Teejan Bai is an exponent of Pandavani, a traditional performing art form, from Chhattisgarh, in which she enacts tales from the Mahabharata, with musical accompaniments. She has been awarded the Padma Shri in 1987, Padma Bhushan in 2003, Padma Vibhushan in 2019 by Government of India, besides 1995 Sangeet Natak Akademi Award in 1995, given by Sangeet Natak Akademi, India's National Academy of Music, Dance & Drama. Teejan Bai was born in Ganiyari village, 14 kilometres north of Bhilai, to Chunuk Lal Pardhi and his wife Sukhwati, she belongs to the Pardhi Scheduled Tribe of Chhattisgarh state The eldest among her five siblings she heard her maternal grandfather, Brijlal Pradhi, recite the Mahabharata written by Chhattisgarhi writer, Sabal Sinh Chauhan in Chhattisgarhi Hindi and took a liking to it. She soon memorised much of it, trained informally under Umed Singh Deshmukh. At age 13, she gave her first public performance in a neighbouring village, Chandrakhuri for Rs 10. Singing in the Kapalik shaili of'Pandavani', a first time for a woman, as traditionally women used to sing in the Vedamati, the sitting style.
Contrary to the tradition, Teejan Bai performed standing singing out loud in her typical guttral voice and unmistakable verve, entering what was till a male bastion. Within a short time, she became known in neighbouring villages and invitations poured to perform at special occasions and festivals, her big-break came, when Habib Tanvir, a theatre personality from Madhya Pradesh, noticed her talent, she was called to perform for Prime Minister, Indira Gandhi. In time she received national and international recognition, a Padma Shri in 1988, Sangeet Natak Akademi Award in 1995, Padma Bhushan in 2003. Beginning in the 1980s, she travelled all over the world as a cultural ambassador, to countries as far as England, Switzerland, Turkey, Malta, Cyprus and Mauritius, she performed sequences from the Mahabharata in Shyam Benegal's acclaimed Doordarshan TV series Bharat Ek Khoj based on Jawaharlal Nehru's book. Today she continues to enthrall audiences, the world over with her unique folk singing and her powerful voice.
Though she was married at 12, she was expelled by the community, the'Pardhi' tribe, for singing Pandavani, being a woman. She built herself a small hut and started living on her own, borrowing utensils and food from neighbours, yet never left her singing, which paid off for her, she never went to her first husband's home and split. In the following years, she was married twice and became a grandmother. Pandavani means stories of Pandavas, the legendary brothers in Mahabharat, involves enacting and singing with instrumental accompaniment an ektara or a tambura in one hand and sometimes a kartal in another; as the performance progresses, the tambura becomes her only prop, sometimes to personify a gada, mace of Bhima, or Arjuna's bow or chariot, while at other times it becomes the hair of queen Draupadi, allowing her to play various character with effective ease and candour. Her acclaimed performances are of, Draupadi cheerharan, Dushasana Vadh and Mahabharat Yudh, between Bhishma and Arjun. 1988 Padma Shri 1995 Sangeet Natak Akademi Award 2003 Hon. D. Litt, Bilaspur University 2003 Padma Bhushan 2016 M S Subbalaxmi centenary award 2018 Fukuoka prize 2019 Padma Vibhushan Music of Chhattisgarh Facebook page Teejan Bai, a profile on her narration of the Mahabharata Portrait of Teejan Bai at Kamat.com Bharat Ek Khoj Episode 5 at YouTube.com
Asha Bhosle, is an Indian playback singer. She is best known for her playback singing in Hindi cinema. Bhosle's career has spanned over six decades, she has done playback singing for over a thousand Bollywood movies. In addition, she has recorded several private albums and participated in numerous solo concerts in India and abroad. Bhosle is the sister of playback singer Lata Mangeshkar. Renowned for her voice range and credited for her versatility, Bhosle's work includes film music, ghazals, traditional Indian classical music, folk songs and Rabindra Sangeets. Apart from Hindi, she has sung in over 20 Indian and foreign languages. In 2006, Asha Bhosle stated that she had sung over 12,000 songs, a figure repeated by several other sources. In 2011, she was acknowledged by the Guinness Book of World Records as the most recorded artist in music history; the Government of India honoured her with the Dadasaheb Phalke Award in 2000 and the Padma Vibhushan in 2008. In 2013, she made her debut as an actress in the film Mai, received critical acclaim for her performance.
Asha Bhosle was born in the small hamlet of Goar in Sangli in the salute princely state of Sangli, into the musical family of Master Deenanath Mangeshkar, who belongs to the Marathi-speaking Gomantak Maratha Samaj. Her father was an actor and classical singer on Marathi Musical stage; when she was nine years old, her father died. The family moved from Pune to Kolhapur and to Mumbai, she and her elder sister Lata Mangeshkar began acting in films to support their family. She sang her first film song'"Chala Chala Nav Bala" for the Marathi film Majha Bal; the music for the film was composed by Datta Davjekar. She made her Hindi film debut, her first solo Hindi film song was for the movie Raat Ki Raani. At the age of 16, she eloped with 31-year-old Ganpatrao Bhosle, marrying him against her family's wishes. In the early 1960s, prominent playback singers like Geeta Dutt, Shamshad Begum, Lata Mangeshkar dominated the singing for the female lead and the big films. Asha used to get the assignments they refused: singing for the bad girls and vamps, or songs in the second-grade movies.
In the 1950s, she sang more songs than most playback singers in Bollywood. Most of these were in low budget B- or C-grade films, her earliest songs were composed by A R Qureshi, Sajjad Hussain, Ghulam Mohammed, most of these songs failed to do well. Singing in Sangdil, composed by Sajjad Hussain, she got reasonable recognition. Film director Bimal Roy gave her a chance to sing in Parineeta. Raj Kapoor signed her to sing "Nanhe Munne Bachche" with Mohammed Rafi in Boot Polish, which gained popularity. O. P. Nayyar gave Asha a break in CID, she first achieved success in B. R. Chopra's Naya Daur, composed by him, her duets with Rafi like "Maang Ke Saath Tumhara", "Saathi Haath Badhana" and "Uden Jab Jab Zulfein Teri", penned by Sahir Ludhianvi, earned her recognition. It was the first time. Chopra approached her for several of his productions, including Gumrah, Hamraaz, Aadmi Aur Insaan and Dhund. Nayyar's future collaboration with Bhosle resulted in success, she established her status and received the patronage of such composers as Sachin Dev Burman and Ravi.
Bhosle and Nayyar had a personal parting of ways in the 1970s. In 1966, Bhosle's performances in the duets from one of music director R. D. Burman's first soundtracks, for the movie Teesri Manzil, won popular acclaim; when she first heard the dance number "Aaja Aaja", she felt she would not be able to sing this westernised tune. While Burman offered to change the music, she refused, she completed the song after ten days of rehearsals, "Aaja Aaja", along with such other songs as "O Haseena Zulfonwali" and "O Mere Sona Re", became successful. Shammi Kapoor, the film's leading actor, was once quoted as saying– "If I did not have Mohammad Rafi to sing for me, I would have got Asha Bhosle to do the job". Bhosle's collaboration with Burman resulted in a marriage. During the 1960-70s, she was the voice of Bollywood's actress and dancer, Helen, on whom "O Haseena Zulfon Wali" was picturised, it is said that Helen would attend her recording sessions so that she could understand the song better and plan dance steps accordingly.
Some of their other popular numbers include "Piya Tu Ab To Aaja" and "Yeh Mera Dil", among others. By the 1980s, although regarded for her abilities and versatility, had sometimes been stereotyped as a "cabaret singer" and a "pop crooner". In 1981 she attempted a different genre by singing several ghazals for the Rekha-starrer Umrao Jaan, including "Dil Cheez Kya Hai", "In Aankhon Ki Masti Ke", "Yeh Kya Jagah Hai Doston" and "Justaju Jiski Thi"; the film's music director Khayyam, had lowered her pitch by half a note. Bhosle herself expressed surprise; the ghazals won her the first National Film Award of her career. A few years she won another National Award for the song "Mera Kuchh Saamaan" from Ijaazat. In 1995, 62-year-old Bhosle sang for actress Urmila Matondkar in the movie Rangeela; the soundtrack featured songs like "Tanha Tanha" and "Rangeela Re" sung by her, composed by music director A. R. Rahman, who would go on to record several songs with her. During the 2000s, several of Bhosle's numbers became chartbusters, including "Radha Kaise Na Jale" from Lagaan, "Kambakht
Mungara Yamini Krishnamurthy is an Indian dancer of Bharatanatyam and Kuchipudi styles of dancing. Yamini Krishnamurthy was born in Chittoor District, Andhra Pradesh, she was born on a half moon night, her grandfather named her Yamini Poornatilaka, which means "a full mark on the brow of night." She was brought up in Tamil Nadu. Her mother tongue is Telugu. Yamini Krishnamurthy debuted in 1957 in Madras, she has the honour of being Asthana Nartaki of the Tirumala Tirupati Devasthanam. Some critics have observed, she was known as "torch bearer" of Kuchipudi form of dance. She has a leading place as an exponent of Kuchipudi, she imparts dance lessons to younger dancers at her institute, Yamini School of Dance, Hauz Khas, New Delhi. She released "A Passion For Dance", a book well received by the readers. Yamini Krishnamurthy has never been married, her manager is Shiv Ganesh. Her dancing career brought her many awards, including the Padma Shree Padma Bhushan, Padma Vibhushan, which are among the highest civilian awards of the Republic of India.
She was honoured with "Natya Shastra" award by Shambhavi School of Dance at "Nayika-Excellence Personified" on the occasion of Woman's Day on 8 March 2014. She gave a lecture demonstration on "Contribution of Woman to Kuchipudi", she released a Kuchipudi Dance DVD featuring Prateeksha Kashi, the daughter of Kuchipudi Dansuse Smt. Vyjayanthi Kashi, artistic director of Shambhavi.'A dancer must have tremendous personality. A God like Christ and a godman like Rajneesh had some personality. Combination of talent, dedication and being emotive is imperative. A coupling of these four qualities with technique is essential. Monotony is deterrent as it regards your style and I notice today, that new dancers perform in a startlingly similar fashion."The past has been exciting, the present challenging. As for the future, it holds a lot of promise and many surprises, and I cannot wait to unravel them!' On remaining unmarried, she said `. As for children, all my disciples are my children.'
Muhammad Yusuf Khan, better known as Dilip Kumar, is an Indian film actor, producer and activist, known for his work in Hindi cinema. Popularly known as The Tragedy King and The First Khan, he has been credited with bringing realism to film acting since his first film and is regarded as one of the greatest actors of world cinema. Kumar debuted as an actor in the film Jwar Bhata, produced by Bombay Talkies. In a career spanning over six decades, Dilip Kumar worked in over 65 films. Kumar is known for roles in films such as the romantic Andaz, the heartwarming Babul, the impassioned Deedar, the swashbuckling Aan, social drama Daag, the dramatic Devdas, the comical Azaad, Naya Daur, Madhumati, the epic historical Mughal-e-Azam, the social dacoit crime drama Gunga Jamuna, the comedy Ram Aur Shyam. In 1976, Dilip Kumar took a five-year break from film performances and returned with a character role in the film Kranti and continued his career playing leading roles in films such as Shakti and Saudagar.
His last film was Qila. He is the first recipient of the Filmfare Best Actor Award. Critics have acclaimed him as one of the greatest actors in the history of Indian cinema. Dilip Kumar never married her, he married actress Saira Bano in 1966. He and his wife live in the Bandra suburb of Mumbai in the state of Maharashtra in India. Kumar was born Mohammad Yusuf Khan to Ayesha Begum and Lala Ghulam Sarwar Ali Khan in a Muslim Hindkowan-Punjabi Awan family of 12 children on 11 December 1922 at home in the Qissa Khawani Bazaar area of Peshawar, British India, his father was a fruit merchant who owned orchards in Peshawar and Deolali. Mohammad Yusuf Khan was schooled at Barnes School, Nashik, he grew up in the same religiously mixed neighbourhood as Raj Kapoor, his childhood friend, his colleague in the film industry. In 1940, while still in his teens and after an altercation with his father, Mohammad Yusuf Khan left home for Pune in Maharashtra. With the help of a Parsi café-owner and an elderly Anglo-Indian couple, Kumar met a canteen contractor.
Without letting on his family antecedents, he got the job on the merit of his knowledge of good written and spoken English. He set up a sandwich stall at the army club and when the contract ended, he headed home to Mumbai, having saved Rs. 5000. In 1942, anxious to start a venture to help his father with household finances, he met Dr. Masani at Churchgate Station, who asked him to accompany him to Bombay Talkies, in Malad. There he met actress Devika Rani, owner of Bombay Talkies, who asked him to sign up with the company on a salary of Rs. 1250 per month. There he met actor Ashok Kumar, who influenced his acting style by telling him to act "natural", he met Sashadhar Mukherjee, both of these people became close to Kumar over the years. Kumar helped out in the story-writing and scripting department because of his proficiency in Urdu language. Devika Rani requested him to change his name to Dilip Kumar, cast him in a lead role for Jwar Bhata, which marked Kumar's entry into the Hindi film industry.
Dilip Kumar's first film was Jwar Bhata in 1944. After a few more unsuccessful films, it was Jugnu, in which he starred alongside Noor Jehan, that became his first major hit at the box office, his next major hits were the 1948 films Mela. He got his breakthrough role in 1949 with Mehboob Khan's Andaz, in which he starred alongside Raj Kapoor and Nargis. Shabnam released that year was another box office hit Kumar went on to have success in the 1950s playing leading roles in several box office hits such as Jogan, Hulchul, Daag, Amar, Uran Khatola, Insaniyat in which he co-starred with Dev Anand, Naya Daur, Yahudi and Paigham; some of these films established his screen image as the "Tragedy King". Kumar suffered from depression due to portraying many tragic roles and on the advice of his psychiatrist, he took on light-hearted roles. Mehboob Khan's big-budget 1952 swashbuckling musical Aan featured him in one of his first lighter roles and marked his first film to be shot in technicolor and to have a wide release across Europe with a lavish premiere in London.
He had further success with lighter roles as a thief in the comedy Azaad, as a royal prince in the romantic musical Kohinoor He was the first actor to win the Filmfare Best Actor Award and went on to win it a further seven times. He formed popular on-screen pairings with many of the top actresses at the time including Madhubala, Nargis, Meena Kumari and Kamini Kaushal. 9 of his films in the 1950s were ranked in the Top 30 highest-grossing films of the decade. In the 1950s, Dilip Kumar became the first actor to charge ₹1 lakh per film. In 1960, he portrayed Prince Salim in K. Asif's big-budget epic historical film Mughal-e-Azam, the highest-grossing film in Indian film history for 11 years until it was surpassed by 1971 film Haathi Mere Saathi and by the 1975 film Sholay. If adjusted for inflation, Mughal-e-Azam was the highest-grossing Indian film through to the early 2010s, equivalent to over ₹1000 crore in 2011; the film told the story of Prince Salim, who revolts against his father Akbar, falls in love with a courtesan.
The film was most
Cabinet Secretary of India
The Cabinet Secretary is the top-most executive official and senior-most civil servant of the Government of India. The Cabinet Secretary is the ex-officio head of the Civil Services Board, the Cabinet Secretariat, the Indian Administrative Service, all civil services under the rules of business of the government; the Cabinet Secretary is the senior-most cadre post of the Indian Administrative Service, ranking eleventh on the Indian order of precedence. The Cabinet Secretary is under the direct charge of the prime minister. In 2010, the Cabinet Secretary's term length was extended to a maximum of four years, giving the then-incumbent an additional year in office; the precursor to the cabinet, the Executive Council of the Viceroy, used to have a Secretariat, headed by the Private Secretary of the Viceroy. At first, the role of this Secretariat was to take care of the paperwork related to the Executive Council but when the work of the individual departments under the Council increased, the work of the Secretariat too became more complex.
The Private Secretary came to be known as the secretary of the secretariat. And this post became more powerful over time as the Secretariat’s main role became coordinating the work of the departments. In 1946, the secretariat became the secretary became the Cabinet Secretary. After Independence in 1947, the functions of the Secretariat underwent major changes. A series of committees on economic and intelligence matters was constituted under the Cabinet Secretariat. Most of the departments created after Independence functioned under the Cabinet Secretariat and were seconded to the respective ministries; the position holder is accountable for ensuring that the civil service is equipped with the skills and capability to meet the everyday challenges it faces and that the civil servants work in a fair and decent environment. The following are the functions of the Cabinet Secretary: Heads the Cabinet Secretariat. Acts as the chief coordinator of the central government. Acts as the chairman of the Civil Services Board, which among other things, recommends empanelment of officers, for the ranks of secretary, additional secretary and joint secretary.
Act as the chairman of the Committee of Secretaries on Administration. Act as the chairman of the Conference of Chief Secretaries of States. Recommends postings of officers of the rank of secretary and additional Secretary to the Appointments Committee of the Cabinet. Acts as the chairman of Senior Selection Board, which recommends postings of officers of the rank of joint secretary in the Union Government to the Appointments Committee of the Cabinet. Acts as a senior adviser to the prime minister. Provide assistance to the Council of Ministers. Prepares the agenda of the cabinet and minutes its meetings. Provide an element of continuity and stability to administration during crises. In the Government of India Allocation of Business Rules, 1961, the Cabinet Secretariat finds a place in the First Schedule to the Rules; the subjects allotted to this Secretariat are, secretarial assistance to Cabinet and Cabinet Committees, secondly, the Administration of the Rules of Business. The Cabinet Secretariat is responsible for the administration of the Transaction of Business Rules, 1961 and the Allocation of Business Rules, 1961 of the Government of India, facilitating smooth transaction of business in ministries/departments of the Government by ensuring adherence to these rules.
The Secretariat assists in decision-making in Government by ensuring Inter-Ministerial coordination, ironing out differences amongst ministries/departments and evolving consensus through the instrumentality of the standing/ad hoc Committees of Secretaries. Through this mechanism, new policy initiatives are promoted; the Cabinet Secretariat ensures that the President of India, the Vice-President and Ministers are kept informed of the major activities of all departments by means of a monthly summary of their activities. Management of major crisis situations in the country and coordinating activities of the various ministries in such a situation is one of the functions of the Cabinet Secretariat; the Cabinet Secretariat comprises three wings: Civil and Intelligence. The Civil wing is considered to be the main wing and provides aid and assistance to the Union Cabinet; the purpose of having the Military wing is to have better coordination in Intelligence and to provide secretarial assistance to the Defence Committee of the Cabinet and the National Defence Council.
The Military wing is represented by an officer of the rank of major general, or its equivalents in the Indian Armed Forces, designated as a joint secretary in the Cabinet Secretariat. The Intelligence wing deals with matters pertaining to the Joint Intelligence Committee of the union cabinet; the chief of the Research and Analysis Wing officially first reports to the Cabinet Secretary, is designated Secretary in the Cabinet Secretariat. The First Administrative Reforms Commission found that the average tenure of the Cabinet Secretary was two years and eight months, considered to be inadequate, it recommended a tenure of three to four years. It wanted that Cabinet Secretary to act as the principal staff officer to the prime minister, the cabinet and the cabinet committees for important matters; as head of the Civil Services, the incumbent position holder is accountable for ensuring that the civil services are equipped with the skills and capability to meet the everyday challenges it faces and that civil servants work in a fair and decent environment.
The Cabinet Secretary is arguably India's most powerful bureaucrat and the right hand of the Prime Minister of India. The Cabinet Secretary to Government
Indian Civil Service (British India)
The Indian Civil Service, for part of the 19th century known as the Imperial Civil Service, was the elite higher civil service of the British Empire in British India during British rule in the period between 1858 and 1947 Its members ruled more than 300 million people in India, Pakistan and Burma. They were responsible for overseeing all government activity in the 250 districts that comprised British India, they were appointed under Section XXXII of the Government of India Act 1858, enacted by the Parliament of the United Kingdom. The ICS was headed by the Secretary of State for a member of the British cabinet. At first all the top thousand members of the ICS, known as "Civilians", were British, had been educated in the "best" British schools. By 1905, five per cent were from Bengal. In 1947 there were 688 British members; until the 1930s the Indians in the service were few and were not given high posts by the British. Wainwright notes that by the mid-1880s, "the basis of racial discrimination in the sub-continent had solidified".
At the time of the birth of India and Pakistan in 1947, the outgoing Government of India's ICS was divided between India and Pakistan. Although these are now organised differently, the contemporary Civil Services of India, the Central Superior Services of Pakistan, Bangladesh Civil Service and Myanmar Civil Service are all descended from the old Indian Civil Service. Historians rate the ICS, together with the railway system, the legal system, the Indian Army, as among the most important legacies of British rule in India. From 1858, after the demise of the East India Company's rule in India, the British civil service took on its administrative responsibilities; the change in governance came about due to the Indian Rebellion of 1857, which came close to toppling British rule in the country. Up to 1853, the Directors of the British East India Company made appointments of covenanted civil servants by nominations; this nomination system was abolished in 1861 by the Parliament in England and it was decided that the induction would be through competitive examinations of all British subjects, without distinction of race.
Th examination for admission to the service was first held only in London in the month of August of each year. All candidate had to pass a compulsory horse riding test; the competitive examination for entry to the civil service was combined for the Diplomatic, the Home, the Indian, the Colonial Services. Candidates had to be aged between 24, which gave everyone three chances for entry; the total marks possible in the examination were 1,900. Successful candidates underwent one or two years probation in England, according to whether they had taken the London or the Indian examination; this period was spent at the University of Oxford, the University of Cambridge, colleges in the University of London or Trinity College, where a candidate studied the law and institutions of India, including criminal law and the Law of Evidence, which together gave knowledge of the revenue system, as well as reading Indian history and learning the language of the Province to which they had been assigned. The Early Nationalists known as the Moderates, worked for several implementation of various social reforms such as the appointment of a Public Service Commission and a resolution of the House of Commons allowing for simultaneous examination for the Indian Civil Service in London and India.
By 1920, there were five methods of entry into the higher civil service: firstly, the open competitive examinations in London. Queen Victoria had suggested that the civil servants in India should have an official dress uniform, as did their counterparts in the Colonial Service. However, the Council of India decided that prescribing a dress uniform would be an undue expense for their officials. Although no uniform was prescribed for the Indian Civil Service until the early twentieth century; the only civilians allowed a dress uniform by regulations were those who had distinct duties of a political kind to perform, who are thereby brought into frequent and direct personal intercourse with native princes. This uniform included a blue coat with gold embroidery, a black velvet lining and cuffs, blue cloth trousers with gold and lace two inches wide, a beaver cocked hat with black silk cockade and ostrich feathers, a sword; the civil services were divided into two categories -- uncovenanted. The covenanted civil service consisted of only white British civil servants occupying the higher posts in the government.
The uncovenanted civil service was introduced to facilitate the entry of Indians at the lower rung of the administration. After the Indian Rebellion of 1857, the pay scales were drawn up. Assistant Commissioners started out in their early twenties on around £300 a year; the governorship of a British province was the highest post. The Governors at the top of the pyramid got allowances. All ICS officers retired on the same pension £1,000. In the first decades of the twentieth century, the imbalance in salaries and emoluments was so great that 8,000 British officers earned £13,930,554, while 130,000 Indians in government service were collectively paid a total of £3,284,163, they served a minimum of twenty five and a maximum of thirty five yea
Kishori Ravindra Amonkar was a leading Indian classical vocalist, belonging to the Jaipur gharana, or a community of musicians sharing a distinctive musical style. She was a performer of the light classical genres thumri and bhajan. Amonkar trained under her mother, classical singer Mogubai Kurdikar from the Jaipur gharana, but she experimented with a variety of vocal styles in her career. Kishori's initial training in music was by the classical vocalist Mogubai Kurdikar, she has stated in an interview that her mother was an exacting teacher teaching her by singing phrases and making Kishori repeat them. In the early stages of her career, she travelled with her mother to performances, accompanying her on the tanpura while Kurdikar sang. In the early 1940s, young Kishori began to receive vocal lessons in Hindustani classical music from Anjanibai Malpekar of the Bhendibazaar gharana and received training from tutors of several other gharanas, her tutors included Anwar Hussain Khan of Agra gharana, Sharadchandra Arolkar of Gwalior gharana, Balkrishnabuwa Parwatkar.
Kishori has credited Anjanibai, in particular, with teaching her the technique of meend, or gliding, between notes. Amonkar's work in light music reformed her classical singing and she modified her Jaipur gharana performance style by applying features from other gharanas, she has been both criticized for pushing the boundaries of the Jaipur tradition. She was a romanticist and her approach prioritized emotional expression over tradition, so she departed from the Jaipur gharana's rhythmic and structural traditions. Amonkar has criticised the idea that schools, or gharanas, of music determine or constrain a singer's technique. Amonkar has stated that while the Jaipur gharana's technique and methods form the base of her style, she performs several variations on it, including an adoption of alapchaari, or a relaxing of the link between the rhythm and note. Amonkar has expressed her views on how musical education should be conducted, emphasizing the importance of enabling students to move beyond repetitive techniques and learn the tools that allow them to improvise on their own.
She credits her mother with using this approach to teach her, noting, "You have to walk and run on your own. The guru gives you strength to be able to do that. If you don’t you remain ordinary. My mother made sure I wasn’t ordinary.” She noted that training is an ongoing process, stated in an interview that she listened to her own recorded performances to analyse and improve her technique. Amonkar emphasized emotion and spirituality as essential parts of her singing, stating that "To me it is a dialogue with the divine, this intense focused communication with the ultimate other." She has spoken of music as an act of sublimation, noting that it is the sadhana to attain the sadhya. In 2010, she published a book in Marathi titled Swaraartha Ramani in which she elaborated her views on musical theory and practice. Amonkar's career as a classical vocalist grew in the 70s. Prior to this, she stopped performing because of an illness that affected her ability to sing. Amonkar has said that she used this hiatus in her career to consider and develop her own style of singing, that transcended classical schools of music.
Amonkar has spoken about the treatment of women performers as classical musicians, noting that the experience of watching her mother perform informed her own approach to professionalism and fair treatment when it comes to ensuring that musicians are paid well for their performances. On one notable occasion, she refused to perform because the audience was badly behaved, emphasizing the importance of respecting the performers during a concert, she created many compositions for a number of ragas. Amonkar was a popular speaker and traveled throughout India. In addition to her career as a classical vocalist, Amonkar was known for her performances of lighter classical pieces, with a wide repertoire of thumris and bhajans, as well as some performances for film soundtracks, she sang for the soundtrack of the 1990 Hindi film Drishti. She became interested in film music and sang playback for the 1964 movie Geet Gaya Patharon Ne, but returned to classical music in part because of unpleasant experiences with the film industry.
The decision may have been motivated by her mother Mogubai Kurdikar's disapproval. Kishori Amonkar was born in Bombay on 10 April 1932, her father died when she was 7 years old, leaving Amonkar and her two elder siblings to be raised by their mother, the classical vocalist Mogubai Kurdikar. Kishori was married to Ravindra Amonkar, a school teacher, who died in 1992; the couple had two sons and Nihar, now both in their sixties. She was sometimes described as "temperamental". Responding to these comments, Amonkar has stated that this reputation derives from her insistence that performers be treated respectfully, to the fact that she chooses to spend time before her concerts in solitude and preparation instead of socializing with fellow musicians. Amonkar has stated, "I never play to the gallery; the audience cannot disturb the loneliness of an artiste." Amonkar did not enjoy giving press interviews. Amonkar lived in Mumbai, she died on 3 April 2017 in a week before her 85th birthday, at her residence in Mumbai.
Amonkar received several of India's national awards and civilian honours, including the Padma B