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Anuradha Pal’s Stree Shakti’ is India’s first ever all women’s percussion based vocal & instrumental fusion ensemble that reflects the emergence of womanpower in the traditionally male dominated world of Indian Rhythm. Conceived and presented by the well-known Tabla Maestro Anuradha Pal’s Stree Shakti combines the instruments and repertoires of North and South India, interfusing the Hindustani and Carnatic traditions, voice with instrumental and percussion, classical with the contemporary and melody with rhythm. This dynamic celebration of rhythm fusing the traditional with the contemporary reinforces the strength & novelty of “Stree Shakti”.
Stree Shakti has performed to packed audiences, in some of the most prestigious festivals in the world like the WOMAD festival (U.K), Rhythm Sticks Festival, Common Wealth Games Festival, City of London Festival Cardiff Jazz Festival, BBC Music Live Festival-Scotland, Asian Music Festival, Oldham Mela, Bangkok International Music festival etc.
Stree Shakti has performed in numerous places in India for prestigious organisations like the ITC SRA Sangeet Sammelan festivals, NCPA & Nehru Centre (Mumbai), Spirit of Unity concerts, Pracheen Kala Kendra (Chandigarh), Bangalore Percussive arts, Malleshwaram Sangeetha Sabha (Bangalore), Bharat Bhawan (Bhopal), M.P. Kala Parishad (Indore) amongst many others.
Stree Shakti has had the privilege of having performed with the Pan-African Orchestra for a concert tour of the U.K.
Anuradha Pal’s Stree Shakti can be performed in 2 formats-
Percussion ensemble ( Tala Vadya Kacheri) featuring a rhythmic dialogue between different 3 to 4 percussion instruments like Tabla/ Ghatam / Kanjira/ Pakhawaj/ Mridangam and sometimes with Western Drums with Violin or Veena.
A unique combination of Voice, melody and percussion featuring (6-7 musicians) Vocals with Instruments like Veena, Violin, Guitar, Flute etc and Percussion instruments like Tabla/ Ghatam / Kanjira/ Pakhawaj/ Mridangam & sometimes with Western Drums.
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"They rendered a piece, all participating, with great gusto, from silence to a reverberating crescendo." - Afternoon Despatch & Courier, 2005.
‘The hall buzzed when ‘Stree Shakti’ led by Anuradha Pal took the stage...
And indeed looking like the heroine of a Bollywood musical, her waist length hair falling across her shoulders as she played her Tablas, Pal and her partners were sensational… as the Tabla conversed with the Ghatam and the Kanjira, creating a spell. The first female group to bring together traditions from north and south, fighting gender and caste prejudices, Stree Shakti exuded physical confidence and joy.’ - The Scotsman, 2000.
‘World class musicians prove Stree Shakti- stunning display by Anuradha Pal’
- Maldon Standard, July 1999.
‘Pure Music- what a storm!!’ - India weekly review of the performance at the WOMAD festival, August 1999.
‘There were duets and solos of each of the performers, there were the smiles, the laughs, the head and hand movements in time with the beat, and there was the ecstatic game-playing. Designed good-naturally and spontaneously ending in enlightened climaxes. Enthusiastic applause… the audiences had been bewitched!!!’ - Anglican Times, 1999.
“The all female Stree Shakti group, led by Anuradha Pal, enthralled listeners with their exceptional percussive talents.’’ - Leicester Mercury, July 1999.
‘Stree Shakti rebuffs the belief that the field of instrumental music is primarily befitting of male artists. Their performance in the Tagore theatre (Chandigarh) last night will remain in the memories of the music lovers for a long time as some thing unique, where one could actually feel the upliftment of the senses to new heights. What was delightful was the rapport and spontaneous communication that the artists shared on the stage; despite their apparent diversity .The success of the event could be gauged by the involvement of the audience. Several of them could be seen clapping their hands and swaying’. - The Tribune, 1998.
‘And here’s the difference between this music and Western music- the interplay within a tight framework, the dialogue between players, the shared enjoyment of the music and those wonderful instruments. The pace quickened as the three percussionists played in glorious union. It was a performance that took my breath away with its sheer virtuosity, exuberance and joy. More applause … then the finale with again the percussionists playing the rare six and half beat Tabla together, each different, all aiming towards the same musical climax in their individual way, each with eyes focussed on the other, smiling, challenging, goading, encouraging, ending… A wonderful evening during an evening full of wonders. And this was beautiful music in any language, a mix of Classical and modern Indian music, performed expertly by six diminutive ladies with music in their fingers and embedded deep within their souls.” - Review on "http://www.borroworob.com"
‘Alluring display of Indian girl power- simply magic!!’ - East Anglican Times, 1999.
“…these artists, who dared to make utterly unconventional choices, embarked upon a joint celebration of rhythm, exhibiting in the process their mastery over some of the most strenuous instruments of Hindustani and Carnatic styles…” - Express Newsline, 1996. |
