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Vihara (विहार) is the Sanskrit and Pali term for a Buddhist monastery. It originally meant "a secluded place in which to walk", and referred to "dwellings" or "refuges" used by wandering monks during the rainy season.

The northern Indian state of Bihar derives its name from the word "vihara", probably due to the abundance of Buddhist monasteries in that area. The word "vihara" also been borrowed in Malay where it is spelled "biara," and denotes a monastery or other non-Muslim places of worship. In Thailand and China (called jingshe; Chinese: 精舎), "vihara" has a narrower meaning, and designates a shrine hall. It is called a "Wihan" (วิหาร) in Thai, and a "Vihear" in Khmer. In Burmese, wihara (ဝိဟာရ, IPA: [wḭhəɹa̰]), means "monastery," but the native Burmese word kyaung (ကျောင်း, IPA: [tɕáʊɴ]) is preferred.

Origins[link]

In the early decades of Buddhism the wandering monks of the Sangha, dedicated to asceticism and the monastic life, had no fixed abode. During the rainy season (cf. vassa) they stayed in temporary shelters. These dwellings were simple wooden constructions or thatched bamboo huts. However, as it was considered an act of merit not only to feed a monk but also to shelter him, sumptuous monasteries were created by rich lay devotees (Mitra 1971). They were located near settlements, close enough for begging alms from the population but with enough seclusion to not disturb meditation.

Trade-routes were therefore ideal locations for a vihara and donations from wealthy traders increased their economic strength. From the first century CE onwards viharas also developed into educational institutions, due to the increasing demands for teaching in Mahayana Buddhism (Chakrabarti 1995).

In the second century BCE a standard plan for a vihara was established. It could be either structural, which was more common in the south of India, or rock-cut like the chaitya-grihas of the Deccan. It consisted of a walled quadrangular court, flanked by small cells. The front wall was pierced by a door, the side facing it in later periods often incorporated a shrine for the image of the Buddha. The cells were fitted with rock-cut platforms for beds and pillows (Mitra 1971). The unwanted rock was excavated, leaving the carved cave structure.^[1] This basic layout was still similar to that of the communal space of an ashrama ringed with huts in the early decades of Buddhism (Tadgell 1990).

As permanent monasteries became established, the name "Vihara" was kept. Some Viharas became extremely important institutions, some of them evolving into major Buddhist Universities with thousands of students, such as Nalanda.

Life in "Viharas" was codified early on. It is the object of a part of the Pali canon, the Vinaya Pitaka or "basket of monastic discipline".

Buddhist Vihara or monastery is an important form of institution associated with Buddhism. It may be defined as a residence for monks, a centre for religious work and meditation and a centre of Buddhist learning. Reference to five kinds of dwellings (Pancha Lenani) namely, Vihara, Addayoga, Pasada, Hammiya and Guha is found in the Buddhist canonical texts as fit for monks. Of these only the Vihara (monastery) and Guha (Cave) have survived.

History[link]

The earliest Buddhist rock-cut cave abodes and sacred places (chaiti) are found in the western Deccan dating back to the 3rd century BC.^[2] These earliest rock-cut caves include the Bhaja Caves, the Karla Caves, and some of the Ajanta Caves. Relics found in these caves suggest an important connection between the religious and the commercial, as Buddhist missionaries often accompanied traders on the busy international trading routes through India. Some of the cave viharas and chaityas, commissioned by wealthy traders, included pillars, arches, reliefs and facades while trade boomed between the Roman Empire and south-east Asia.^[3][4]

Epigraphic, literary and archaeological evidence testify to the existence of many Buddhist Viharas in Bengal (West Bengal and Bangladesh) and Bihar from the 5th century AD to the end of the 12th century. These monasteries were generally designed in the old traditional Kushana pattern, a square block formed by four rows of cells along the four sides of an inner courtyard. They were usually built of stone or brick. As the monastic organization developed, they became elaborate brick structures with many adjuncts. Often they consisted of several stories and along the inner courtyard there usually ran a veranda supported on pillars. In some of them a stupa or shrine with a dais appeared. Within the shrine stood the icon of Buddha, Bodhisattva or Buddhist female deities. More or less the same plan was followed in building monastic establishments in Bengal and Bihar during the Gupta and Pala Empire period. In course of time monasteries became important centres of learning.At the age of Mauryan emperor Ashoka the great the Mahabodhi Temple was built in the form of vihara.

Mahabodhi Temple

An idea of the plan and structure of some of the flourishing monasteries may be found from the account of Xuanzang, who referred to the grand monastery of po-si-po, situated about 6.5 km west of the capital city of Pundravardhana (Mahasthan). The monastery was famous for its spacious halls and tall chambers. General Cunningham identified this vihara with bhasu vihara. Huen-tsang also noticed the famous Lo-to-mo-chi vihara (Raktamrittika Mahavihara) near Karnasuvarna (Rangamati, Murshidabad, West Bengal). The site of the monastery has been identified at Rangamati (modern Chiruti, Murshidabad, West Bengal). A number of smaller monastic blocks arranged on a regular plan, with other adjuncts, like shrines, stupas, pavilions etc. have been excavated from the site.

One of the earliest viharas in Bengal was located at Biharail (Rajshahi district, Bangladesh). The plan of the monastery was designed on an ancient pattern, i.e. rows of cells round a central courtyard. The date of the monastery may be ascribed to the Gupta period.

As the Buddhist ideology encouraged identification with trade, monastic complexes became stopovers for inland traders and provided lodging houses that were usually located near trade routes. As their mercantile and royal endowments grew, cave interiors became more elaborate with interior walls decorated with beautiful paintings exquisite reliefs and intricate carvings.^[3] Elaborate facades were added to the exteriors as the interiors became designated for specific uses as monasteries (viharas) and worship halls (chaityas). Over the centuries simple caves began to resemble three-dimensional buildings, formally designed and requiring highly skilled artisans and craftsmen to complete as in the Ellora Caves. The highly skilled artisans never forgot their timber roots and imitated the nuances of a wooden structure and the wood grain.^[5]

Mahaviharas of the Pāla era[link]

A range of monasteries grew up during the Pāla period in ancient Magadha (modern Bihar) and Bengal. According to Tibetan sources, five great Mahaviharas stood out: Vikramashila, the premier university of the era; Nalanda, past its prime but still illustrious, Somapura, Odantapurā, and Jaggadala.^[6] The five monasteries formed a network; "all of them were under state supervision" and there existed "a system of co-ordination among them . . it seems from the evidence that the different seats of Buddhist learning that functioned in eastern India under the Pāla were regarded together as forming a network, an interlinked group of institutions," and it was common for great scholars to move easily from position to position among them.^[7]

Reference to a monastery known as Vikramashila is found in Tibetan records. The Pala ruler Dharmapala was its founder. The exact site of this vihara is at Antichak, a small village in Bhagalpur district (Bihar). The monastery had 107 temples and 50 other institutions providing room for 108 monks. It attracted scholars from neighboring countries.

The famous Nalanda Mahavihara was founded a few centuries earlier; Huen-tsang speaks about its magnificence and grandeur. Reference to this monastery is found in Tibetan and Chinese sources. During the Pāla period the Nālānda was less singularly outstanding, as other Pālā establishments "must have drawn away a number of learned monks from Nālānda when all of the . . came under the aegis of the Pālās."^[8] Nonetheless, the fame of this monastery lingered even after the Pala period.

Somapura Mahavihara was located at Paharpur, 46.5 km to the northwest of Mahasthana. The available data suggests that the Pala ruler Dharmapala founded the vihara. It followed the traditional cruciform plan for the central shrine. There were 177 individual cells around the central courtyard. There were central blocks in the middle of the eastern, southern and western sides. These might have been subsidiary chapels. It was the premier vihara of its kind and its fame lingered till the 11th century AD.

The name of the Odantapuri monastery is traceable in Pagsam jon zang (a Tibetan text), but no full-length description is available in the Tibetan source. Gopala I (?) built it near Nalanda. This was the monastery invaded by Bakhtiyar Khalji. Jagaddala was situated near Ramavati in Varendra (North Bengal).

Other notable monasteries of Pala period were Traikuta, Devikota (identified with ancient kotivarsa, 'modern Bangarh'), and Pandita vihara. Excavations conducted in 1972 to 1974 yielded a Buddhist monastic complex at Bharatpur in the Burdwan district of West Bengal. The date of the monastery may be ascribed to the early medieval period. Recent excavations at Jagjivanpur (Malda district, West Bengal) revealed another Buddhist monastery (Nandadirghika-Udranga Mahavihara)^[9] of the ninth century. Unfortunately, nothing of the superstructure has survived. However, a number of monastic cells facing a rectangular courtyard have been found. An interesting feature is the presence of circular corner cells. It is believed that the general layout of the monastic complex at Jagjivanpur is by and large similar to that of Nalanda. Beside these, scattered references to some monasteries are found in epigraphic and other sources. Among them Pullahari (in western Magadha), Halud vihara (45 km south of Paharpur), Parikramana vihara and Yashovarmapura vihara (in Bihar) deserve mention.

Other important structural complexes have been discovered at Mainamati (Comilla district, Bangladesh). Remains of quite a few viharas have been unearthed here and the most elaborate is the Shalvan Vihara. The complex consists of a fairly large vihara of the usual plan of four ranges of monastic cells round a central court, with a temple in cruciform plan situated in the centre. According to a legend on a seal (discovered at the site) the founder of the monastery was Bhavadeva, a ruler of the Deva dynasty.

Image gallery[link]

• 

  Vihara at Kanheri Caves

• 

  Wall carvings at Kanheri Caves

• 

  Simple slab abode beds

See also[link]

• Bhaja Caves
• Brahma-vihara
• Ellora Caves
• Kanheri Caves
• List of Buddhist temples
• Mahabodhi Temple
• Nava Vihara
• Wat - a Buddhist temple in Cambodia, Laos or Thailand.
• Chaitya
• Gompa

Notes[link]

References[link]

• Chakrabarti, D.K. (1995). Buddhist sites across South Asia as influenced by political and economic forces. World Archaeology 27(2): 185-202.
• Mitra, D. (1971). Buddhist Monuments. Sahitya Samsad: Calcutta. ISBN 0-89684-490-0.
• Tadgell, C. (1990). The History of Architecture in India. Phaidon: London. ISBN 1-85454-350-4.
• Khettry, Sarita (2006). Buddhism in North-Western India: Up to C. A.D. 650". R.N. Bhattacharya: Kolkata. ISBN 978-81-87661-57-3.
• Rajan, K.V. Soundara (1998). Rock-cut Temple Styles: Early Pandyan Art and The Ellora Shrines. Mumbai: Somaiya Publications. ISBN 81-7039-218-7. 

External links[link]

• Lay Buddhist Practice: The Rains Residence - A short article on the meaning of Vassa, and its observation by lay Buddhists.

M.S.Subbulakshmi
An EMI record of Subbulakshmi
Background information
Born	(1916-09-16)September 16, 1916 Madurai, Madras Presidency, India
Origin	India
Died	December 11, 2004(2004-12-11) (aged 88) Chennai, Tamil Nadu, India
Genres	Indian classical music
Occupations	Classical Vocalist
Years active	1930–2004
Labels	HMV

Madurai Shanmukhavadivu Subbulakshmi (Tamil: மதுரை சண்முகவடிவு சுப்புலட்சுமி, Madhurai Shanmukhavadivu Subbulakshmi ^? 16 September 1916 – 11 December 2004), also known as M.S., was a renowned Carnatic vocalist. She was the first musician ever to be awarded the Bharat Ratna, India's highest civilian honor.^[1] She is the first Indian musician to receive the Ramon Magsaysay award, Asia's highest civilian award, in 1974 with the citation reading "Exacting purists acknowledge Srimati M. S. Subbulakshmi as the leading exponent of classical and semi-classical songs in the Karnataka tradition of South India."^[2][3]

Biography[link]

Early years[link]

Subbulakshmi (Kunjamma to her family) was born in Madurai, Madras Presidency, India to veena player Shanmukavadiver Ammal and Subramania Iyer. Her grandmother Akkammal was a violinist.

She started learning Carnatic music at an early age and trained in Carnatic music under the tutelage of Semmangudi Srinivasa Iyer and subsequently in Hindustani music under Pandit Narayanrao Vyas. She also learned Sanskrit and Telugu under Dr. Nedunuri Krishnamurthy.

Her mother, from the devadasi community, was a music exponent and a regular stage performer, and Subbulakshmi grew up in an environment very conducive to musical learning. Her musical interests were also shaped by regular interactions with Karaikudi Sambasiva Iyer, Mazhavarayanendal Subbarama Bhavathar and Ariyakudi Ramanuja Iyengar.^[4] Subbulakshmi gave her first public performance in 1929 when she was 13 years old at the prestigious Madras Music Academy. The performance consisted of singing bhajans (Hindu hymns).^[5] The academy was known for its discriminating selection process, and they broke tradition by inviting a young girl as a key performer. Her performance was described as spellbinding and earned her many admirers and the moniker of musical genius from critics. Soon after her debut performance Subbulakshmi became one the leading Carnatic vocalists.^[6][7]

Move to Madras[link]

In 1936 Subbulakshmi moved to Madras (now Chennai).^[7] She also made her film debut in Sevasadan in 1938,.^[8]

Musical style and performance[link]

M.S. Subbulakshmi (left) with S. Varalakshmi in Sevasadhanam (1938)

Singing career[link]

M.S. Subbulakshmi began her Carnatic classical music training under her mother Shanmugavadivu; and later in Hindustani classical training under Pandit Narayan Rao Vyas. Subbulakshmi first recording was released when she was 10 years old. She gave her first public performance, at the age of eleven, in the 100 pillar hall inside the Rockfort Temple, Tiruchirappalli; with Mysore Chowdiah on the violin and Dakshinamurthy Pillai on the mriganga. ^[9] By the age of 17, Subbulakshmi was giving concerts on her own, including major performances at the Madras Music Academy, a prestigious centre for the study and promotion of Carnatic music. Performance in Carnatic music concerts, was until then, a domain, traditionally reserved for men. She performed a vast variety of devotional musical forms in different languages including Tamil, Kannada, Sanskrit, Panjabi, Hindi, Malayalam, Telugu, Bengali, Gujarati and Marathi.

When the governor of Madras wanted the famous spiritual leader, Mata Sri Anandamayi Ma, to reside in his residence, Anandamayi Ma replied, "I will stay in the house of Subbulakshmi. She is Meera to me." Within two days, Sadasivam had special quarters built in their garden for Mata to give darshan and arranged for a new well to be dug nearby for fresh drinking water. Every evening thousands of people gathered there.

She traveled to London, New York, Canada, the Far East, and other places as India's cultural ambassador. Her concerts at

• Edinburgh International Festival of Music and Drama in 1963
• Carnegie Hall, New York; the UN General Assembly on UN day in 1966
• Royal Albert Hall, London in 1982
• Festival of India in Moscow in 1987

were significant landmarks in her career.^[10] In 1969 she was accompanied by Indian Railways Advisor SN Venkata Rao to Rameshwaram, where she famously sang several songs in front of each idol in the Rameshwaram temple.

After the death of her husband Kalki Sadasivam in 1997, she stopped all her public performances.

Films[link]

M.S. also acted in a few Tamil films in her youth. Her first movie Sevasadanam was released in 1938. MS Subbulakshmi also played the male role of Narada in "Savitri" (1941) to raise money for launching Kalki, her husband's nationalist Tamil weekly. Her title role of the Rajasthani saint-poetess Meera in the eponymous 1945 film gave her national prominence. This movie was re-made in Hindi in 1947. The movie had M.S Subbulakshmi. sing the famous Meera bhajans, with Dilipkumar Roy as the music director. Later, she quit films and turned wholly to concert music.

Awards and honours[link]

Pandit Jawaharlal Nehru had this to say about M.S. Subbulakshmi- "Who am I, a mere Prime Minister before a Queen, a Queen of Music". While Lata Mangeshkar called her Tapaswini (the Renunciate), Ustad Bade Ghulam Ali Khan termed her Suswaralakshmi (the goddess of the perfect note), and Kishori Amonkar labeled her the ultimate eighth note or Aathuvaan Sur, which is above the seven notes basic to all music. The great national leader and poet Sarojini Naidu called her "Nightingale of India". Her many famous renditions of bhajans include the chanting of Bhaja Govindam, Vishnu sahasranama (1000 names of Vishnu), Hari Tuma Haro and the Venkateswara Suprabhatam (musical hymns to awaken Lord Balaji early in the morning).

She was widely honored, praised and awarded. Some of the more popular ones include^[11]

• Padma Bhushan in 1954
• Sangeet Natak Akademi Award in 1956
• Sangeetha Kalanidhi in 1968 (literally, Treasure Chest of Music. She was the first woman recipient of the title)
• Ramon Magsaysay award (often considered Asia's Nobel Prize) in 1974
• Padma Vibhushan in 1975
• Kalidas Samman in 1988
• Indira Gandhi Award for National Integration in 1990
• Bharat Ratna in 1998.

She was honored as the court-singer[Asthana Vidhwan] of Tirumala Tirupati Devasthanams.^[12] Tirupati Urban Development Authority (TUDA) has installed a bronze statue of M.S. Subbulakshmi at the Poornakumbham circle in the temple town. It was unveiled by Andhra Pradesh Chief Minister Y. S. Rajasekhara Reddy on 28 May 2006.^[13]

The famous Kancheepuram Saree shade known as MS Blue was named after her^[14] by the well known Congress party member and philanthropist, Sri Muthu Chettiyar when they met at the residence of Sri R. Aiyadurai and Smt. Thangam Aiyadurai at Lady Desikachari Road, Madras, who were close friends of MS and Sadasivam.

She was bestowed with enormous prize moneys with these awards, she donated most of them to charity. She has given more than 200 charity concerts and raised well over Rs. 10,000,000. She was awarded honorary degree degrees from several Universities.

She was an ardent devotee of Kanchi Mahaswamigal and she rendered his composition Maithreem Bhajatha (O World! Cultivate peace) in her concert at the UN in 1966. Venkatesa Suprabhatam in Gramaphone record of HMV, the royalty from which goes to the Veda Patasala run by the Tirupati Tirumala Devasthanam.^[15] She donated many of the royalties on several best sold records to many charity organizations.

References[link]

Further reading[link]

• M.S. Subbulaksmi, the Voice Divine (79 pages) by V. Gangadhar.
• MS - A Life in Music, T. J. S. George. 2004, HarperCollins. ISBN 978-81-7223-527-7
• Gowri Ramnarayan (Dec. 18–31, 2004), "Cover Story: The M.S. phenomenon", Frontline 21 (26), http://www.hinduonnet.com/fline/fl2126/stories/20041231006400900.htm 
• MS & Radha - Saga of Steadfast Devotion - by Gowri Ramnarayan - http://www.msstribute.org/

External links[link]

Wikimedia Commons has media related to: M. S. Subbulakshmi

• "Artists: M.S.Subbulakshmi, Nat Geo Music". National Geographic Society. http://worldmusic.nationalgeographic.com/worldmusic/view/page.basic/artist/content.artist/ms_subbulakshmi. 
• Biography at the official site of Ramon Magsaysay award
• M.S. Subbulakshmi at the Internet Movie Database
• Photo of MS, Sadhasivam and Ellis R. Dungan
• M.S. Subbulakshmi: Portraits of a diva - The Hindu

See also[link]

Indian classical music portal

v t e Bharat Ratna laureates Sarvepalli Radhakrishnan (1954) C. Rajagopalachari (1954) C. V. Raman (1954) Bhagwan Das (1955) Mokshagundam Visvesvarayya (1955) Jawaharlal Nehru (1955) Govind Ballabh Pant (1957) Dhondo Keshav Karve (1958) Bidhan Chandra Roy (1961) Purushottam Das Tandon (1961) Dr. Rajendra Prasad (1962) Dr. Zakir Hussain (1963) Pandurang Vaman Kane (1963) Lal Bahadur Shastri (1966) Indira Gandhi (1971) V. V. Giri (1975) K. Kamaraj (1976) Mother Teresa (1980) Acharya Vinoba Bhave (1983) Khan Abdul Ghaffar Khan (1987) M. G. Ramachandran (1988) B. R. Ambedkar (1990) Nelson Mandela (1990) Rajiv Gandhi (1991) Sardar Vallabhbhai Patel (1991) Morarji Desai (1991) Abul Kalam Azad (1992) J. R. D. Tata (1992) Satyajit Ray (1992) A. P. J. Abdul Kalam (1997) Gulzarilal Nanda (1997) Aruna Asaf Ali (1997) M. S. Subbulakshmi (1998) Chidambaram Subramaniam (1998) Jayaprakash Narayan (1998) Ravi Shankar (1999) Amartya Sen (1999) Gopinath Bordoloi (1999) Lata Mangeshkar (2001) Bismillah Khan (2001) Bhimsen Joshi (2008)

Aruna Sairam (also spelt Sayeeram, Tamil: அருணா சாய்ராம்) is an eminent Carnatic music vocalist.

Early life[link]

Aruna Sairam received vocal training from her mother Rajalakshmi Sethuraman, who was a disciple of the Alathur Brothers and Thanjavoor Sankara Iyer.^[1] She later received training from prominent vocalists, Madurai Somasundaram and T. Brinda.^[2] She also learnt the art of pallavi singing from T. R. Subramaniam,^[3]

Career[link]

Aruna Sairam collaborated with many Indian artists^[4] apart from internationally acclaimed artistes, like Dominique Vellard, the French Gregorian singer.^[3][5]

Aruna Sairam has presented her concerts in all major sabhas in India, as well as many destinations across the world, including Carnegie Hall in New York, Le Théâtre de la Ville in Paris and the Festival of World Sacred Music in Morocco.^[6]

Awards[link]

• Padma Shri from the Government of India^[7]

References[link]

External links[link]

• Thank God! I gave up acting'
• Aruna Sayeeram
• Title conferred on Aruna Sayeeram
• Tamil music^{[dead link]}
• Aruna Sairam
• Aruna Sairam
• Aruna Saiyeeram

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Sofi Marinova
Sofi Marinova after winning the Bulgarian Eurovision 2012 National Final
Background information
Birth name	Sofiya Marinova Kamenova
Born	(1975-12-05) 5 December 1975 (age 36) Sofia, Bulgaria
Genres	Pop-folk, ethno-pop, dance
Occupations	Singer-songwriter
Instruments	Vocals
Years active	1992–present
Labels	ARA Audio-Video, Sunny Music
Website	http://sofi-marinova.com

Sofiya Marinova Kamenova, better known as Sofi Marinova (Bulgarian: Софи Маринова, IPA: [soˈfi maˈrinova]), (born 5 December 1975) is a Bulgarian pop-folk and ethno-pop singer of Romani heritage. She is one of the most popular singers in Bulgaria, famed for her extreme five-octave vocal range. She has won multiple music awards and contests.^[1] Оften called "the Romani pearl" and "the Romani nightingale", she is compared to Bulgaria's most popular pop singer, Lili Ivanova.^[2] In February 2012 she won the Bulgarian Eurovision national final with the song "Love Unlimited", thus becoming the representative of Bulgaria in the 2012 Eurovision Song Contest in Baku, Azerbaijan.

Biography[link]

Sofi Marinova was born on December 5, 1975 in Sofia, Bulgaria, although her family was living near Etropole at the time.^[2] She showed musical and dancing talent at the age of two and was tutored in singing and dancing by her mother. In primary school Marinova was an excellent pupil.^[2] She spent a year at a professional builders' school. After 8th grade she moved to a professional school for tailors, though years later she admitted she never liked sewing. While at school Marinova fell for acting, appearing in school musicals such as Snow White. When she was in 10th grade, a local band offered her the position of lead singer. Her father didn't allow it at first but relented after the insistence of her mother: "I started crying and my mother supported me, because when she married my father she put an end to her singing career"^[3].

At 17 Marinova began singing at weddings and christenings. Her repertoire included songs of Dragana Mirkovic, Michael Jackson, Sandra, Whitney Houston as well as Romani music. IAround this time she and the band took part in a music competition in the village of Osikovitsa near Sofia. She won the singers event and the admirations of the jury, chaired by the famous Romani-Bulgarian musician Angelo Malikov. At the competition she also met Petar, a drummer, who later became the father of her only child, Lorenzo. After Osikovitsa, Marinova won the Grand prize at the Stara Zagora festival with her songs "Stari Rani" (Old wounds) and "Slanchitse moe" (My Little Sun).

Marinova was introduced to the big stage by Nencho Kasamov, president of the record company ARA Music, after he saw her performing in a restaurant. Kasamov invited her to record for ARA, because he sensed the future music star in her "by the look in her eyes". Marinova and her band recorded for ARA the album "Stari Rani", which is believed to be one of the best-selling music albums in Bulgaria of all time.

In 2004 Marinova signed with Sunny Music, working with the producer Krum Krumov. She recorded the albums 5 oktavi ljubov and Obicham. Her cooperation with the Bulgarian hip-hop singer Ustata resulted in some of her most successful songs. In that period she also recorded a Romani cover of "Vetrove" by Lili Ivanova, Bulgaria's most established music artist. The compilation "Sofi Marinova Best MP3 Collection" consisting of her 64 most popular songs from her Sunny Music period, was released in 2009. She stated that she was "happy that my project was accomplished and I hope my fans accept it as a gift for their loyalty and love for me for so many years."^[4]

In March 28th, as part of the pre-celebrations for the International Romani Day, Sofi Marinova sang Romani songs and her Eurovision song "Love Unlimited" in front of MEPs and official guests in the building of the European Parliament in Brussels. She was invited there by the MEPs from Bulgaria.^[5][6]

Philantropy and charity work[link]

In 2008 Marinova and Ustata joined a campaign against human trafficking, for which they recorded Chuzhdi ustni (A Stranger's Lips)^[7]. Both of them travelled around Bulgaria and met with youths in the risk groups for becoming victims of human trafficking.^[8] In 2010 Marinova was appointed ambassador against poverty and social isolation.^[9][10] Her tasks include raising awareness about the issues, taking part in various activities and sharing her own experience. On her appointment she told the journalists: "I think I can be useful to the campaign. In addition I myself come from a poor family and I'm aware of the concerns of poor and underprivileged people."^[11]

Personal life[link]

Marinova has one son, called Lorenzo, with whom she has had some collaboration singles.^[12]. She was married once (to Lorenzo's father Peter). She then had a long-term relationship with Dacho, who is as well son of Peter^[13]. They tried to marry two times, but they didn't and finally broke up in 2010.^[14] She is well-known for her honest and direct answers to media's questions in interviews.

Eurovision Song Contest[link]

Sofi Marinova performing at the Eurovision National Final in Bulgaria at National Palace of Culture, Sofia.

Sofi Marinova was chosen to represent Bulgaria in the Eurovision Song Contest in Baku in May 2012 with the song "Love Unlimited". She won the National final, which was held on February 29, receiving a total of 20 points - the maximum 12 points from the public and 8 points from the jury. She was one of the favourites to win after coming second in the public vote in the semifinals.^[15] The song "Love Unlimited" was written by Yassen Kotsev and Krum Georgiev. Its lyrics talk about the transcending and all-embracing power of love ("The song has no borders, language and colour").^[16]) The song is in Bulgarian but contains the phrase "I love you" in Turkish, Greek, Spanish, Serbo-Croat, French, Romani, English, Azerbaijani and Italian. The song is characterised by the typical Romani glides, vocal power and Techno musical arrangement.^[17] Marinova performed in the first half of the second semifinal on May 24 and narrowly missed out on qualifying for the grand final, finishing 11th place and scoring the same amount of points as Norway who got through in 10th place.

This was Marinova's third appearance in the Bulgarian national finals for Eurovision. In 2005, her collaboration with Slavi Trifonov "Edinstveni" ("Only Ones") finished second.^[18] They tried again the following year with the song "Ljubovta e otrova" ("Love Is a Poison"), but fell out in the qualifications after taking 25th place, one place short of the semi-final.^[19]. In 2007, her collaboration with Ustata, "Ya Tvoya" ("I'm yours" in Russian), finished third in the National final.^[20]

Discography[link]

Solo albums^[21]

Albums with the band Super Express^[21]

.* — Romani language albums

Compilations^[21]

The MP3 album Golden Hits contains all the songs from Sofi Marinova's first five solo albums plus some songs from her albums with Super Express and a few other songs.

References[link]

External links[link]

• Sofi Marinova on Facebook
• Sofi Marinova on Twitter
• Video on YouTube