Upcoming Events


Akshara Exhibition


Exclusive screening of "Zikr Us Parivash Ka"
A film on Begum Akhtar by Nirmal Chander Dandriyal
Courtesy: Sangeet Natak Akademi

FEA will be presenting an hour long documentary film on the life and music of the great Begum Akhtar produced by Sangeet Natak Akademi and directed by Nirmal Chander Dandriyal. The film has not been released commercially but FEA will be showing it at the CSMVS Gallery on 17 March at 5.30 pm. The film director will be present.


The film will be followed by an adda in which the 4 Gayatri artistes Pelva Naik, Sahana Banerjee, Kala Ramnath and Ashwini Bhide Deshpande will take part.


Date: 18 March 2016
Time: 6:30 pm
Artistes: Pelva Naik: Dhrupad Vocals
Kala Ramnath: Violin

Date: 19 March 2016
Time: 6:30 pm
Artistes: Sahana Banerjee: Sitar
Ashwini Bhide Deshpande: Vocals
Venue: Ravindra Natya Mandir, Mumbai

As a performing arts company we will be looking to curate concerts and performances with women. We begin on 18 & 19 March with a 2-day concert featuring four women artistes in different age groups and genres from the world of Hindustani classical music. The musicians will, in the course of presenting their art, also offer us a glimpse of the feminine perspective on the traditions and material of Hindustani music.




We begin a series of concerts called The Secret Masters Sessions, featuring a single musician. Every quarter we will present a master Hindustani or Carnatic musician whose artistry, originality and virtuosity stand out in Indian classical music today.

We begin the series with Pt. Arun Kashalkar, whom connoisseurs consider to be one of India’s most spectacular khayal singers. In tremendous command over his form at the age of 73, he is rare among Hindustani vocalists for his highly original and rich gayaki, or style and structure of khayal presentation. Drawing from the three leading gharanas, Agra, Gwalior and Jaipur, he has evolved a grand gayaki of astonishing variety.

His gayaki incorporates the best elements of the Agra gharana, such as the rhythmic nom-tom aalap, jod and jhala; intricate bol-baant; double, triple and other multiple-note taans; as well as its treasure trove of compositions. At the same time, it also draws on the Jaipur gharana’s strengths, such as its aesthetic and off-beat taan patterns, and its precise and complex note-beat combinations in filling avartans, and the Gwalior gharana’s melodic swings, its gamaks and its sapaat or straight taans.

Uniquely, his performances include the elaborate singing of sargams, or note patterns - a form underdeveloped in Hindustani music but that he has taken to great heights by combining beautiful melodic designs with unmatched laykari. Pandit Kashalkar has a command over an astonishing range of raags, including rare and complex ones from all three gharanas.

His rare artistry comes from two decades of rigorous training in the guru-shishya parampara with two of the 20th century’s greatest gurus, combined with rigorous riyaaz, introspection and the application of a superlative mind. From the age of 23, Pt. Kashalkar learnt for nearly a decade from the late Gajananbuwa Joshi, who trained with masters of the Agra, Gwalior and Jaipur gharanas. For another decade, he took taleem from Babanrao Haldankar, 86, who in turn learnt from greats of the Agra and Jaipur gharanas. Kashalkar also learnt for brief periods from Rajabhau Kogje and Ram Marathe.

He is a prolific composer, using the pen-name ‘Rasadas’. His roughly 150 compositions in the book Swar Archana have been widely admired for their exquisite tunes, and can be heard on concert stages being performed both by his students and other performers. He is a beloved teacher of dozens of students in India and abroad, several of whom are now musicians in their own right.

He is a scholar of great erudition, with two serious works of research, one on Vilayat Hussain Khan’s compositions and the other on imparting gharana-based Hindustani music education. He has regularly held workshops in several Indian cities, as well as in Singapore and Malaysia. He is also involved in promoting music through two organisations that conduct a range of activities, including holding concerts of leading musicians.



Chingari, an unusual 3-way fusion with the sensational mandolin guru U. Shrinivas, bassist extraordinaire Etienne M’Bappé and Indian jazz drummer Ranjit Barot, make for an exciting Carnatic, African and Modern jazz blend never experienced before in modern music.

The album Bombay Makossa, which has been in the making for a year, is a labour of love originating from ideas, sounds and compositions penned by Ranjit Barot. The seamless blending of these diverse styles is a testament of the sheer genius of these three musicians, creating a genre all its own.

With the shocking untimely passing of U. Shrinivas, the band regroups with Shrinivas’ brother U. Rajesh, also an exceptional Carnatic mandolinist, to keep the spark alive by touring and promoting this music as a tribute to the passing of a musical genius and legend.