1. CASE STUDY AND LITERATURE STUDY REPORT SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

2. SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

4. Permeating general education with influence of art and culture.

5. Education of public through concerns, public lectures, exhibitions and publications.Made of the words kala + ksetra, it literally means ‘a devotional centre for the arts’. Situated in Tiruvanmiyur, Chennai, Kalakshetra Foundation was established in 1936 under the leadership of Smt. Rukmini Devi Arundale (a pioneer in the field of Bhratanatyam in Pandanallur style) and is internationally well known for its education. The academy was also symbolic of the struggle for India's independence; it was to culturally revive a country that was losing its identity under British rule. It was shifted from Besant Nagar during the 1960s, to the present location. KalakshetraFoundation comprises of Kalakshetra, The Besant Theosophical High School, The Besant Arundale Senior Secondary School, A Craft Education and Research Centre including the Weaving Department, the Kalamkari Natural-Dye Printing & Painting unit, the Visual Arts Center and The BharataKalakshetra. SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

7. Post Diploma study in music and dance.

8. A variety of part-time courses are also offered.

9. Admission requirements for the Diploma and Post Diploma:

10. Applicants should be between ages 15 & 25 and should have completed 10th grade.

11. All prospective students are selected based on an interview.

13. It is located away from the main road and major traffic areas.

14. It is spread over a 100 acres (including the 3 schools)

15. Approach – a direct road of around 800m from the bus stand leads to the Kalakshetra campus

16. Sound buffer – the campus is lined by huge neem trees, which adds to the already moderately quiet environment.SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

18. There are hardly any big buildings around – most are kept to the single ground floor.

20. Sound buffer – the campus is lined by huge neem trees, which adds to the already moderately quiet environment.SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

22. Vehicles seem out of place in the campus.

23. All roads are shaded well with trees on both sides.

24. As one reaches past the office/ administrative region to the classroom area, the sound of different kinds of music is a very pleasant invitation to the ears.

25. The classroom areas with mud grounds and the different kinds of trees make one feel closer to the nature.SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

28. All in all, a gurukul-like atmosphere prevails, which creates a perfect state of mind for music learning.SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

30. They are sprawled in a random fashion, one after the other, to create an organic atmosphere.

31. They are all roughly of two sizes (8m x 4.5m and 10m x 7.5m) and each classroom is used for any kind of teaching – vocal, instrumental or dance (the bigger ones are usually for dance).SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

33. Even the little sound that might travel are taken care of by the trees around.

34. All classrooms have full length bamboo jaali work (no windows), which provide sufficient lighting and cross ventilation.

35. All the huts have red-oxide flooring.SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

37. It accommodates 180 people.

38. It is also used as an open class for the crafts.SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

40. Originally built as an open-air theatre designed by architect Kiffin Peterson, it served as an assembly hall and performance stage for many years until it was destroyed during a cyclone.

41. Architect Lurie Baker was one of the first to be invited to evolve a proper theatre design after the cyclone. Over the years, a new, more permanent structure with modern equipment was built on the model of a traditional Indian theatre.

42. Measuring 70'x80', the open-air space can accommodate 300-350 audience.

43. Dressing rooms are available, on either side of the stage, each measuring 10'x12'.

44. The stage is made of black oxide which is suitable for effective lighting.

45. The theatre is equipped with lighting and sound systems.SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

47. Smt. Rukmini Devi wanted to build a new theatre of more solid construction, after the cyclone had damaged the open-air theatre. During one of her tours to Kerala, she had visited the Koothambalam in Kalamandalam, which appealed to her very much.

48. Er. Appukkuttan Nair helped her design a theatre with the concept of Natyashala, as a universe with the basic concepts of Koothambalam also incorporated in it.

49. Situated centrally in the plot, it is also in direct access from an external road on the north.SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

51. Dressing rooms are available for artists, on the ground floor.

52. BharataKalakshetra Auditorium is equipped with state-of-the-art lighting and sound systems.SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

53. SANGEET BHAVAN SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

54. HISTORY – ESTABLISHING SHANTINIKETAN In 1901 Rabindranath Tagore moved from Seliadah to Santiniketan where, with his father’s consent, he started a boarding school. The Brahamacharyashram (or Ashram) School was inaugurated on 22 December 1901 with only a few pupils, his son being one of them, and with an equal number of teachers. It was to be run on the pattern of teachers and pupils living together amidst natural surroundings and willingly accepting an austere standard of living, often working with their own hands. Of the five teachers, three were Christians – two of whom were Catholics and the third was his son’s English teacher from Seliadah. The orthodox Hindus were offended by this situation and he did not get any assistance from them. No fees were accepted from students, all expenses being borne by Tagore himself. In the course of time, this Ashram School expanded as the poet’s reputation grew. SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

55. In 1912 Tagore left for the United Kingdom once again. Some of his poems and writings had made such an impression on the British writers and intellectuals that he was at once accepted as a great poet and intellectual. He was awarded the Nobel Prize for Literature in November 1913 and came back to India after visiting the United States of America. This international experience gave him a new idea, that he must bring his country into contact with the world at large. He felt that overemphasis on narrow nationalism led men and countries into paths of conflict. There should be an institution that emphasized the unity of the world’s cultures and streams of knowledge. He considered Santiniketan to be that institution. He was thus already contemplating the foundation of VisvaBharati, an international centre of culture and humanistic studies. The foundation stone of VisvaBharati was laid on 24 December 1918. A separate institution called Sri Niketan was established in 1921. Science and its applications in the form of technology have led to the power and prosperity of Western countries. Unless India acquired knowledge of science and technology through its universities and schools, poverty and powerlessness would continue. To transform life and make it richer, healthier and more educated, it was imperative to resort to technology and science. But Tagore wanted science to be taught along with India’s own philosophical and spiritual knowledge at Indian universities. SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

58. The SangeetBhavan is placed along the road, after the Kala Bhavan, and covers about 5 acres.

59. Since it is far off from the main areas of public interest, there is no vehicular traffic around and the place is quiet and suitable for teaching music.SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

61. Height of the building os G+1.

62. The building was later extended to the back from one side, creating another adjascent courtyard-like area.

64. On the right hand side is the open-air stage, while the classrooms to the left side.

65. There are 2 floors in this area and the inner extension is only on the ground floor.

66. These classrooms are mostly used for instrumental lessons, while the inner classrooms are used for vocal practices.

67. Dances are mostly taught on the stage itself, or in one of the inner classrooms.SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

69. It measures 52’x36’ and can accommodate around 350 people.

70. All the rehearsals, performances and even dance teaching takes place here.

71. The dressing rooms around the stage have flexible functions – during a performance, it facilitates back-stage activities, and during other times it is used as classrooms or instruments’ storage. SCHOOL OF INDIAN MUSIC: REVIEW-1 AARTI SIVAKUMAR 060901005 X SEM B.ARCH M.S.A.P MANIPAL

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