Curated by Sneha Khanwalkar
Classic musicals remixed like you’ve never heard them before! Serendipity Soundscapes is a unique initiative by Serendipity Arts Festival. Our music curators are invited to bring together the unique sounds of the subcontinent in an extraordinary evening.
Curated by Sneha Khanwalkar
Raja Kumari is an LA based singer and Grammy nominated songwriter who has collaborated with Gwen Stefani, Iggy Azalea and Fifth Dimension. Her music is a mix of R&B, hip-hop and Asian samples.
Curated by Sneha Khanwalker
An exciting and energetic group of drummers who play traditional rhythms from West Africa, Boombay Djember Folas are the pioneers of this form of music in Mumbai.
Curated by Aneesh Pradhan
Through centuries, seasonal and nocturnal-diurnal cycles and individual elements from nature have inspired repertoire in diverse musical traditions in India. Song-texts celebrating seasons like Vasant or spring and Varsha or monsoon, or those that describe flora and fauna, address nature in all its splendour.
Curated By Sneha Khanwalkar
The Bartender is the brain child of Mikey McCleary – award winning songwriter, composer and producer whose eclectic mix of music sensibilities gives his music a unique edge. The band performs vintage music in a sensual, jazzy manner reminiscent of a bygone burlesque or Gatsby-esque era.
Curated by Shubha Mudgal
A sunset cruise along the river Mandovi with a series of curated classical music concerts.
Concerts in the park by a variety of musicians and bands. Genres range from jazz to fusion, pop to retro, and blues to funk.
Curated by Sneha Khanwalkar
Sounds in My Head is at its core, a space for sound which invades your entire being, leaving visitors with a unique aural and physical experience. It is, in essence, a museum of sounds, with sonic experiments by people who ‘think’ about music and have a relationship with it. Aimed at triggering the senses and altering the way we listen, the museum will be fragmented into various sound spaces that are immersive and surreal.
Curated by Aneesh Pradhan
Until the mid-nineteenth century royal courts in India were the main source of patronage to Hindustani music, but after 1858, the establishment of the British Crown as the paramount power in India crippled Indian princely power. Gradually, hereditary musicians and courtesans from Northern and Central India migrated to Bombay (now officially called Mumbai), one of the most important colonial cities in India. Musicians migrating to Bombay included women of the devadasi community from Goa and neighbouring areas, who were engaged in service to temples.
Curated by Ranjana Dave
This is probably the first time that Karnatic music and Kattaikkuttu will meet on equal terms to explore what they share, where they differ, and how they “speak” with each other. The coming together of two artistic minds – a Karnatic vocalist T.M. Krishna and Kattaikkuttu actor, director and playwright Perungattur P. Rajagopal – has resulted in an exuberant collaborative performance. In an exhilarating exchange of repertoire elements from both forms, Karnatic and Kattaikkuttu performers present excerpts from the all-night plays, Disrobing of Draupadi and The Eighteenth Day. Karnatic music and Kattaikkuttu theatre intertwine in the performance, reinforcing and commenting upon and transforming each other. Sangeetha Sivakumar renders the lyrics to introduce the character of Draupadi, while Kattaikkuttu actress S. Tamilarasi embodies the epic heroine during the infamous disrobing scene. In a composition by Perumal Murugan especially written for the programme, T.M. Krishna reflects on the position of women in society after Draupadi has been dragged by the hair into the assembly. He responds (as Krishna) to the angry accusation of Duryodhana, performed by P. Rajagopal, that he has been pivotal in drawing the Kauravas into a devastating war that has witnessed the annihilation of all their forces. Kattaikkuttu actor singers Doraisamy, Srimathy and Bharati perform a brief excerpt from Bhaja Govindam commenting on Duryodhana’s inability to let go of his desire for power and wealth, even in the face of defeat.
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