It is amazing to see that the Jagannatha Centre for Art and Culture (JCAC), inaugurated only a year ago, continues to buzz with a variety of activities. Apart from regular music, dance and drama performances, it has hosted stand-up comedy shows, art workshops, architectural exhibitions, Kala Sapthami — a regular Wednesday treat featuring music, dance and drama — summer camps for children and adventure-based experiences. Not to forget its annual extravaganza, Uttarayana. 

The Centre also conducts classes in Hindustani and Karnatak music, Bharatanatyam and Kathak, thereby contributing to the preservation and promotion of our rich artistic and cultural heritage. There has never been a dearth of audiences, art connoisseurs and rasikas, whether the programmes are ticketed or otherwise. 

Recently, JCAC organised a fine Hindustani classical concert by the young, talented and popular vocalist Siddhartha Belmannu. An ardent student of Hindustani classical music, Siddhartha possesses an attractive voice capable of conveying a wide range of emotions. This quality drew the attention of film music directors and brought him instant popularity — an achievement that could easily have distracted a young artiste. However, Siddhartha’s determination to carve a niche for himself in the world of classical music led him back to rigorous riyaz.  

Under the guidance of Pandit Vinayak Torvi, he has undergone years of training and has blossomed into a promising exponent of the Gwalior-Kirana tradition.  

Siddhartha was accompanied by Prasad Kamath on harmonium and Roopak Kallurkar on tabla. 

He chose the evening raga Maru Bihag to commence the concert. A brief alap led to a leisurely and graceful unfolding of the raga, each note and phrase expanding beautifully in the vilambit tempo. The bandish, ‘Samjhat Nahi Kanha Tumhara Manasa,’ set to Ektaal, suited the pace perfectly. The sargams and aakars further enhanced the mood. As he moved into the drut section, the atmosphere transformed into a lively and colourful presentation with ‘Aayo Mora Re Mora Jiyare,’ marked by brisk expansion and a cascade of sargams. 

Athana Kanada followed as a shorter presentation, comprising an alap and the bandish ‘Teri Mohe Jaag Shyam.’ One felt that a slightly larger portion of the concert could have been devoted to the classical segment. 

The remainder of the evening was reserved for bhajans, devaranamas and vachanas. Sant Kabir’s ‘Shri Rama Govinda Hari,’ the ever-popular ‘Jagadoddharana’ of Purandara Dasa and the abhang ‘Majhe Mahere Pandhari,’ popularised by Pandit Bhimsen Joshi, were rendered with deep devotion.  

Siddhartha’s clear diction added greatly to their appeal. However, he truly stole the show with the Kannada bhavageethe ‘Ninna Kangala Koladi Beladingalilidante,’ penned by M.N. Vyasa Rao, which was rendered with great emotional intensity. The concert concluded with Basavanna’s vachana ‘Chakorange Chandramana,’ bringing a memorable musical evening to a fitting close. 

—Dr. Rama V. Bennur