Monday 7 September 2015

Conversation with Sri Prabal Gupta about his recent dance production "Cleopatra" - September 2015

Conversation with Sri Prabal Gupta about his recent dance production "Cleopatra"

Introduction:

"Cleopatra", a new dance production choreographed by renowned Kathakali exponent Prabal Gupta was recently presented to Bangalore audience as a part of his Silver Jubilee Celebration and won an all round appreciation. The event was supported by ICCR in collaboration with National Gallery of Modern Arts. 

 Prabal Gupta- Cleopatra

A production like Cleopatra in classical dance is rare  and a herculean task and hence  I approached Prabal for his insights and views on his attempts to execute this research experimental production. Apart from Cleopatra, he also presented lady Macbeth, an adaptation of William Shakespeare's Macbeth in Kathakali last year to commemorate  450 years of Shakespeare.  

 His Chitrangada- the story of a warrior princess in love with Pandava Prince Arjuna, was another powerful character that he chose earlier where the narrative was readily suitable for an Indian classical dance form, though challenge was not less. 

Conversation:

How you chose Cleopatra for your dance production? 

 I was extremely bewildered as what to do unique for my silver jubilee celebration.I was thinking of working on Desdemona from Shakespeare's Othello when Guru Smt. Usha Venkateshwaran ji advised me to work upon Cleopatra, as no one has attempted it. I seriously thought about it and requested Shankar Rajaram ji to write a script choosing verses from Shakespeare's Anthony and Cleopatra. It was hard as the drama is not very easy, much tougher than Macbeth or Othello. But thanks to God that all happened perfectly. 

Prabal Gupta - Macbeth

Obviously different from Chitrangada... but can you add a few contrasting points? 

 Sri Rabindranath Tagore's Chitrangada is very different. Kabi Guru Rabindranath Tagore was a contemporary poet  and hence most of his works reflects the contemporary society. Chitrangada is not an exception. It is an erotic love story. 

The character Chitrangada is Indian and Cleopatra is a Western character. Did you face any challenge choreographing a Western Character? Having said that I won't mind if you  throw light about Chitrangada and lady Macbeth.   

   Choreographing a Western character in the genre of Kathakali was extremely challenging. After the verses were written, I sat with my Guru Sri Sadanam Balakrishnanji to decide on the ragas. The ragas were chosen based on the moods of the character and the scenes. Composing the music with the lyrics written in Sanskrit was nevertheless an easy task. The music is composed by Sadanam Sivadasan in the traditional Kathakali style of singing. The choreography is done by myself. 

   Chitrangada is though a character from Mahabharata is rewritten by Tagore.  Tagore's work portrays the contemporary society. All the songs of Chitrangada has an explicit sexual lurch. Chitrangada was brought up as a man devoid of all feminine attributes unless she sees Arjuna, the most seductive man on earth and fell in love. 

  Arjuna rejects her...because of her manly looks. Chitrangada decides to teach Arjuna that beauty is not mere physical. She approaches  Madana to transform her into a beautiful damsel. She is transformed into a seductress. Arjuna falls for her, follows are passionate scenes of love making. But when Arjuna hears about the real Chitrangada, he wants to her. Chitrangada transform to her own self. Arjuna understands that beauty isn't mere physical. 

   (Comparing with Cleopatra) Cleopatra is the most beautiful woman on Earth perhaps even the damsels of heaven would look like servants beside her. She was in love with Anthony,  Leave aside the political backdrop..the story is also relevant to the contemporary theme. But unlike Chitrangada which ends in a union, Cleopatra ends on a tragic note. Cleopatra cannot bear the death of Anthony. .who dies out of a misunderstanding. Cleopatra makes the poisonous snake bite them and dies too 


You dance Kathakali and your head gear for Cleopatra is of different tradition 

  Cleopatra wears a head gear with a snake. Now if I have to fit into Kathakali format, I felt choosing the Nangiar Koothu Kireetam would be apt for the character. Many Kathakali aficionados were present among the rasikas. They praised me for choosing the same. 

What was the reception for the performance? 

 I never expected that I will have a house full show 

Thanks Prabal Gupta ji. I expected the tremendous reception. Wish you all the best and Yes, a big thank you for your insights 

Prabal Gupta, Cleopatra, Papers, Interactive, Report, Kathakali, Dance Production, Bangalore, Sep2015, Prabal Gupta, Sep2015,  chitrangada, macbeth, kathakali,conversation

Friday 7 August 2015

A Teacher Instructs You But A " Guru " Constructs You - August 2015

A Teacher Instructs You But A " Guru " Constructs You
-Contributed by Sri Rashmi Ranjan
-rashmi.ranjan.dance@gmail.com

August 2015


My Guru Smt Aruna Mohanty is one such live instance. She is a second mother to me . She is a guru who makes you responsible for your growth, who sends you on the road to freedom and yet acts a pointer to the way. She shows you the way to posterity and touches your spirit. Any teacher punishes you with compassion . She leads us by examples . might punish you with a stick for your mistakes but she is a guru who 

God to us because one can always find a teacher but only lucky ones The relationship is life long and deep .  "Guru" is such a divine gift of us the light of knowledge. Knowledge of who we are, how to relate can find a "Guru" . A guru to a shisya is like a mother to a child . The word  "Guru" truly means the one who dispels darkness and gives hallmark of excellence. There is much importance and requirement with the world and achieve true success. Most importantly, how to transcend the world and reach the abode of infinite Bliss which is the of a Guru in every walk of our life.

arena, the spark in her eyes was just enough to communicate all the Yesterday only while teaching us , Baby apa ( Aruna Mohanty ) told us how she wanted to see us as "intelligentdancers" in the international things in her heart... I am so lucky being able to get sucha Guru whose created by her . She believes Odissi being an art form is an imitation 
presence in my life is a blessing to me . She has got magic that each time she teaches she takes us into a complete another world, we get soo involved that we don't want to come out of that magical world of the life we see around us . She would teach us the same way taking
to give atlst 5 % of her effort, love, care,, dedication to my students!! real life examples, instances from our day to day works, insisting us to say the dialouges and dance..
Its just sooo much fun and a loot of things to learn. She has got a special skill to teach every age of people the way they can understand, I sometimes wonder will I ever be able

Introduction to Sri Rashmi Ranjan:
Trained and groomed at Odisha Dance Academy under the guidance of guru 
Smt Aruna Mohanty, Rashmi  is one of the most versatile dancers of his generation
Rashmi, an unique blend of dancer, stands out for hypnotizing the audience by his
He is renowned internationally for his striking combination of  the male energy 
intricate footwork, mesmerizing expressions, unbeatable style and perfectionism. 
with gentle and graceful movements performed without compromising the 
ancient Indian aesthetic values
Contributor, Rashmi Ranjan, Aruna Mohanty
PriyaLasya, Copyrights Acknowledged, 
(C), Do Not Copy, Copyrights Acknowledged,

Thursday 6 August 2015

Kuchipudi Performance - Presented by Kinnera Arts - Ravindra Bharathi - August 2015

August 1, 2015
Hyderabad

An event was organized by the Kinnera Art Theaters as a part of felicitating literary personnel Volety Parvateesam for his 60th birthday celebrations at Ravindra Bharathi- Hyderabad. Dignitaries such as K. Vishwanath, Kota Srinivasa Rao, C. Narayana reddy, K. V. Ramanachary and others took part in the event

Kuchipudi dancer Hymavathi Voleti performed in the event. She started it with Pranamamyaham - offering 'pranams' to Lord Ganesha then Kanjadalayaatakshi - set to the Ragam- Kamala Manohari and Talam- Adi followed by Vachenu Alamelumanga which is an Anamacharya Keerthana and ended with Rageshwari Thillana.


hymavathi voleti, hyderabad, report, kuchipudi, ravindra bharathi, (C), papers, aug2015, 1, do not copy, copyrights acknowledged

Saturday 1 August 2015

Warm welcome at Milwaukee - Guru Poornima July 2015 - Nirupama & Rajendra


Warm welcome at Milwaukee 
Guru Poornima
July 2015
Pic Credit- Abhinava Dance Company




Dancing couple Nirupama and Rajendra, the dancing couple from Bangalore-India have over the years created a wave of excitement on the Indian dance scene.

Founder Directors of Abhinava Dance Company, Bangalore, rooted in the traditions, Kathak and Bharatanatyam, they produce dance works featuring an extraordinary range of creative expressions from the deep Indian classics to contemporary and perform them across the world.

During their ongoing tour to USA, they narrate their experience on the occasion of Guru Poornima. 

" JHOOM " Tour Experience:

Dancing at Milwaukee USA. Here is their experience in their own words.. in Milwaukee. The young dancers of Milwaukee lead by their dashing teacher Deepa Devasena gave us a fabulous surprise with welcome banners, flowers, cakes , sweets ,handmade cards & gifts - all filled with LOVE.

Though we never let people address us as GURUS we feel very happy to see such deep respect for teachers & the taught , it is so beautiful , so valuable. Very happy that Deepa has inculcated this noble feel in her dancers. Coincidentally an American professor whom we met at the Milwaukee Museum yesterday said to us about how he liked students from Bangalore whom he taught. He said - I love Indians & particularly ' Hindus ‘ ! this made us curious and asked why particularly Hindus and he joyfully said - because ,It is the way they live , they have so much respect for teachers ! 
This conversation filled me with so much love for our country , our culture. 

On this special day of Guru Poornima we humbly prostrate to all the Great Gurus and surrender to the noble thought of Respecting Teachers ! 

guru poornima, nirupama rajendra, milwaukee, note, (C), july2015, do not copy, copyrights acknowledged

Tribute to Dr. APJ Abdul Kalam by Sonal Mansingh Ji - "Guiding me on path of uncompromising values"


Picture - Wikipedia

Guiding on path of uncompromising values:

Dr APJ Abdul Kalam touched the heart and soul of India. As the news about his demise reached the Nation, an outpouring of love, and then the soulful tributes flowed. 

As classical dancers too reacted with sadness and shared their love for the great man.. the messages continued with the dancers sharing pictures with Kalam ji. One would think how one noble human being can touch so many people's lives.. personally. 

Having reached the peak, President of India, it was quite natural to be known to the world, but to have met so many people like you and me.. that's the power of his simplicity, concern to the fellow Indians. 

Even as pictures of many common people with him keep appearing on my social network sites, I set out to note what the classical dancers expressed and I am happy to publish the notes of our dear Sonal Mansinghji's note. Thank you mam

Tribute to Dr. APJ Abdul Kalam by Sonal Mansingh Ji
I called on him soon after NDA Govt. nominated him as their Presidential Candidate. He was staying in a PSU Guest-House in ASIAD village. I was wearing white Mundu of Kerala. He came out to greet me with folded hands as was his habit and exclaimed “Aha, Goddess Saraswati has come to bless me.” I was taken aback delighted and surprised to experience such simple genuine warmth. Meeting him on occasions at Rashtrapati Bhavan during state Banquets or book-release functions he would make it a point to converse.

Later when he selected me to be his appointee as Chairman of Sangeet Natak Akademi he chuckled and said, “ Sonaal jee, I consulted my scientist and artist friends. Everyone took your name so I had no choice ” ! His humour was simple and spontaneous. 

I met him on occasions and each time he was warm and full of ‘Ananda’. As many others  did. I was invited at Rashtrapati Bhavan on stage created by me for another President Shri. R. Venkatraman in mid ’80s. I feel deeply honoured to find my name mentioned by Dr. Kalam in his account of who all met him initially and attended his Swearing-in-Ceremony as 11th President of India. 

When I heard about President’s visit to Surat in Gujarat I called on him with my letter requesting him to visit RITAMBHARA, a full-fledged school for only tribal girls of Dangs District of Gujarat with full lodging-board, academic facilities founded by my mother Smt. Purnima Pakvasa in 1974 in a tiny village Saputara. I was gratified to hear from his Principal Secy. P.M. Nair that they had included visit to Saputara and so that Prez took Helicopter from Surat for 3 hour visit to Mother’s Gurukul on 15th Oct, 2004. 

As it happened to be his birthday Mother prepared Cake from Suji Halwa with candles. Dr. Kalam spent time talking, inter-acting and sharing his wisdom with 850 girls and 50 strong faculty as also full staff of Kitchen, gaushaala, Trustees, our extended family who had gathered from the Dangs. 

Better news was in store for us when my Mother was honoured with Padma Bhushan in January 2005!

*Note- Sonalji recollects and narrates how his graciousness and concern for the smallest nuance in life... touched her heart post her assuming office as Chairman and later at the time of her vacating the office.

I met him on occasions and each time he was warm and full of ‘Ananda’. As many others did. I was invited at Rashtrapati Bhavan on stage created by me for another President Shri. R. Venkatraman in mid ’80s. I feel deeply honoured to find my name mentioned by Dr. Kalam in his account of who all met him initially and attended his Swearing-in-Ceremony as 11th President of India. 

Any number of words and adjectives will not be able to describe his persona, the totality of the rare human being  he was. He was AJATASHATRU, one who had no enemies. He will always remain in my thoughts and heart guiding me on path of uncompromising values.








Picture - Wikipedia Thank you Mam for sharing the note:





sonal mansingh, tribute, dr apj abdul kalam, (C), aug2015,do not copy, copyrights acknowledged

Monday 27 July 2015

Bharatanatyam Arangetram Report - July 2015 - Natananjali - MD

Kumari Medha Swaminathan , a student of Smt . Lakshmi Swaminathan (Director of Natananjali School of Dance, Bethesda, Md)  presented a Bharatanatyam Arangetram  on Saturday, July 18, 2015 at the Cultural Arts Center , Montgomery College , Silver Spring, MD.

- A Report
- Vinatha Kumar

Medha, entered  the stage,  wearing a beautiful shade of Pink costume with an orange border, 
and made a great first impression by performing a crisp jati sequence, as she danced her way to the Altar of Lord Nataraja and offered  Flowers to the Lord in a devotional mood .

Medha then proceeded to seek the blessings of her Mother Guru Smt. Lakshmi and other members of the Orchestra.

`Sri Ganapati Ninne Kaii Tozhunnen `
In the  invocatory piece ,` Sri Ganapati Ninne Kaii Tozhunnen `in Ragamalika,  composed by Sri S.A Raman, and choreographed by Lakshmi, Medha performed an elaborate Teermanam with well executed hand gestures  and intricate footwork .     Medha's brisk  Nritta sequence was so captivating that it set the tempo for the rest of the dance. .Lakshmi's choreography of this item was marvelous specially the Jati patterns .   Medha traversed the entire stage both  diagonally and linearly  while executing the jatis  with a great deal of   flair and finesse.     

Medha also portrayed the different poses of the Elephant headed God with Zest  and Zeal so much so that  one felt as if Nartana Ganapathi himself  was dancing before one's  eyes . At one point,  Medha's description of Lord Ganapahi as Amba suta ( Parvati's son) with the soft  sounds of  Lingaraju's drumbeats  in the backgound , was so moving, that it touched the heartstrings

` Dattatreya Trimurthy Roopa`
Next  followed a devotional item on Lord Dattatreya , composed by Ganapathy Satchitananda Swamiji . In this keertanam ` Dattatreya Trimurthy Roopa` in Ranjani Ragam, specially  choreographed by Sri. N. Srikanth Natarajan , Medha created a very authentic imagery of the three headed God with Rosary Beads ,Kamandalu, Trishoola, Damaru, Conch and Discus. Medha's abhinayam was full of Sattwika bhava and  the mood She created was Sublime.  Medha's rendition of this devotional item was so realistic that a Tantrik advaitin like me resonated very well with the description of Adi Guru Dattatreya as being the Kalpavriksha ( wish fulfilling tree ) and Kamadhenu (wish fulfilling cow).  Srikanth's choreography of Dattatreya's imagery was indeed masterly.



Angayar Kanni Anandam Kondale


While Smt. Vara Anantaraman, the charming  MC for the evening,  introduced the Orchestral Team and the Guru to the Audience,  Medha changed into another costume for the next item .

Medha looked pure and pristine like the Maiden Goddess Angayarkanni , clad in a jasmine white
costume with a multi colored Fan adorning her waist .  In this pada varnam, ` Angayar Kanni Anandam Kondale`, composed by Lalgudi Jayaraman , creatively choreographed   by N. Srikanth Natarajan,  . Medha handled this  challenging item with expertise like  a seasoned dancer .Medha  demonstrated competence  in all three areas - Nritta , Natyam  and Abhinayam .  In the very first Jati sequence ,   Medha  was  captivating with her clean, perfect diamond shaped  aramandis ,  graceful hand movements and strong footwork  and jatis with complete finishes .   While Medha was brilliant in executing the complex jathis , Guru Lakshmi's powerpacked Solukattus added that extra dimension to Medha's technical virtuosity.  
Medha's sense of Rhythm is impeccable and so is her understanding  and grasping of all the finer nuances of Natya shastra .  In this Varnam dominated by  Navarasa , Medha  shone brilliantly in the ` Digvijayam` scene  as the Warrior Goddess when she stomped around the stage in powerful  strides in a Chariot  . Indeed , a Jhansi ki Rani moment -  ` Veera `  at its best . Medha was alluring  when she displayed the emotion of a lovelorn Nayika walking back and forth on stage with a coy and bashful look -  Her graceful gait reminded one of Navarasa nata bhamini.  Sringara ...     My favorite rasa was of course the ` Roudra ` rasa where Medha  was simply outstanding as ` Kali Mahakali .... ` - Her eye expressions with the Vengeful look were phenomenal and her postures as the Weapon Wielding Devi was ` Shakthi` personified .

Credit goes to Srikanth for creating so many Goddesses in One Varnam - from The compassionate Meenakshi to Sri Chakra  Nilaya Vaasini Sri Lalita Tripura Sundari  not to speak of the Devi  Mahsasura Mardini  and Kali Kapalini of ` Devi Bhagvatam`.In the final scene, when Medha stood as Devi Meenakshi with her left hand resting on her side , her torso elevated and her waist wearing a curved look and the right hand holding the Parrot and her Face full of Compassion - It was indeed a Moment of Bliss . Special mention must be made of the talented Orchestral team who contributed  in a large measure to the incredible success of this Navarasa Pada Varnam.

` Shambhu Natanam`
After a brief intermission, Medha appeared in an aestheticlly designed blue outfit with an ornate pearl necklace studded with red and green kemp stones to  perform ` Shambhu Natanam`, composed by Sage Patanjali and wonderfully choreographed by Srikanth .   Medha  once again proved her prowess in Nritta with her strong arms and elongated leg extensions .  It was amazing to watch Medha perform intricate Jati patternns with the scuptiuresque postures of Shiva.  In this item,  Medha's  powerful leg kicks and yogic leg raises  were amazing .    Medha weaved a mini Varnam out of this   and her endurance and stamina in executing the intense jathis and korvais was incredible .  Srikanth excels in creating  authentic images of all Hindu Gods/godesses and that is one reason why his choreography is out of this world .In Ban Chale Ram Raghurai , composed by Tulasidaas , choreographed by Lakshmi , Medha was incredibly convincing in portraying the ` Viraha Bhava`  of a Nayika experiencing the pangs of seperation from her beloved - in this instance , the Nayikas were none other than the men and women of Ayodhya ( the Praja)  who were lamenting the fourteen year exile of their Raja Ram .

In this piece, Medha's every limb spoke - her expressions  of sorrow  as the grief stricken Dasaratha or the weeping and wailing men and women of Ayodhya , were  poignant . At the concluding scene when Medha slumped on the floor with her right hand resting on her forehead in great remorse ,  My eyes became moist . 

Medha proved what a versatile dancer she is with her next item ` Vishamakara Kannan`  composed by Oothukadu Venkata Subbaiyer and choreographed by Srikanth. Medha's transformation from a Praja in distress to  a naughty and playful Krishna,  was  incredible .  Medha's  mischievous expressions as Krshna and the expressions of frustrations as Gopis were  natural - at times her bhavam produced chuckles in the audience specially when she rolled her eyes or pouted her lips.  .   
This item was specially appealing because of both its dance in folk style and and lilting music .

Thillana in Mohankalyani
The  concluding item was a Thillana in Mohankalyani . composed by Lalgudi Jayaraman and choreographed by Lakshmi . Medha once again shone brilliantly in her flawless execution of jathis, adavus and korvais.   Medha's Nritta is impeccable and faultless and today she established herself as a dynamic dancer with a superb mastery over Nrittaa and  fantastic mukhabhinayam, full of fluidity. 

Medha is a complete performer . She finished her arangetram on a strong note with a devotional rendition of Namdev's abhang on Vittala. As Medha circled on the center of the stage chanting `Vittala` with her both hands up in the Air, she brought the house down with bhakthi pravaham.   The capacity crowd in the hall stood up to give Medha a standing Ovation and clapped non-stop. 

Medha is born to dance but the credit for bringing Medha to this level of perfection goes to her Mother and Guru Lakshmi .  Lakshmi's Tough Love has paid rich dividends and Medha is now a distinguished  Bharatanatyam  dancer with a bright future .  Also, Lakshmi deserves a big hand for coming up with an all new Repertoire although i would have loved to see Medha perform ` Nindrandu`, her masterpiece.

Support:
The  Lifeline of today's Arangetram was the fine Orchestra which included Srivatsa, the Vocalist; Lingaraju, the Mridangam player; Sandhya Srinath, the Violinist ;  Raman Kalyan the flautist ; Lakshmi , the Nattuvanar .  Srivatsa was mesmerizing with his magnetic voice and his delineation of all ragas exemplary especially the Swara prastaras.  Lingaraju and Medha had formed their own holy alliance on stage - Lingaraju playing the drums in total sync with Medha's dancing bells - Sense of rhythm was  excellent.

Sandhya Srinath's bowstrings on the Violin sing in a melodious language of their own and today once again , she touched the inner sanctum of our Soul, specially in the two Lalgudi compostions, her guru.  

Raman Kalyan , as always , takes us to the Land of Brindavana  with his `Adharam Madhuram` Flute and he excelled in that dance item on ` Vishamakara kannan.`  He is a crowd pleaser with his antics too on stage .   

A huge thanks to the most charming MC of the evening , Smt. Vara Anantaraman,  whose brief introductions and succinct explanations were a welcome relief.   She pronounced all the raga names and composers names correctly - a bonus point .

Finally,  huge congratulations to Medha's parents Lakshmi and Gopal , who were so  hospitable A word of appreciation for N. Srikanth Natarajan who converted Bhakthi into a Tenth Rasa this evening with his creative choreography of Dattatreya, the Adi Guru , Mother Goddess Angayarkanni ,  Shambo, the King of Dance and  Kannan, the darling of the Gopis . 


(C), 18, Bethesda, bharatanatyam, july2015, Lakshmi Swaminathan, Medha Swaminathan, report, vinatha kumar, contributor

Saturday 4 July 2015

Nritya Sambhavana- A Kalamandapam Performance - Kuchipudi - June 2015

Navya Chakravartula 's Nritya Sambhavana-A Kuchipudi Dance Show full of Grace, Poise and Flawless Technique
July 4, 2015 

Navya Chakravartula. a student of Smt. Mrinalini Sadananda ( Artistic Director, Kalamandapam , Fairfax , Va) presented a Kuchipudi Dance recital on June 27, 2015 at Chinmaya Somnath , Chantilly , VA.   It was indeed a great tribute to Mrinalini 's intense training over the years and Navya danced her heart out this evening.

 We reached the dance hall just in time to watch Navya finishing her invocatory dance item " Gam Ganapathe " .   

Navya looked every inch the Beautiful and Divine Goddess, Alamel Manga- 



 In spite of inclement weather , this reviewer was indeed fortunate to watch the next item " Alarulu Kuriyaga" , an annamacharya Kriti in Shankarabharanam raagam . Navya looked every inch the Beautiful and Divine Goddess, Alamel Manga , out to enchant her devotees as well as her divine consort , Lord Venkateshwera . When Navya adorned with ornate Andal like Side bun with the flowing tresses , navigated the stage space with the alluring Kuchipudi gait in rhythmic fashion , it was visually delightful . ( it was indeed kulukulu) .   

    Navya's eyes were sparkling and facial expression was full of tenderness as she portrayed the Goddess Alamel Manga . When Navya sat on the stage floor with her elongated leg extension in a dream like stance and eyes closed , She looked divine and ethereal .

Transforming into a Neela Megha Sareera-


 It was in the next item " Nirupama Sundarakara" , composed by Oothakadu Venkata Subramani Iyer in raagam Pantuvarali , Navya excelled in her execution of elaborate Kuchipudi movements and fantastic facial expressions . Navya's costume of varying shades of blue with beautiful silver-gold polka dots , made her transform into a Neela Megha Sareera of Lord Krishna. Navya danced to enthrall the gopis but she enthralled the audience as well , with her picture perfect postures of Lord Krshna . 

Versatile dancing-  

However, it was in the " Tarangam" sequence that Navya proved what a versatile dancer she is . Navya moved the brass plate with great dexterity , sometimes moving the plate standing with her toes on the edges of the plate and and at other times standing in the very middle of the plate , moving the plate around back and forth . Navya added some graceful hand movements and her facial expression was always full of joy - Indeed. Nirupama ( beyond Compare) . 

 Another added attraction to this beautiful blue colored costume was the addition of a Blue Peacock Feather which Navya sported on her head during the Tarangam Sequence . 


None of Mrinalini's two Tarangams are alike and her creativity is at its best when she choreographs this item - The song selection , The choice of Costume, the Chosen deity and more importantly the intensity , complexity .of jati sequences on the plate also differ in keeping with the level of competency of the student . I have watched seven Nritya Sambhavanas so far and each student has performed this difficult item with great ease and dexterity - it is indeed a cakewalk for these dancers , -tip-toeing on the brass plate

  After a brief intermission , Navya , appeared in a beautiful Ghagra Choli outfit in a pleasing shade of Blue and a veil reflecting Radharani in a bhava of madhurya rasa .

At times the mischievous Krishna and at other times the moonstruck Radharan- 

 In this famous G.N Balasubramanian song " Radha Sametha Krishna in misra yaman ,, Navya conducted a dance dialogue between Radha and Krishna . Navya was at times the mischievous Krishna and at other times the moonstruck Radharani . Navya also created the illusion of the enactment of Rasa Lila beautifully when she danced in a circle on the stage in Garba like movements. 

 For every line in the song , be it as Nandakumara or Navaneeta chora , Navya's enactment was priceless . In fact , Navya shone with great radiance as Krishna . ( Koti prakasha) . The mood of this song was both Sringara and Bhakti and Navya was able to capture both these sentiments convincingly.

Lively Javali with a touch of humor-

 Next was the Javali " Parulanna Maata Namma Vadu " composed by Dharmapuri Subbarayar in Raaganm Kapi . Javalis are by nature challenging item and require a lot of in-depth understanding of various Nayikas in Natya Shastra . Mrinalini , while introducing this Javali said that she always likes to gift one special item taught by her Guru Vempatty Chinna Satyam to her Student . 

 Navya was chosen to carry mastergaru's torch forward with this item . Navya's abhinayam exceeded all expectations - Navya's face portrayed the agony of a wife suspecting her husband of infidelirty very well . Navya was also able to portray the innocent face of the husband convincingly , trying to hide his misdemeanors . Navya was able to change her moods and expressions quickly in tune with the lyrics . As the other woman practicing Witchcraft , Navya's abhinayam was quite bewitching . .   

  A very lively Javali with a touch of humor and a great interplay of emotions between a suspecting wife , a Player husband and the Other woman Navya's multicolored Check pattern saree was quite in keeping with her portrayal of a Plain Housewife.

Nritta and changing the pace and the movements-

 The evening ended with a Tillana in raagam Kaanada and in this Navya again demonstrated her prowess in Nritta . Although Navya repeated many of the Jatis and adavus in the course of the evening , they never looked the same . Navya knew how to change the pace and the movements to match the various items . Navya's leaping in the air and then perfect landing on the stage showed her skill as an immaculate dancer .   What appealed most to this reviewer is Navya's sweet stage presence and immaculate dancing - Navya's sense of timing was excellent

In the mangalam dedicated to Lord Ramachandra Navya appeared with a Mangal Arti plate in hand with a lit lamp , a fitting finale to an evening of Divine Music and Dance .



 All of Mrinalini's Nritya Sambhavanas owe their success in no small measure to her Fine Orchestral Team . This evening , Smt . Latha Ramaswamy's every song reflected her intense bhakthi and devotion . Lataji's rendition of " Nirupama Sundarakara " is one of the best i have heard in a long long time . While Navya was performing Tarangam, Lata transformed into a Nada Tarangini herself .   Vijay Ganesh's mridangam and Mrinalini's Kuchipudi dance recitals are now inseperable companions - we cannot imagine One without the other . It is Vijay's Mridangam playing that gives every Nritya Sambhavana its Distinct flavor . This evening witnessed a rare combination of Two Fathers and two Sons on stage - Subhash Vinjamuri and Kamalakiran Vinjamuri on violin and Somiya Narayan on Gatam and his young Son, Sanjit , the guest artist . Subhash and Kamalakiran's violin added that extra lustre to all the items and dance became even more livelier because of the mellifluous notes on the violin . Anand Vemuri's Flute made the Krishna pieces even more enchanting . Sowmiya's Ghatam is always a valuable addition . Sowmiya's son Sanjit got a chance to play the violin during those long costume change breaks.   A promising start .

 A word of appreciation for Sri Devarakonda Srinivas . Not only did Shri Srinivas handlled the Nattuvangam expertly , Shri Sreenivas excelled in another role . Navya's glowing face and sparkling eyes - all due to Shri Srinivasa's superb skills as a Make up artist .   Navya reminded one of Padmini the movie actress with her perfect oval shaped face and luminous , twinkling eyes .

>Six costume changes - quite normal for Mrinalini .

> Mrinalini deseves a big hand for her excellent choreography and superb planning and organisation of these annual Nritya Sambhavanas .     

>Did you know that Mrinalini sends Video recordings of all the dance items six months in adavance for the students to learn and practice . Then in four weeks , the Orchestra composes the music . Mrinalini then supervises and fine-tunes both the music and dance in intense rehearsal sessions . 


Thanks to- 

 Thank you Kavitha Cheedalla for crisp introductions to each dance item as Master of Ceremonies . One can see the sense of pride on Kavitha's face every time a Nritya Smbhavana concludes successfully . After al she is more than Mrinalini's assistant - more a partner
. We are waiting for June 2016 for another round of Nritya Sambhavanas .

 Special Thanks to Satish Chandra Atmuri for the great photos .
*marginal editing
vinatha kumar, (C), review, report, contributor, kuchipudi, navya chakravartula, mrinalini sadanance, kalamandapam, june2015, 27, VA, do not copy, copyrights acknowledged

Sunday 28 June 2015

Atmarpanam - Bharatanatyam Presentation - A Report - June 2015 - MD



Puneet and Taniya Panda's "Atmarpanam" dance show - Distinct and Sophisticated Artistry in Bharatanatyam Style

- A report from Vinatha Kumar




Dr. Puneet Panda and Taniya Panda  performed a Bharatanatyam  dance recital under the auspices of The Jayamangala School of Dance Laurel, Md  ( Director  Ms. Shobha Subramanian ) last Sunday. 06-21-2015  at Jewish Community Center, , Rockville  Md .  It was a rare audio and visual treat  for all rasikas as the artists ( Musicians and the Dancing Couple )    belonging  to  the younger generation  performed  with great  energy and  keen enthusiasm. 


Puneet and Tania commenced the evening's dance recital with an Invocatory piece on Lord Nataraja. 



Puneet's portrayal of the King of Dance ,Nataraja in Chidambaram as well as the annihilator of demon Jalandara , was impressive with the Tandava element pre dominating . Puneet's strong arm movements and intense footwork and his majestic stage presence set the tone for this dance . 



 Taniya's lithe and lissome figure with her sparkling doe like eyes and alluring gait as she danced in unison added a special glow to this dance . In this presentation, the couple conducted a Divine Dialogue through dance , never stepping on each other's toes - maintaining an acceptable spatial distance on stage. Also , every time Puneet matted his hair with Ganga flowing from his  matted locks and Tania sitting on stage to catch the gushing water in her hands , it gave me goosebumps - such a strong narrative of Bhagiratha Prayatanam, done effortlessly and convincingly . 

 A simple alarippu which was skillfully woven into the dance by ace choreographer Shiijith Nambiar became a Work of art in the hands of these two seasoned dancers. . Puneet and Tania took turns to do the jathis and adavus sometimes diagonally , sometimes in a linear fashion and at other times in circular pattern . Geometry never looked this interesting . 

 Clean lines and picturesque postures and perfect diamond shaped araimandis - highlighted the Alarippu.. Although the couple performed the same advaus and jathis in the alaruippu sequence , it was remarkable how each one maintained their identity - Puneet was Majestic with his towering stage presence while Taniya was graceful and endearing with her petite and sweet persona. 

Sarasa Sundara - Padavarnam:

Next , the couple performed an elaborate  Padavarnam,  a composition of Swati Tirunal in raagam Nilambari " ‘Sarasara Sundara’" - The couple performed an energetic  jati full of fine nuances .  The couple then proceeded to the Shrine of Padmanabhaswamy where they are wonderstruck at the reclining gigantic image of the Lord visible through three doors . This was Taniya's moment to shine - as a nayika longing for union with her chosen deity on a moonlit  night .Taniya's aarthi to the lord commencing with weaving of garland , grinding the sandalwood paste  and then bathing the idol etc was done with great devotional fervor with her body, mind and soul .   

 In the background was Puneet,   standing at a distance feeling l the vibrations of Taniya's abhisekham, , so much so that when Taniya bathed the idol ,  Puneet was shivering and was seen drying the water on his head, beard and body . In the next scene when Taniya slips into a dream state , Puneet gently lifts her and gudies her to the center of the stage to show her the Reality - very aesthetically done . 

Draupadi Vastrapaharanam:

The best interpretation was the narrative of the Draupadi Cheera haranam where Puneet excelled as Dushasana  with that evil and coveteous expression in his eyes equally matched with intense and passionate body movements where he dragged Draupadi all around the floor in circles . Tania on her part was excellent in her abhinayam as the chaste Draupadi , helplessly pleading with Lord Krshna to come to her rescue . Taniya's every limb spoke of a woman willfully wronged and humiliated . A beautiful narrative and interpretation of this devotional kriti  and a choreographic marvel by Shiijith and Parvathy .   In this dance item, the couple showed their virtuoso in both nritta and natya .  

Magudochi:

This was followed by a solo item by Taniya- " Magudochi" in Sahana , composed by Kshetrayya and choreographed by Tania's Guru Anuradha Jagannathan .  Taniya's portrayal as Nayika leaving her beloved Krishna to join her husband was sensitive and full of viraha bhava - one of intense longing and yearning .   Taniya's strong point is her Nayanabhinyam and angabhinayam where her eyes speak volumes and  her every limb moves . 
Bhajamana Raama: 

Bhajamana Raama:

The next item,   Bhajamana Raama in raagamalika composed by Tulsidas and choreographed by Shri Dhananjayan and performed by Puneet was my favorite .  In this solo item , Puneet stole the show with his mastery over all aspects of Bharatanatyam specially the Natya .   Puneet 's rowing the boat around the stage as Guha was marvelous , reminding us that even Lord Rama needs a devotee to cross the ocean of Samsara.   Puneet excels in bhakti rasa and his sattwika ahinayam is brilliant .  At the end of the dance , Puneet's  devotional surrender to Lord Rama brought memories of Dhananjayan Sir's " VaurgalAmo ayya. " - so realistic  and memorable . 

Thillana: 

The evening concluded with Thillana in Raagam Varamu , composed  by Jayanthi Kumaresh and choreographed by the couple themselves . Once again, the couples' on stage Chemistry was magical as they danced together in total sync and harmony and always in tune with each other .   These lines from Jnanadev's Amritanubhava comes to mind -  Two lutes: one note. Two flowers: one fragrance. Two lamps: one light.  

Support: 
And then the Live Orchestra of young and energetic artists - Rajna Swaminathan- Brilliant on the Mridangam with her mastery over Taalam and Melam and her equally gifted sister Anjna Swaminathan at her melodious best on the violin . Roopa  Mahadevan at the vocals - absolutely mesmerizing with her bhava filled rendition of all songs specially when she cried out for Shri   Padmanabha in high octaves , it was a " wow" moment for me . And then Our Kasi Aysola on the nattuvangam - how versatile can this guy be?  From make up to dancing to nattuvangam , an artist to the fingertips. Thanks to Aishwarya Swaminathan  for helping with the Lights , subtle and soft shades 

Presentation:
Kudos to Jayamangala for hosting this show and encouraging all the younger artists and providing a platform  for  them to show their artistry . 
Pics Credit:  
Meridian Photography

Vinatha Kumar

puneet panda, taniya panda, bharatanatyam, shijith nambiar, (C), atmarpanam, june2015, vinatha kumar, contributor, papers, jewish community center, MD, do not copy, copyrights acknowledged, 

Friday 26 June 2015

Princeton Festival presents it's First Ever Indian Dance and Music Performance - 2015

Princeton Festival presents it's First Ever Indian Dance and Music Performance



JUNE 27, 2015 (Princeton, NJ) – On June 27th, the Princeton Festival will be presenting it's first ever performance of Indian dance in its ten year history. The debut of kathak dance and world drums ensemble Pradhanica is part of the festival's vision to make the month long festival a multi-faceted performing arts experience.

Since 2005, the festival has offered fully-staged operas, musical theater, jazz, chamber music, symphonic concerts, piano, organ and vocal recitals, dance, and more. "This is not just opera and musical theater. It's much more," says Richard Tang Yuk, artistic director of the festival. "This year is our most diverse with artists like Pradhanica as part of this season. As we diversify, we appeal to more people and allow our regular attendees to experiment."

The desire to have the festival reflect the diversity of Princeton is what led Tang Yuk to seek out an Indian ensemble. “It was a matter of great pride to be invited to perform at the festival,” shares Jin Won, the choreographer, principal dancer, and co-creator of Pradhanica. Won, a native of South Korea, lived in India for 15 years studying Indian classlcal music (tabla) and kathak under reputed gurus. Through Pradhanica, she "want(s) to share the beauty of Indian classical arts with those who are not familiar with them, and at the same time present something new for classical dance lovers." 

Pradhanica is a collaboration between Won and rhythm maestro and composer Pandit Divyang Vakil, which explores how rhythm unites dance and music. The ensemble delves deep into the lyrical landscape of rhythm, and how drumming shapes kathak and vice versa. While Pradhanica's performance showcases nriitta, pure dance, and natya, expressive dance – the two components of Indian classical dance, it does it with a modern presentation and instrumentation. In addition to the tabla and sitar, djembe and cajon also make up the instrumentation for dance performance.

“Pradhanica's expertise and vibrant presentation is sure to delight our audience,” adds Yang Tuk. Specially priced student tickets are also available to make it a family event.

The Princeton Festival will be presenting Pradhanica at the McCarter's Berlind Theatre on June 27, 2015 at 8pm. Tickets are $45 Front Orchestra, $30 Rear Orchestra, $15 Students. For more information, visit princetonfestival.org or 609.759.0379. More information on the artists is available at pradhanica.com.



Pictures can be downloaded here.



ADDITIONAL INFORMATION
About Princeton Festival

Since 2005, the Princeton Festival has offered fully-staged operas, musical theater, jazz, chamber music, symphonic concerts, piano, organ and vocal recitals, dance, world music, and a piano competition. We feature nationally-renowned professional artists as well as partner with New Jersey performing arts organizations, garnering glowing reviews from critics of The New York Times, The Philadelphia Inquirer, Opera News, Opera Magazine, and New Jersey press. We are especially proud to have been awarded the coveted Citation of Excellence from the New Jersey State Council on the Arts in 2013.

We also offer a free public lecture series prior to each season and engage students and adults alike through our intergenerational educational programs.

About Pradhanica

Pradhanica is a enthralling dance and world drum ensemble created and composed by renowned Indian rhythm composer Pandit Divyang Vakil, and choreographed by Jin Won.  The graceful and powerful Indian dance form of Kathak comes together with high-energy drumming on the cajon, djembe, and tabla.  A multi-ethnic ensemble brought together by the pervasive power of rhythm.
“The treasure was “Pradhanica.”  Percussion drove this work, which illuminated various Indian rhythms in enticingly offbeat ways…Ms. Won’s musicality transformed her dancing into something primal. The tension between wildness and control was a hallmark of Pradhanica.“ – New York Times

pradhanica, the princeton festival, june2015, 6, 27, (C), do not copy, copyrights acknowledged, taalim

Friday 19 June 2015

The Salzburg Festival 2015 - July 2015


Pic: Alarmel Valli



The Salzburg Festival, 2015

"The Salzburg Festival is going into its 95th season and its magnetic impact is greater than ever. It has often been called the greatest and most important festival in the world. The Festival was founded in 1920 by Hugo von Hofmannsthal, Max Reinhardt and Richard Strauss as a peace project following World War I.

In 2015 the Salzburg Festival once again presents fireworks of artistic illumination: performances by the world’s best conductors, stage directors, singers, musicians, actors and orchestras."

I am honoured to be performing at the Festival on July 25, 20.30 pm
OUVERTURE SPIRITUELLE • HINDUISM IV: BHARATANATYAM
Kollegienkirche


25 July 20.30 PM
More Information:
http://www.salzburgerfestspiele.at/language/en-us/das-programm/konzert/konzert-detail?programid=5271
http://www.salzburgerfestspiele.at/concert/ouverture-spirituelle-2015

the salzburg festival, (C), bharatanatyam, alarmel valli, july2015, 25, priyalasya,

Saturday 13 June 2015

Sakhyam - A Thematic Bharatanatyam Presentation on Friendship

Sakhyam
A Thematic Bharatanatyam Presentation on ‘Friendship’
Proudly presented by 
Smt. Lakshmi Parthasarathy Athreya  &
Smt. Uma Nambudripad Sathyanarayanan
(Disciples of Padmasri Smt. Chitra Visweswaran)





Brahma bandhurithi smaaham baahubhyam parirambhithaha.......Sakhyam.

The tree of Friendship has for its roots, trust; good virtues as shoots and humility as branches. The flower from this tree is extraordinary and the souls that come together in this sacred bond of friendship soar high experiencing succour and solace in each other’s company through the trials of life.

“It is said that 7 steps taken together seals the bond of friendship.” Is it really that simple to find a friend, who will walk with you all the way?



This is the story of two little girls who decide to take those 7 steps together. A journey that helps them discover the true meaning of friendship.

The concept of a friend who reaches out to lend a hand, is akin to the reflexive and almost involuntary reaction of our hands that seek to remedy, to protect, to retrieve, a falling garment from our body  back to its rightful place. 



sakhyam, uma sathya narayanan, (C), bharatanatyam, june2015, contribution, production, note, do not copy, copyrights acknowledged

attendance - The Dance Annual of India 2014-15




attendance is 17 years old. Each issue is akin to a research-oriented book. It is a yearbook that contains news, views, reviews and more: Historical data, useful information, book reviews, even obits. Many senior and serious dance writers contribute to make this yearbook meaningful and memorable. It stays on shelf for long; is sought after in every university library list and a must for Ph.D students.

 Endorsed as role-model journal on dance from India by UNESCO-CID, it has made serious inroads in research and outreach. It retains an old world charm through rare, archival pictures and dovetails with contemporary concerns and contexts. Articles bring alive history and heritage of Indian dance and also its global outreach and impact today.. A wide eclectic range of topics. "A must read... "said India Today. "attendance is compulsory" said the Times of India. Book your copy now, as each year stocks finish quickly. email: khokar1960@gmail.com

Topics in this issue are on the cover itself.

attendance, dance annual, 2014-15, (C), ashish mohan khokar, june2015, do not copy, copyrights acknowledged

attendance & DANCE HISTORY SOCIETY OF INDIA - Subscription

attendance is India's only year-book on dance. It covers a year (1st Jan-31st Dec) in perspective and gives perspectives on issues, events, exhibitions, shows, seminars, books, biographies and obits. Edited, compiled and published by Ashish Mohan Khokar, top writers and critics of dance contribute in-depth articles. Metros are covered, as also major dance centers abroad.

DANCE HISTORY SOCIETY OF INDIA

Join as member by sending email to khokar1960@gmail.com and become member of DHAI and you will get attendance free plus pass to annual convention and nomination for 2 awards being instituted.

Hardbound edition/ Dustjacket/ Art-paper, A4 size, colour, with over 100 archival photos, it is printed by ace art-printers PRINTWAYS and costs less than a price of family-sized pizza* (inclusive of first-rate postage charges). This annual stays on the shelf the whole year round. Buy one to know it firsthand!

"The bible of Indian dance" says India Today; "attendance is compulsory" says The Times of India. You get a copy and decide for yourself !

* (Rs.1000/- only within India and $ 25 int'l)

** Students's discount Rs. 500/-

*** Bulk purchase minimum 5 copies @ 25%


attendance, dance history society of india, ashish mohan khokar, journal, (C), june2015, do not copy, copyrights acknowledged

Friday 12 June 2015

Abhinava Sundara Rasanam -Program Note - Bharatanatyam - June 2015




All are invited for a spectacular & colourful dance showcase ABHINAVA-SUDARA-RASANAM presented by Bhuvana Venkatesh, Artistic Director,  Nrithyanivedhan school of dance, San Jose, June 27,2015 at Shirdi Sai Parivaar in Milpitas, California between 3:00 P.M & 6:00 P.M 

ABHINAVA means New or Nascent , SUNDARA means Beauty , RASANAM means Appreciation.

Appreciating the nascent beauty of the divine art form of Bharathanatyam through the varied eyes of a learner, a dancer , a choreographer , a Guru and mainly you the Rasikas – the onlookers of all ages! Beauty and wonder of the artform at the peripheral level and transcending beyond what one can perceive and understand by just mere appreciation. “Kimartham punah punah? “ – is a Sanskrit term we use for questioning as to “Why Again and Again?” What is it in this great artform that we are delighted in catching a glimpse of the same either by just being an onlooker or feeling one with it Again and Again! Is there newness everytime the art is done, what is this newness bringing into us ? Is it the feeling of the one with the divine or the one with that something which is universal in you and me , the newness of that oneness within all! 

    The director says " In appreciating the ART , we appreciate life as well . In finding the nascent beauty we find that newness in our inner beauty as well! " 

 Guru  Bhuvana Venkatesh , Principal dancer - Harshitha Venkatesh and Students of Nrithyanivedhan School of Dance will be sharing the beauty of the artform with everyone at ABHINAVA-SUNDARA-RASANAM. 

For more information :  www.nrithyanivedhan.com
*from nrithyanivedhan
(C), 27, abhinava sundara rasanam, bharatanatyam, bhuvana venkatesh, ca, june2015, nrithyanivedhan, shirdi sai parivaar, program note, contributor, papers, do not copy, copyrights acknowledged