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Madurai R Muralidaran

 
Madurai R Muralidaran

About Madurai. R. Muralidaran & Smt. Chithra Muralidaran Madurai.R. Muralidaran & Smt.Chithra Muralidaran a couple of diverse talents in fields such as Dan

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Picture for song 'Kalinga narthana in Tamil' by artist 'Madurai R Muralidaran'

Kalinga narthana in Tamil

This is my own imagination song describing Kalinga Narthana in Tamil language
I am a Bharatha Nayam Dancer from India and I have composed nearly 400 to 500 songs exclusively for Dance.
Band/artist history
The Statesman, Delhi , 27April,2001 SUBBUDU SAYS A touch of novelty Mr. Muralidharan, whosoever he is, deserves the warmest praise for ushering a new era in composing 'varnams' for the Bharathanatyam repertoire with new themes and in a slightly different format encompassing varied rhythmic cycles with matching lyrics. Hitherto, all 'varnams' were entering around the off-repeated theme, namely the heroine pining for the company of her beloved so much so that Bharatanatyam dances was becoming stale. These thoughts came to my mind witnessing Priya Sundaresan's dance recital held under the auspices of Sur Tall, the cultural wing of the NDMC.The varnam 'Konchum Salangai" in raga Lathangi, describes the attitude and attributes of Lord Shiva with innumerable sequences. It is almost a mini ballet and can even be choreographed for the full length ballet.The speciality of this varnam is that the lyrics are so composed to admit of graceful postures and meaningful abhinaya. T. R. Subramanyam Says . Musician and MusicologistI wish to hereby commend Sri. Madurai R. Muralidharan as a dancer of high accomplishments. Besides being a wellknown performing artiste and teacher, he is also a composer of high merit. I heard his pada varnams and thillanas in the 35 talas and I was profoundly impressed by them. Mr. Muralidharan is an youngster of high innovative talent. I wish him all success. I know Shri. Madurai. R. Muralidaran, a well known accomplished dance exponent-cum-musicologist, for several years and I have witnessed his Dance Drama "Kamba Ramayanam" recently. It was a splendid presentation on all counts.He is an excellent composer, especially for Bharatha Natyam Dance field. It is not an easy joke to compose Padha Varnams for Dance. He has composed Varnams, Thillanas and Alarippus in all the 35 Talas which is very rare and complicated to handle. I could see his hard work and dedication in his compositions, lyric wise, rhythm wise, tune wise and I must appreciate Shri. Muralidaran for his praise worth contribution to the art field and I wish him all success for the bright future. Sangeetha Siromani, Natyacharya M. V. Narasimhachri I Know Mr.Muralidharan for several years and I have been seeing his progress and achievements. He has bloomed into a full-fledged artist in all respects. His hard work and thirst for knowledge have brought him to the forefront in the field of dance. His knowledge of Bharatanatyam is considerable and is not easily matched by other dancers in the field. He is a lyricist, music composer, choreographer, performer, singer, nattuvanar and a sincere teacher. His compositions for the dance repertoire like varnams, padams, thillanas and so on are valuable contributions to the field of Bharathanatyam. His dance dramas are a veritable delight to watch and have brought him accolades.Despite his many talents he is a very humble and dignified person who accepts suggestions and criticism with an open mind and is ever willing to improve.I am sure he will be an asset to any institution he visits and will give his best for the cause of this great art. May the Lord Nataraja bestow on him all success and happiness. -------------------------------------------------------------------------------- The Hindu february 8, 2002 Smt. Nandhini Ramani SAYS. Madurai Muralidharan is a dancer, teacher and versatile composer, who is probably the first to compose in 35 Talas, many items for a Bharatanatyam repertoire. "Kolahala Ganapati", describing the joyful and auspicious dancing Vinayaka had interesting sequences to incorporate certain thoughtful rhythmical aspects to denote the dance of the Lord.Medha presented these details with utmost ease. "Konjum Sadangai", a compostion of Madurai.R. Muralidaran centring around the glory of the Lord of Dance was the other lively piece that brought forth the astonishing skill for precision. -------------------------------------------------------------------------------- City Express July 28,2001 R Srinivasan of Indian Express says Muralidharan has broken new ground in the field of Bharathanatyam. He has composed padavarnams in all the known 35 taalas, a unique feat not hitherto achieved by any in this field. He points out: "Till now Natyapadavarnams have only portrayed the Nayikabhava stressing the state of acute, anguished, erotic expectancy of the female lover yearning for immediate union with her beloved, from whom she had been separated for an inordinately prolonged period (Vipralamba). "The architectonic structure of Natya pada Varnams depends solely on the multilevel layers of the composition theme, specially in terms of Sringara-Bhakti relationship (erotic devotion) against the background of unrequited love. The stress would invariably be on the Nayika - the woman, experiencing the pangs of separation. Every second of separation would be unbearable, excruciating agony for her.There is an allegorical content here. Every human being, male or female, has to deem himself or herself as a lover hungering for merger with the Lord - the Nayaka - the only universal male, the symbolic union of the Jivatama with the Paramatma.All the Alwars, Nayanmars, Sufis and other devout souls have only adopted this female role. It is necessary corollary that padavarnams portraying such vipralamba situations have so far generally relied on limited taalas implying restricted scope. Muralidharan has dared to experiment with the male as the central figure. It is his contention that the male also pines for his lady-love, from whom he has been separated by circumstances. The perfect example is Rama pining for Sita in the Dandaka forests. He has therefore composed padavarnams in all known taalas, that is 35 of them. Just to enable the male dancer depict vipralamba equally graphically and most acceptably. "The doors of Bharathanatya would naturally open more widely", is his point. It is against this kind of revolutionary background the Murali's much-lauded innovative efforts have assumed pioneering potential and welcome promise that deserve meaningful encouragement. He has also composed Thilaanas and Alaripus in all the taalas, a rare and intricate effort lyric-rhythm tune content-wise as all these variations supplement traditional techniques. Muralidharan has choreographed successfully a number of splendid dance dramas - Kamba ramayanam, Anarkali, Nammalvar, Tulukka Naachhiyaar (Muslim lady devotee), Thirumangai Alwar and Kuraloviyam.He is a committed teacher as well. He and his wife Chitra have trained dozens of students in Bharathanatyam. In dance, the human body is the instrument that reveals picturesquely the intrinsic merit of the theme and the presenter. Muralidharan's state-of-the-art body is an ideal treasure house that stores and displays the abiding colourful nuances of Bharata's Naatya Shastra. Widely travelled in India and abroad, Muralidharan, who has made, according to Subbudu and Dr. Balamuralikrishna, significantly praiseworthy contributions in the art field, waits hopefully for worthwhile opportunities and recognition. -------------------------------------------------------------------------------- V. P. Dhananjayan Says... (Bharatakalanjali) Madurai Muralidharan is a very talented Bharatanaatyam dancer and teacher. To be honest, Muralidharan is one of the best and versatile artists of the younger generations; he is not only a good male dancer, but a poet, musician and music composer. His contributions of music compositions to the Bharatanaatyam repertoire are highly commendable. I have recommended his compositions to many Bharatanatyam dancers looking for compositions. Since he is a dancer himself, the ideas portrayed in the lyrical contents are appropriate for expressing dramatic exposition of "sanchari bhaavas". He needs to be encouraged by connoisseurs and due recognition given to him for his immense talent, both as a dancer and teacher. I hope and pray that the days are not too far, for him to receive the due accolades from our art and cultural organisations.
Have you performed in front of an audience?
Yes. In India and all over the world.
Your musical influences
I will give idea later on
What equipment do you use?
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