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Mother Daughter Interaction
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6 Gharanas solo
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The magnitude of Anuradha’s spirited effort shines through her nimble fingers. A true groundbreaker.
Taaleem is Anokha (special) for it’s comprehensibility. Anokha Mazaa.
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Anuradha Pal's sheer determination, passion and constant endeavour to innovate, whilst holding steadfastly to her values and ethics, along with a deep sense of reverence and responsibility towards her art and tradition have been instrumental in her meteoric rise towards the highest echelons of the percussion firmament.
She is as comfortable with following the tradition of her Punjab Gharana (she has imbibed the nuances of all the six gharanas) as she is with indulging in genre-free music. For Anuradha creativity is about extending frontiers, thinking beyond divides and being honest to the art.
Her music commands reverence. You want to shut your eyes because Anuradha is so strong as a performer, so perfectly placed in the competitive percussion world, that you really want to forget for a moment that she is a woman. You just want to focus on the music.
Anuradha carries the methodical intuition of her Ustads, their clarity & showmanship in finger movements... the dynamism, temperament & 'presence' of Pandit Kishan Maharaj, the tough lure for softness and detail of Pandit Shamta Prasad & a shooting madness for intrinsic fireworks of Ustad Ahmed Jan Thirakwa.
Anuradha is beautiful in her brilliance when on stage, clear in her articulation and on Tabla. With rise and fall in pitch and pace of beats, she relates them to man-woman dialogue, Lord Nataraj’s damaru, Radha’s sulking mood, a horse’s gallop, a train crossing another and finally thunder, lightning and rain. One is reminded of Pt. Birju Maharaj.