Indian Classical Sitarist and Vocalist

This is the website of Indian classical sitarist, vocalist, teacher and author Dr Sarita McKenzie-McHarg (stage name: Sarita Borliya) — sharing her time between India and Australia.




Below: Annapurna Devi playing Raag Manjh Khamaj on Surbahar

Above is a very old unauthorised recording of Annapurna Devi playing the Surbahar.   Daughter of the founder of the Senia-Maihar Gharana Dr (Baba) Allauddin Khan, Annapurnaji is recognised as the true torch bearer of her father's music.

Even though her father praised her as the best and most pure of his students, she never took up music as a professional performer and never made any commercial recordings of her music. In spite of this, she gained a huge following and won the hearts and minds of classical music critics and devotees throughout India.

Pundit Jotin Bhattacharya, Dr (Baba) Khan's official biographer, wrote about Annapurna's playing before the Maharajah of Maihar as follows.

"When she was at her best, he  [the Maharajah] was inspired and tears of joy trickled out of his eyes.  He remarked that he was more or less hypnotised by her performance, which was indescribable."

Annapurna is quoted by her biographer, Swapan Kumar Bondyopadhay, as lamenting that today's music is far from pure, and that listeners have been misled.

"The music you hear today—especially instrumental music—is miles from its purest form. It is regrettable that the taste of the listeners has also been forced to change... ... ...

Many so-called artistes (including some of our most popular ones) are projecting before the audience distorted or even vulgar images of an art which is infinitely noble; an art which has the power to lead you into a trance onto the shores of tranquility."


Below: Annapurna Devi playing Raag Kaushiki on Surbahar




Sarita McKenzie-McHarg

(stage name: Sarita Borliya)

Below: Sarita sings in the studio at Ujjain, India – June, 2011

 Above:  Sarita (sitar & vocal) performing with Glen Kniebeiss (tabla) at Cheltenham Church of Christ, Melbourne, Australia — August, 2007

Above:  Sarita (sitar & vocal) performing with Monash University World Music Orchestra during the International Jazz Festival in Melbourne, Australia — May, 2007

Above:  Sarita (far left) on-stage with renowned Bollywood film maestro, Ravindra Jain (seated at centre), at the Clock Tower Concert in Ujjain, India — August, 2008


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Now Available:

Traditional Folk Songs of Malwa

English / Hindi

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"I am confident that authorities
and scholars who examine this
publication will dive deep into its
contents and will ultimately find
themselves immersed in the realm of folk emotions."

"I must wholeheartedly thank all
those who contributed to
this worthy endeavour with an
expectation of many more such
works to be forthcoming in the future."

Dr ShyamSunder Nigam
Shri Kaveri Research Institute
Ujjain,  (M.P.) India. 

Available NOW

Preview and/or purchase at:–1972  

Dr (Baba) Allauddin Khan (1881-1872)

An amazing story of dedication, perseverance and the triumphant rise of a runaway Indian boy who would eventually inspire thousands of musicians around the world.

Baba Allauddin Khan led the way in the modern renaissance of Indian classical music, and he displayed  profound appreciation for the spiritual value of music, and its importance to society. After many years of struggle against all kinds of impediments, he developed a rich and abiding love and understanding of music that stood him apart from his peers.
Like so many great individuals in human history, he endured much criticism throughout his working life - mostly for his deviation from tradition. He was especially innovative in crashing down the barriers to an open learning system for Indian classical music. He taught all-comers because he remembered the earlier pain of his own rejection. But he only ever broke outdated, unwritten rules that he believed were restrictions to the furthering and betterment of Indian classical music.
Like Mian Tansen in the 16th century, Baba Allauddin Khan rekindled the flame of passion for Indian music during the 20th century.

Now Available

India's English Language Writing Guide

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Students, Teachers, Aspiring Authors, Editors, Business Writers, Instructional Designers, Reviewers and Publishers

This English Language Writing Guide aims to assist with matters of style and language.

In the modern era, complex language and the lack of simple punctuation can cause serious problems for readers of English language publications. For this reason, most of the guidelines expressed in Part 1 show simple writing methods that will help your readers to understand the contents at the first reading. Part 2 addresses technical conventions for publishing; and Part 3 is designed to assist new writers in the areas of fiction, academics and business. 

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