Emerging performance platforms for young artists

Hindustani singer Rujuta Lad performed by Vinay Mishra on harmonium and on Tapla for ‘Start’ of Raza Foundation by Saptak Sharma. , Photo Credit: Special Arrangement

In recent times, young talents have increased, but all of them are not able to make it in the performance phase despite harsh training. It is here that initiatives like Aramb of Raza Foundation and IIC (India International Center) ‘Double Bill’ play an important role.

While the 2025 edition of ‘Aramb’ was held at Amaltas Theater in India Habitat Center, New Delhi, singer Rujuta Lad, ‘Double Bill’ featured Hindustani singers Dhanshree Ghisa and Aditya Shankar and Troop (Instrumental Fusion Music) in ‘Double Bill’.

Ruzuta initially trained under Dhondhu Tai Kulkarni, and further refined his skills under Ashwini Bhide Deshpande, an exponent of Jaipur Atulali Gharana.

Vinay Mishra opened her concert with raga Nand on the hormonium by Vinay Mishra and on the tabla by Saptak Sharma. Traditional Bada Khyal ‘Ghundhu Naked Sanyai …’ was presented at the delayed tental as per his house conference. He painted in a leisurely, from a leisure, a leisure, in a medium tempo in Boltal, before progress by the younger thought ‘Aa Re Balawa’, before progress, in a systematic manner, passing through Bol Alp, Barhat and Miscellaneous Tan Pattern, in a leisure manner.

He chose the next time to present ‘Nayaki Kanhad’, Jaipur is a major part of Atrauli Gharana. The famous restriction ‘Mero Piya Rasiya’ was dealt with Applomb in the Middle-Dilambit Rooppat Tal. Another restriction ‘Nikal Rangili Nar’ composed by Ashwini Bhide was beautified with Quicksilver Tans to suit the restriction. Rujuta also wanted to sing a Hori, but due to lack of time, Bhairavi concluded with Bhajan.

Dhanashree Gais, a disciple of Ashwini Bhide Deshpande, showed a good understanding of Jaipur-Matrauli Gharana. , Photo Credit: Special Arrangement

Dhanashree, who performed in the double bill series, also trained under Ashwini Bhide Deshpande. Showing his fist on the distinguishing characteristics of his Guru’s house, Dhanashree opened with the raga Yaman, but the use of Shuda Madhyham sometimes gave it a voice like Yemen-welfare. After an attractive alap, Dhanashree presented a traditional Bada Khyal ‘Mo Man Lagaan Lagi’ set in the delay (slow) tental. He gradually explained the raga in detail, focusing on his sweet points. Bandish portrayed the unique tone pattern for the gharana. The Tarana, prepared for one-tale composed by his guru, came as part of the main raga.

Dhanashree next presented the raga to Basant, which brought a change in the mood. He sang Bandish ‘Ae Ruta Basant’, staring at it with a variety of tan. Dhanashree concluded with a Hori ‘Main Toh Khelungi Unah Se Hori Guniyan’, composed by Binddin Maharaj. The conclusion of Laggi on tabla by Hormonium Sangat and Vinod Lele by Kshitij Singh enhanced the appeal of its concert.

Aditya Shankar on Tabla, Karthikeya Vashith on flute, Neeraj Kumar on Perk and Shailendra Vakhalu on guitar performed in IIC’s double bill concert series. , Photo Credit: Special Arrangement

Fusion dress with Aditya on Tabla, Kartikya Vashishath on flute, Neeraj Kumar on collision and Shailendra Vakhulu on guitar were structured like a visit. Aditya’s Guru Ustad Rafiuddin Sabari was present in the audience.

The concert, which began with Shiva-Vandana, went to an Egyptian folk tune in Raga Malkan, which looked like Bhairav, and a pop-affected piece before the conclusion with Bhairavi’s Karun Sajni, Ai Na Balam ”. But the dress could not maintain speed with its list of uneven performances.