammered instrument like Santoor. Pandit Bhattacharya is also know for the invention of “mankas” or fine tuners that help in the tuning of this 100 stringed instrument fast, with a long lasting effect and a very high degree of accuracy. His innovative techniques of playing the Santoor also facilitates in the playing of “KRINTANS, EKHARATANS, BOLTANS, etc.” thus broadening the utility of the Santoor in various traditional arts. Furthermore, his improvisation on the shape and string arrangements produces deeper and more classical sound for the Santoor.
Pandit Bhattacharya is recognized the world over for his Ragdari, as well as, Layakari (mathematical calculations) and plays music that touch the soul. The sounds from his Santoor thrill all generations young or old, connoisseurs or the common man, and from any country.
Pandit Bhattacharya has released over 60 CDs and Cassettes. He has been the recipient of numerous felicitations like pre Grammy nomination in 97, excellence in world music USA, and his CD “Kirwani” has been acclaimed as the top 10 in the world. Pt. Bhattacharya received his talim (music instructions) from his father Pt. Rabi Bhattacharya, Pt. Dulal Roy and finally from the great Bharat Ratna Pt. Ravi Shankar.
Being the only Santoor Maestro from the famous Maihar Gharana, Pandit Bhattacharya has revolutionized Santoor, the instrument, as well as it style of playing. He is known as the first champion (1980) who proved that one could ‘meend’ or glide notes at the lower octave in a hammered instrument like Santoor. Pandit Bhattacharya is also know for the invention of “mankas” or fine tuners that help in the tuning of this 100 stringed instrument fast, with a long lasting effect and a very high degree of accuracy. His innovative techniques of playing the Santoor also facilitates in the playing of “KRINTANS, EKHARATANS, BOLTANS, etc.” thus broadening the utility of the Santoor in various traditional arts. Furthermore, his improvisation on the shape and string arrangements produces deeper and more classical sound for the Santoor.
Pandit Bhattacharya is recognized the world over for his Ragdari, as well as, Layakari (mathematical calculations) and plays music that touch the soul. The sounds from his Santoor thrill all generations young or old, connoisseurs or the common man, and from any country.
Pandit Bhattacharya has released over 60 CDs and Cassettes. He has been the recipient of numerous felicitations like pre Grammy nomination in 97, excellence in world music USA, and his CD “Kirwani” has been acclaimed as the top 10 in the world. Pt. Bhattacharya received his talim (music instructions) from his father Pt. Rabi Bhattacharya, Pt. Dulal Roy and finally from the great Bharat Ratna Pt. Ravi Shankar.
home artist
The funds will be raised by auctioning art to Corporate, Industrialists and reouted establishments. This project aims at enrolling well known artists in India who have a similar feeling for contributing something especially in the field of conservation and reforestation to donate one art form. A minimum of 30 to 60 art objects will be collected and auctioned by a reputed auction house. The funds generated by this auction will be directly credited to a bank account, which will be managed by the NGO, within the control of a dedicated Charted Accounted agency and a bank.
Rajivan Ayyappan is a sound artist
Rajivan Ayyappan is a sound artist/composer and visual artist from India.
He works independently as a sound designer for film, video, choreography and installation. In live performance he is a classical Indian lead singer, contemporary voice-work improviser and a multi-instrumentalist. He has presented his work at various art spaces and festivals internationally.
He was born in Kottayam (Kerala, South India) in an artistic family. At the age 5 he began learning South Indian music (vocals and percussions) under the guidance of Sri. Kuttappan Bhagavadar, Itthitthanam (1970-1986). In 1975, with a self-carpentered acoustic guitar he started to understand other systems of music along with his brother. Between 1978-1992 he had an active role as a singer and guitarist in his hometown as well as in Ahmedabad where he spent 5 1/2 years studying visual arts/visual communication at the National Institute of Design. His traditional skills and interest in typography and his exposure to visual arts history triggered a kind of paradigm shift to his musical direction. After the design studies, he traveled extensively in India and absorbed pretty well the heterogeneity of Indian sound environment and sound culture.
As a sound artist, his work primarily falls under the perspective of sound-scape discipline, referring to various resources that are rooted in Indian musical system as well as sound culture. Recent projects include: Gastric acid, a mix media real-time work about the food world, in collaboration with Vedanza artists International, Luxembourg, Telescapes (Audio elf): 5.1 installation based on Soccer, Scorecologn light screen Festival, FIFA world cup 2006/ Museum für Angewandte Kunst. Koln 2006. The Air Around – a global network/real-time performance installation with 213 sound artists from around the world and Signals untitled – an installation based on travel maps from Bangalore.
Sheela Gowda as artist
Sheela Gowda is a promising younger artist in India (born 1957);
she lives and works in Bangalore. Ms. Gowda uses cow dung as
a painting medium as a reference to the importance of cows in India,
whether religious or functional, the latter including building with cow dung.
she lives and works in Bangalore. Ms. Gowda uses cow dung as
a painting medium as a reference to the importance of cows in India,
whether religious or functional, the latter including building with cow dung.
Using the cow dung, Sheela Gowda exhibits an untitled (1993-95) project of
drawings. Gowda changed from using traditional materials to using cow dung
during the riots by Hindu fundamentalists in Bombay in 1991. In India, images
of gods are sometimes made from cow dung, and in everyday life cow dung
is used as fuel, mud-wall support and toys.
Wednesday, September 3, 2008
American Indian Art Auctions: Beadwork
The artworks made by the American Indian incorporate numerous varieties of arts and crafts. The diversity of the American Indian art ranges from the traditional beadwork, pottery and other conventional Native American art to the fine paintings, sculptures, photography and other sophisticated works. And because of that, there are numerous art auctions, of which are found either online or offline. These art auctions feature almost types of American Indian artworks.
Later on, we will tackle the American Indian artwork that has the most traditional and historical feature, of which, are the beadworks made by the Native Americans. The beadworks made by the native American Indians have rich meanings in terms of symbolisms; these beadworks also are highly decorative and utilitarian.
The process and the beadwork itself is one of the oldest crafts of the Native American Indians. The beadworks are mostly made of stones, bones, shells and other semi precious stones. The some of the beadworks made by the native American Indians that are available these days are made very much the same way as their forefathers had made them. Although few of them are made using today’s modern technology, little has been changed and the process is somewhat the same as the ancient ways.
The most popular American Indian artworks are those made of sea shell materials. These types of beadworks are highly popular. Almost every American Indian beadworks are made from sea shell material, from necklaces to purses to almost everything.
In the old times, the beadworks made by the American Indians were made mostly of the turtle shells and animal horns and hooves. These native American artworks were often used for rattling or tinkling materials that are used for their dances. These artworks were also worn by hunters in a form of necklaces and were mostly made of wolf and bear claws. They serve as trophies of their kills, and serves as a symbol of the hunter’s expertise. While some of the American Indian beadworks are made of steamed bones and seeds. They were often used for stringing and are mostly blended into various forms.
Because of their ever increasing popularity, oriental factories has been replicating, manufacturing and importing beadworks of the Native American Indians. They have been doing it for several decades now. Therefore, has been a competing factor in the beadwork industry of the American Indian arts. And because of that, the craftsmen in the industry of American Indian art industry are greatly affected, losing a considerable amount of income (millions and millions of dollars) because of the fake native artworks made by these oriental factories.
In terms of string beadworks of the American Indians, they were mostly made of animal sinews that are finely divided and are attached on clothing. Sometimes, sturdy plant fibers were utilized for this reason.
These days, Navajos and some traditional aboriginal American communities still manufacture an ancient type of beadwork that is called the “heishii”. The “heishii” or referred to as “legend necklace” is the most popular type of beadwork, and are used to refer to a legend. Even today, heishii is still used to narrate a legend, with every single bead symbolizing a character.
The craftsmen of today’s American Indian art create designs using the today’s technology, by creating actual beadworks through digital means. Thus, the sophisticated and complex beadworks and its designs can be tested digitally before actually manufacturing the piece. Therefore, adding creative process for the craftsmen.
These American Indian artworks and its components are essential factors of in the field of archaeology. Not only do they survive history, they also provide numerous fascinating tales and stories that most of which are still untold. As a matter of fact, ancient American Indian artworks are found thousands of miles from seas. Of which is an indication of the numerous trade routes and contacts thousands and thousands of years ago by various cultures.
Beadworks crisscross itself through time not just through the history of native American Indians but also in the modern technology of today. The most vital aspect of the American Indian beadwork is the value it represents when it is given among family and friends. Their true meanings are associated with aspirations and essential judgments of a person.
Later on, we will tackle the American Indian artwork that has the most traditional and historical feature, of which, are the beadworks made by the Native Americans. The beadworks made by the native American Indians have rich meanings in terms of symbolisms; these beadworks also are highly decorative and utilitarian.
The process and the beadwork itself is one of the oldest crafts of the Native American Indians. The beadworks are mostly made of stones, bones, shells and other semi precious stones. The some of the beadworks made by the native American Indians that are available these days are made very much the same way as their forefathers had made them. Although few of them are made using today’s modern technology, little has been changed and the process is somewhat the same as the ancient ways.
The most popular American Indian artworks are those made of sea shell materials. These types of beadworks are highly popular. Almost every American Indian beadworks are made from sea shell material, from necklaces to purses to almost everything.
In the old times, the beadworks made by the American Indians were made mostly of the turtle shells and animal horns and hooves. These native American artworks were often used for rattling or tinkling materials that are used for their dances. These artworks were also worn by hunters in a form of necklaces and were mostly made of wolf and bear claws. They serve as trophies of their kills, and serves as a symbol of the hunter’s expertise. While some of the American Indian beadworks are made of steamed bones and seeds. They were often used for stringing and are mostly blended into various forms.
Because of their ever increasing popularity, oriental factories has been replicating, manufacturing and importing beadworks of the Native American Indians. They have been doing it for several decades now. Therefore, has been a competing factor in the beadwork industry of the American Indian arts. And because of that, the craftsmen in the industry of American Indian art industry are greatly affected, losing a considerable amount of income (millions and millions of dollars) because of the fake native artworks made by these oriental factories.
In terms of string beadworks of the American Indians, they were mostly made of animal sinews that are finely divided and are attached on clothing. Sometimes, sturdy plant fibers were utilized for this reason.
These days, Navajos and some traditional aboriginal American communities still manufacture an ancient type of beadwork that is called the “heishii”. The “heishii” or referred to as “legend necklace” is the most popular type of beadwork, and are used to refer to a legend. Even today, heishii is still used to narrate a legend, with every single bead symbolizing a character.
The craftsmen of today’s American Indian art create designs using the today’s technology, by creating actual beadworks through digital means. Thus, the sophisticated and complex beadworks and its designs can be tested digitally before actually manufacturing the piece. Therefore, adding creative process for the craftsmen.
These American Indian artworks and its components are essential factors of in the field of archaeology. Not only do they survive history, they also provide numerous fascinating tales and stories that most of which are still untold. As a matter of fact, ancient American Indian artworks are found thousands of miles from seas. Of which is an indication of the numerous trade routes and contacts thousands and thousands of years ago by various cultures.
Beadworks crisscross itself through time not just through the history of native American Indians but also in the modern technology of today. The most vital aspect of the American Indian beadwork is the value it represents when it is given among family and friends. Their true meanings are associated with aspirations and essential judgments of a person.
Artist Managers and Booking Agents
As a former talent booking agent with the William Morris Agency, I am always amazed at either the scope and talent of an artist’s business team or the why and how an artist exists within the mediocre framework which they are operating from. And believe me, I’ve seen plenty of both. It would seem that many managers fall into these positions, like in many fields, not out of genuine talent or know-how, but by mere presence alone – They were friends of the artist or a brother to one of the members of the act and so forth. If a manager, important at every turn of an artist’s career, is so important, than what exactly is it that makes up a good manager or booking agent?
Most everyone thinks of contacts. No doubt that contacts are important in this business. The thinking is – “Just as long as they act like they know what they are doing and talk a big game dropping some names along the way,” than they must “know” what they are doing and they can get the job done – Or can they?
Many a talented and well-known manager today got into the field, yes, because they knew an individual in the act, but the big difference in their particular operating style, is that they had drive and authenticity and still do today. They got the job done, and still do, because they were approachable, authentic, and had the vision to see the end result. Many a manager today just drools all over the potential end result without the authenticity and approachability that is needed to maintain crucial and vital career lifelines along the way. Artist career pathways are much like a product off the grocery store shelves – There’s a product life expectancy, and the marketing exec’s and everyone else know this. Same in the music industry with a few exceptions as there are in any business.
While we’re addressing artist management, have you ever asked yourself the question – “What makes up a good artist manager? or Who can truly get the job done for me?” Another way to say it is, “I want a record deal with some industry success and who can take me there?” While obviously not guaranteed, and any authentic and honest manager will tell you this, that not every deserving and incredibly talented individual or act makes it – And we’re not talking to the top, but even to the small break or single CD release. This hit or miss approach has frustrated many a well-intentioned artist along the way.
Let’s take a closer look at what is helpful and what might give you some clues to what a potential manager looks like and what he or she can and should be doing to get the job done.
As already mentioned, some immediate traits that you should recognize when talking with potential artist managers are authentic, honest, approachable, creative, thinking of your absolute best and not their interests, qualities. And these qualities ought to exude from who they are and not a put-on, or faked front. Great managers never promise, but deliver. Don’t over-hype, but convey your act in such a way that labels, booking agents and others in the industry just “Have to be involved in the project.” The bearer of the news commands respect and a listening too, because they are at a minimum seen as an individual with scruples, morals and with solid belief in the act. Great managers deliver on what they perceive as genuine and alleged talent and not a musical whim or fleeting musical industry fad. So if you are to find a great manager you to will have to be honest, approachable, think from their perspective of how difficult their job is and appreciate that, and deliver your artist pitch with a non “artsy fartsy” mentality. You’d be surprised at how many “What’s up dude” artists are out there. You want a professional manager than you’d better come across as a professional and well-intentioned act.
Let’s talk a moment about booking agents and the qualities that you will be looking for. I have written an article, The Talent Agent Inside, that you might find interesting and can be found at www.reelmusician.com/reelmusician_026.htm. While that article addresses your own ability to book your act and take up your cause, I will finish the remainder of this article on finding and securing the “right” booking agent for representation. The talent agent like the artist manager is not always easy to spot or find. Many a booking agent will sell you a bag of goods on what they can do and then really never get around to doing it. Your artist manager, if you have one, will be working on this as well, but you should be talking, making phone calls, and emailing potential agents and individuals who can steer you in the right direction.
In short, you need to find an agent who really believes in your act, who can either book you into appropriate venues as a solo act, or book you as an opening act for headliners. Yes, I’m sure you already knew that, but let’s go a step further. Finding these agents is not an easy task. As an agent do you really want to spend your time, your dollar on the phone and mailing out press kits on no-name acts with little in return? You look at all of the acts out there who want to be booked, but don’t want to help out with any costs associated with the basic costs of doing business as a “baby act.” It’s just expected that, especially with the smaller booking agencies, that the agencies will absorb the costs. That being the case, agents and mangers have to deeply protect who they represent and who they pump valuable time and resources into – Somewhere along the way there has to be something or someone who pays the phone, postage, etc.
Try to look at your securing an agent from that perspective and your insight will greatly increase along with your ability to secure an agent. Volumes more could be written on this subject, but for the sake of time, and from the reality that you’ve got more to start working with, with just the last paragraph alone to get you moving, that we will leave it here and pick up in a future article. Just be aware of not only the “big” talkers in the industry, but the individuals who are working hard, but need something to work with as well. Understanding their issues and frustrations will go a long ways in your ability to secure a manger or booking agent. A good talent agent is worth their weight in gold. Before you set off looking for an agent, put yourself in their shoes and ask yourself, how am I going to make money with this act? How much of my time and energy is going to be purged with little to no financial results? Figuring out an angle whereby you can help the agent out will not only tell them that you care, but that you’re on the ball and that you won’t have your hand out the entire time. You do your part and in time someone will come along and take the necessary risk on your talent.
Most everyone thinks of contacts. No doubt that contacts are important in this business. The thinking is – “Just as long as they act like they know what they are doing and talk a big game dropping some names along the way,” than they must “know” what they are doing and they can get the job done – Or can they?
Many a talented and well-known manager today got into the field, yes, because they knew an individual in the act, but the big difference in their particular operating style, is that they had drive and authenticity and still do today. They got the job done, and still do, because they were approachable, authentic, and had the vision to see the end result. Many a manager today just drools all over the potential end result without the authenticity and approachability that is needed to maintain crucial and vital career lifelines along the way. Artist career pathways are much like a product off the grocery store shelves – There’s a product life expectancy, and the marketing exec’s and everyone else know this. Same in the music industry with a few exceptions as there are in any business.
While we’re addressing artist management, have you ever asked yourself the question – “What makes up a good artist manager? or Who can truly get the job done for me?” Another way to say it is, “I want a record deal with some industry success and who can take me there?” While obviously not guaranteed, and any authentic and honest manager will tell you this, that not every deserving and incredibly talented individual or act makes it – And we’re not talking to the top, but even to the small break or single CD release. This hit or miss approach has frustrated many a well-intentioned artist along the way.
Let’s take a closer look at what is helpful and what might give you some clues to what a potential manager looks like and what he or she can and should be doing to get the job done.
As already mentioned, some immediate traits that you should recognize when talking with potential artist managers are authentic, honest, approachable, creative, thinking of your absolute best and not their interests, qualities. And these qualities ought to exude from who they are and not a put-on, or faked front. Great managers never promise, but deliver. Don’t over-hype, but convey your act in such a way that labels, booking agents and others in the industry just “Have to be involved in the project.” The bearer of the news commands respect and a listening too, because they are at a minimum seen as an individual with scruples, morals and with solid belief in the act. Great managers deliver on what they perceive as genuine and alleged talent and not a musical whim or fleeting musical industry fad. So if you are to find a great manager you to will have to be honest, approachable, think from their perspective of how difficult their job is and appreciate that, and deliver your artist pitch with a non “artsy fartsy” mentality. You’d be surprised at how many “What’s up dude” artists are out there. You want a professional manager than you’d better come across as a professional and well-intentioned act.
Let’s talk a moment about booking agents and the qualities that you will be looking for. I have written an article, The Talent Agent Inside, that you might find interesting and can be found at www.reelmusician.com/reelmusician_026.htm. While that article addresses your own ability to book your act and take up your cause, I will finish the remainder of this article on finding and securing the “right” booking agent for representation. The talent agent like the artist manager is not always easy to spot or find. Many a booking agent will sell you a bag of goods on what they can do and then really never get around to doing it. Your artist manager, if you have one, will be working on this as well, but you should be talking, making phone calls, and emailing potential agents and individuals who can steer you in the right direction.
In short, you need to find an agent who really believes in your act, who can either book you into appropriate venues as a solo act, or book you as an opening act for headliners. Yes, I’m sure you already knew that, but let’s go a step further. Finding these agents is not an easy task. As an agent do you really want to spend your time, your dollar on the phone and mailing out press kits on no-name acts with little in return? You look at all of the acts out there who want to be booked, but don’t want to help out with any costs associated with the basic costs of doing business as a “baby act.” It’s just expected that, especially with the smaller booking agencies, that the agencies will absorb the costs. That being the case, agents and mangers have to deeply protect who they represent and who they pump valuable time and resources into – Somewhere along the way there has to be something or someone who pays the phone, postage, etc.
Try to look at your securing an agent from that perspective and your insight will greatly increase along with your ability to secure an agent. Volumes more could be written on this subject, but for the sake of time, and from the reality that you’ve got more to start working with, with just the last paragraph alone to get you moving, that we will leave it here and pick up in a future article. Just be aware of not only the “big” talkers in the industry, but the individuals who are working hard, but need something to work with as well. Understanding their issues and frustrations will go a long ways in your ability to secure a manger or booking agent. A good talent agent is worth their weight in gold. Before you set off looking for an agent, put yourself in their shoes and ask yourself, how am I going to make money with this act? How much of my time and energy is going to be purged with little to no financial results? Figuring out an angle whereby you can help the agent out will not only tell them that you care, but that you’re on the ball and that you won’t have your hand out the entire time. You do your part and in time someone will come along and take the necessary risk on your talent.
Tom Gauger is a former talent booking agent with the William Morris Agency. This author may be contacted at 615-300-5030 or tgauger@reelmusician.com. As a singer Mr Gauger can be heard on Fox TV, UPN TV Station ID’s, O’Charley’s and many others. Mr Gauger is also a writer on the song Who To Love slotted for upcoming telecast on the Emmy award winning soap The Guiding Light. Artists Managers and Booking Agents – copyright 2006 by Tom Gauger.
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