'Samskritam-Natyam’ on Feb. 8th, 2016 - A Report

‘Samskritam-Natyam’: A beautiful presentation by Lakshmi Mani & Naveena

--SaarasvataSamiti Club, M.O.P. Vaishnav College for Women

As part of its ‘Samskritotsava’, the popular institution of Chennai, the M.O.P. Vaishnav College for Women, Nungambakkam, invited renowned Kuchipudi exponent, Lakshmi Mani and her daughter, Naveena to present the topic, ‘Samskritam-Natyam’ on Feb. 8th, 2016 at the College premises at 2pm. The institution, reputed for its co-curricular activities, meant to expose its Sanskrit students to the manifold presence of the divine language as seen in Indian arts, by way of its Club, ‘Saarasvata-Samiti’. While the topic itself is notable for its sheer range, the lucid yet vivid presentation proved to be a wholesome treat of enlightenment and entertainment.

Lakshmi Mani brings with her several decades of beautiful artistry and universal accolades for exquisite abhinaya. Her daughter, Naveena proved to be a riveting speaker, her erudition and ready wit keeping the audience spell-bound. Together, the duo regaled the audience of young students, leaving them yearning for more.

The topic was viewed from two clear perspectives and was enriched by aptly-curated Powerpoint slides—

> Works on Natya, which are in Sanskrit

> Works in Sanskrit, with Natya as an important component.

Starting with works in Natya which are written in Sanskrit, Naveena coursed through a plethora of works, both popular and lesser-known, carefully choosing the salient and peculiar aspects to let students have a holistic view. Lacing her lecture with anecdotes and quotations, many extempore, the speaker succeeded in establishing a rapport with her audience steadily. Apart from the Natya Sastra, Abhinaya Darpana and Nrtta Ratnavali, students were informed of works such as Nartana Nirnaya, Shringaraprakasha, Nataka Lakshana Ratnakosha, et al.

Moving on to the presence of the varied aspects of dance as spotted in Sanskrit works, the speaker sprung a surprise onto the students by stating that the letters of the Sanskrit alphabet emanated at the end of Shiva’s cosmic dance, from his Damaru. While quoting relevant passages/verses from famed works such as Malavikaagnimitram, Vikramorvashiyam, Gitagovinda, Krishna Leela Tarangini, popular devotional hymns, etc. the speaker also gave glimpses of some metrical arrangements (vrtta) in poetry, which correspond with musical rhythmic structures (gati). Certain beautiful embellishments(alankaras) were also highlighted. The speaker also proved her versatility by singing a few Sanskrit compositions of later composers such as Maharaja Swati Tirunal, Annamacharya and Oothukkadu Venkata Subbaiyer.

The Talk was informative, without being pedantic, while also involving the students in activities like Mookakelih(dumb-charades with Sanskrit words/phrases), a quiz on meaning/etymology of often-used words, various Indian classical dances, the varied ways to interpret a single phrase in dance, etc., all of which pushed the borders of creativity and thinking of the student-audience.

Lakshmi Mani proved a master of her craft in her Kuchipudi demonstration. Presenting a rare Tarangam, glorifying the Lord Venkateshwara, her depiction of the story of Haathi Ram Babaji, a great saint-devotee of the Lord, was especially a visual treat in the way the characters were beautifully contrasted. The item culminated with the dance on the brass-plate as per the custom of Kuchipudi dance and this was greeted by the audience with astonishment and appreciation. To say it was an afternoon well-spent is to simply understate!

- Saraasvata Samiti

Samskritam-Natyam, Report, (C), Mar16, Samskritotsava, Chennai, Contributor, Do not copy, Copyrights Acknowledged, 

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,

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

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 . 

Event Link

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, 

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

Classical Dance and the New Age Classical Dance Productions - June 2015

 Classical dances also evolve over a period and small changes are slowly adopted into the content. The gradual process through which it evolves gets accepted by the connoisseur and public, equally. However, to the process of evolution, to the pace, there is a limitation too... The belief and the expectation from the general public is quite visible. 

Even for an accomplished dancer who travels widely and who gathers the best of the elements found and expected in different parts of the world of a certain perfection and sophistication, when they try to employ such learning into their dance, this the limitation has to be borne in the mind. The unease in the scholarly and the general public is quite easy to perceive, call it resistance or clear disapproval.

I recently received a message (among some more) from an attendee of such a classical dance performance who was very upset about the presentation of a mythology being stretched in the visual narrative. That the same dance production attracted critical evaluation of this evolution when it was presented in India, was safely ignored by the dancer and presented in the same format in the US.

Similar messages with different intensity are quite common to my inbox as also appreciation to the more conservative dancer who carefully builds repertoire of the established traditional. I therefore believe this trend is quite extensive.

The learning to me from this episode is that "not all criticism is to be ignored", don't over-dance and overtake the general public's perception. A subtle reminder to those who over-stretch perhaps..!

papers, contributor, june2015, classical dance, evolution, copyright acknowledged, do not copy, (C), priyalasya, 

Srjan Summer Workshop - Sessions on Natya Shastra - May 2015

As part of Srjan Summer Workshop for a month - 10th May 2015 to 10th June 2015, Sri Rahul Acharya held sessions on Natya Shastra during 29th May to 30th May 2015 in Srjan's Bhubaneswar premises.

It is very important for a dancer to understand the shastras and the rich literary content and music of any classical dance form. Some Gurus and Institutes give utmost importance to providing the 360 degree teaching and in a manner befitting Guru Parampara tradition. I am glad to have come across the Srjan Summer-workshop and requested Sri Ratikant ji for publishing his very personal note and I am very thankful and obliged to him and Srjan for their gracious acceptance. 

A note from Sri Ratikant Mohapatra::

Rahul Acharya is one of the most loved and most popular male Odissi dancer. The world fondly knows him as the divine dancer. Other than the dance he is a brilliant scholar and an avid devotee of Lord Jagannath. As always it was a great experience to be part of Rahul’s lecture today on ‘Natya Shastra“ at Srjan.

I wish Rahul all success and may god bring him many more achievements in life. — with Rahul Acharya and Rajib Bhattacharya.

srjan, ratikant mohapatra, rahul acharya, workshop, contributor, report, (C), odissi, bhubaneswar, may2015, do not copy, copyrights acknowledged

Bhavayami - Bharatanatyam and Kuchipudi - A Report - CA - May 2015

Bhavayami, a thematic recital presented in Bharatanatyam and Kuchipudi, 

Choreographed and conceptualized by Shirni Kanth, Artistic Director of Mythri Natyalaya 

 Sunnyvale/Cupertino California. 

22nd May 2015

A Report

The show opened up with an apt invocation to Ganesha in Nattai ragam and ended with a fitting finale Balamurali's popular Kadanakuthoohalam thillana. It was a great evening with a great lineup of fantastic dances. The whole event was a superb treat to the eyes. Each of the girls were looking like real Lakshmis dancing away for each God they were dancing for. The costumes and makeup were really good and most of all very well coordinated. Panchabuta was a highlight of the show  music, choreography, costumes, dancers -- just fit so well and it just was so spectacular. Brilliantly choreogrpahed piece by Late Sri Vempati Chinna satyam presented by the Guru and her post arangetram students was well executed. The uniformity of the costumes and the co-ordination of the dance movements made the show top notch.

The event was sold out in-spite of being a working day. 
Some Pics

thanks to Mythri Natyalaya

bhavayami, may2015, report, contributor, panchabhoota, bhavayami, mythri natyalaya, hoover theater, ca, bharatanatyam, kuchipudi, 22, do not copy, copyrights acknowledged

The Porous Earth - A Classical Dance Performance - "Dancing the Poem" - The Inspiration - April 2015

"The Porous Earth" recently was premiered in Hyderabad. Kiranmayee, Bharatanatyam Dancer, student of renowned Bharatanatyam teacher and guru Smt Hemamalini Arni, explains the inspiration behind and the producing of our "The Porous Earth"- at first a poem, a poetess.. Mrs. Tejdeep Kaur Menon and then taking the shape of Kiranmayee in her dance.  

In Kiranmayee's words:  "Kiran, I'd like you come in tomorrow - I want discuss this idea with you. I plan to put up a ballet, something that I put off for so many years now, I think I'm going to take the plunge and just go ahead and do it!", said Hema Aunty one evening to me, a few weeks after her 80th birthday. 

 She hands me a copy of the poem - each line was descriptive, with very characteristic content, the kind I knew she liked. She said, "Kiran, please put on your thinking cap - I need you to be imaginative for this" - as I read through the poem, the syntax of nritya and abhinaya were falling into place - flowing waters, eerie sages, bouncing bleating sheep, nonchalant shepherds, comical birds, mundane machines, pandits and mothers, gods and commoners, their motion was going to a dance in itself. On the other hand, pathos and injustice, devotion and deliverance, curiosity and humour, these were for my soul to ponder upon.

Press Report

 If the brain is a muscle, the last six months were like having a personal gym trainer. Each session more enriching than the other. Hema aunty's distinctive methods of teaching will go a long way in my career. "Mark my words - Be individualistic! Be Original", she stresses everyday, vehemently. 

 The Porous Earth was a gift given to me by my Guru; I must have accumulated some incredible karma in my previous births! Memories I shall cherish and experiences I shall carry forward. Thank you Aunty for trusting me with this. 

 Mrs. Tejdeep Kaur Menon - I have read your poem so many times, its internalized completely. Every metaphor you encoded into it excited me more - like seeing a beautiful pattern under the sheath of an unassuming surface. Thank you for all your help! And thank you for adopting me

My Note: As I am with my friends searching, finding and presenting information/ reviews, reports about classical dances, some performances, and some dancers have a charming and endearing effect. Kiranmayee is one of those dancers who approach every opportunity to perform with eagerness to explore their skill and creativity.

When "The Porous Earth" appeared, it appealed to me instantly. At first it was with curiousness and then after going through the production, I fell in love with the poem. Rivers are referred in India as "Jeeva Nadhis" and no wonder are called "Mothers". The words of the poet made me feel being Mother Earth, and being a River. The wonderful production is does read naturally and reach and get absorbed into our heart.. "The Porous Heart" 

This Poem is from Mrs Tejdeep Kaur Menon's Third anthology Minnamini from Sterling Publishers

A Note on the occasion of World Dance Day - 2015

WORLD DANCE DAY 2015

- Pandithar Sivakumar

It is a very happy fact that from the earliest centuries of mankind, dance is still alive, practiced, preached, and its healing powers recognized too.

Today dance is a social activity, which both relaxes and rejuvenates, having the power to impress upon and encourage a process of thinking amongst all, making people understand the best practices in life.

Transition of art over time has not been without heartaches too. One of the most decorated forms of expression of human emotions nevertheless traveled through a phase of social stigma, class and caste discrimination.

Withstanding all, it traveled through, faced all the odds with determination and reached the pinnacle of social acceptance. Each artist in himself or herself has put forth his/her self to be a part of a flow of the art from generation to generation.

When we come across the initiative of "dance as a healer," indeed it is a moment of pride for the art. Today, dance is the most respected of arts, and the strict discipline that goes into its learning is what eventually earns the artists, the respect for their hard work. This results from the fact that artists have made a place for the art in their hearts.

The beauty of dance as an art is its unique characteristics that fascinates and captivates human imagination into a physical or a symbolic beauty. God created the world, and God created dance so we could express the beauty of nature and spread love and harmony amongst fellow beings.

Dance should be looked upon as an innovation, wherein the artists' presentations are what they portray as a hypothesis situation of how beautiful nature is, or how a complexity of life can be resolved through application of simple virtues of love and compassion.

Today, we are in midst of a revolution of time and modernization in life style and it is really praiseworthy of the artists, who have still been able to carve a niche for themselves in this modern world. It is due to their efforts and dedication to dance that today this art has become an integral part of civil society.

As we celebrate the World Dance Day, we should ponder on a few aspects. The classical forms of dance are always documented, while the folk and the tribal dances lack such patronage; they are left alone to "dance them to keep them alive."

Dance, from being a mode of worship, entertainment, profession and healer, has done excellently through all the phases; it is still a form of worship and now has the added feature of also being a healer.

The world is beset with many complex problems today. Though our arts have always brought us together globally, there are certain elements that still are exceedingly dangerous for humanity. Art has always risen to such an occasion; we can name the nemesis as global warming and terrorism, and I feel that art has a role to play in correcting these. The art of dance has in the past taken challenges and done supremely to conquer them; it is possible to do it again.

On 'World Dance Day' - April 29, or any day in our lives, it is important to remember the loss of legends, who lived, breathed and worked so hard to propagate the art - 

Kathak exponent Sitara Devi, Kathak Guru Dr. Maya Rao, Legendary Bharatanatyam guru and choreographer Adyar K Lakshman , Kalamandalam Haridas, Kathakali performer and teacher, Guru Jagannath Mahanta- A reknowned Sattriya exponent, Bharatanatyam guru Leela Ramanathan, Shashimani Devi – the last mahari tradition dancer, Bharatanatyam Guru Udupi Laxminarayan since the last World dance day of 2014. These legends will always continue to live through their arts forever.

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Ashish Mohan Khokar's attandance- The Dance Annual of India 2014-15 - Telugu Traditions - Dance Book of the Year 2014

Ashish Mohan Khokar's attandance- The Dance Annual of India 2014-15 - Telugu Traditions - Dance Book of the Year 2014- bhavanvitha@gmail

 Ashish Mohan Khokar’s “attendance”- the dance annual of india 2013-14, guest edited by Ananda Shankar Jayant is a virtual library in one book.

 The library is quite expansive in its reach and each of the contents makes you discover and initiate a new journey of thought through a very artistically mapped narrative. The book is to be stayed with and read in any manner wished be It flipping into different chapters or if you so prefer, from beginning to end.

First, the rich content is well studied and laid out and secondly, the broad reach and it's manner of approach engages you as a reader, as a journeyer into different times through a time machine, as a spectator to an interview in one of the chambers or even as a researcher looking into the various facets of the rich dance traditions and personalities.

 The sections cover wide-ranging topics, it has the recollection of renowned dancers like senior disciple of Dr Vempati Chinna Satyam, Smt Bala Kondala Rao, Sri Ravi Shankar Vempati, Smt Manju Bharggavi, interviewing of Smt Sobha Naidu, of introductions to the young the upcoming and senior dancers and researched content like that of Anuradha Jonnalagadda and Aruna Bhikshu’s  article on Bhama Kalapam to a talk with dancers like Mallika Sarabhai . They being senior dancers  and highly accomplished at that, the construction of their writings builds the legends in the readers mind leaving one with an impression of that having a personal meeting.  

 A reading of “attendance” makes one realize that dance is not just about dance, not just about a performance on a stage, is not a subject that one learns… that goes beyond and is it is the gathering of evolved human emotions and essence of times. Efforts like bringing a book like this are rare and even rarely patronized, perhaps even difficult to bring out by just any other publisher.

Coming back to the contents, Even before you think what is mentioned above by itself is quite elaborate, the book effortlessly provides coverage of various traditions not just Kuchipudi alone, of Melattur tradition, Andhra Natyam, Devadasi heritage etc.

Instead of taking the wide view of the library that “attendance- telugu traditions”, I feel it is better to recommend the book for reading and make you enjoy the experience or learn about the richness that about the “telugu traditions”. After all, the edition is covering a very vibrant culture with rich and colorful pictures, beautifully sequenced narrative and engages the reader leaving him to ask for more. Quality content.

 Suggestions wise, firstly, I felt the future of the various traditions covered needed an outlook and that is important for any tradition. 

 Second, a critical look at some creative work, including some of the present days works could have be assessed in the background of times and there could be some critical views expressed by either the dancers or the editor. After all the guest editor Is an accomplished and acclaimed dancer and choreographer. 

 Third it can take a view on the need for  the governments to encourage, preserve, protect, document and contribute for the cause of the traditions. One specific topic that I wished in the book, being a Kuchipudi dancer myself, is on the male dancer in the modern times who is in a dilemma and facing intriguing cause and effects of the merging cultures.

 I congratulate the team for.. bringing this “library” for it must have been a very satisfying journey. Ashish’s “poorvarangam” of the edition is by way of a picture, his falling at the feet of “telugu” represented by a dancing small girl in her full dance costume is literally quite speaking.

- bhavanvitha@gmail

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Pravaha- 2015- Post Performance Notes of Sri Ratikant Mohapatra

Pravaha 2015 organised by Sanjali Centre for Odissi Dance, Bangalore

Wonderful Experience

I was in joy watching a splendid group performance by the Sanjali dancers performing their newly choreographed items - 'Yaman Pallavi' and 'Ganga', composed by Sharmila Mukherjee. Beside being a sincere and dedicated Odissi dancer, Sharmila's new avatar as a choreographer is certainly welcoming. It's heartening to see her journey since 1984 till today; the huge passage of time, moulded ordinary Sharmila to Guru Sharmila Mukherjee.

I thank Sharmila for her kind invitation and making me part of Pravaha through which I could pay my humble salutation to my father and Guruji Sri Kelucharan Mohapatra in his 11th year of passing.

Pravaha 2015 organised by Sanjali Centre for Odissi Dance, Bangalore

SPECTACULAR PERFORMANCE 

 I am happy to state that Babee Apa (Smt. Aruna Mohanty) brought in her substantial experience and efficiency in delineating the theme ‘Bhumisutaa’; this was nice, and the Bangalore audience was generous in its applause for one of Odissi’s senior most dancers. It was evident that much thought and preparation has gone into creating this composition, and in the result, was certainly pleasing.

Pravaha 2015 organised by Sanjali Centre for Odissi Dance, Bangalore

Performance par-excellence

Executing Ragesri pallavi Madhusmita was at her best. It is always pleasing to watch Madhusmita and her constant evolving as a complete performing artiste. Wish her all success in life.

Program details:
19- April 2015- Bangalore
Sanjali Centre for Odissi Dance presents Pravaha , as a tribute to Guru Kelucharan Mohapatra.

4.30-6 p.m -a panel discussion on "Guru Shishya Parampara in the changing world of Indian Classical Dance" by eminets Gurus and scholars

6.15 p.m -8.30 p.m -Odissi performances by Sanjali ensemble, Duet presentation by Argha Chaterjee and Arpita Venkatesh from Kolkata and eminent danseuse and choreographer Guru Aruna Mohanty with her senior disciple Madhusmita Mohanty with live orchestra.

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Samarpana – An evening of Mohiniyattam :: Program Note - April 2015

Samarpana – An evening of Mohiniyattam :: Program Note - April 2015

Samarpana – An evening of Mohiniyattam By Tapasya (Amrutha, Bindu, Manjulekha, Vinaya) On 17th April 2015 , 6 pm Sevasadan,

14TH Cross Road, West Park Road,

Malleshwaram, Bangalore

Tapasya - an Indian classical dance group, formed by a group of passionate dancers who extend their dreams beyond their professional and family realms. The dancers having trained under the famous Mohiniyattam exponent Kerala Karnataka Kalashree Guru Sreedevi Unni, have performed at various prestigious dance festivals like MohiniNrithyotsav, World Dance day, Hampi festival and ISKON in addition to also performing on stage at Guruvayoor, Raveendra Kalakshetra, Chowdaiah hall amongst others.

Tapasya presents “Samarpana” as a Dakshina to their Guru, who guided them into the enchanting world of Mohiniyattam and helped them pursue their passion for dancing. This program will be held at Sevasadan Auditorium, 14th Cross, West Park Road, Malleshwaram on 17th April 2015.

In a step away from the traditional format, the narthakis have composed a unique format of the invocatory Item – Cholkettu as a special dedication piece to the guru. This rendition is a combination of shlokas invoking Lord Ganesha, Bhoomi Devi, Shiva and Krishna ending with the shloka - Guru Brahma, Guru Vishnu.

The evening of Mohiniyattam is performed by 4 dancers and will present a dance drama “Ganga Ulpathy” in addition to the Padams and the final piece of the evening – the Thillana

*Thanks to Tapasya

B-412, Itina Abha, Munnekolala, Marathahalli, Bangalore - 560037

E-mail: tapasya.mohinyattam@gmail.com

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New Music Compositions for Odissi Dance - Suggestions - April 2015

Contributor Sri Jagabandhu Jena

 I request the musicians of Bhubaneswar specially for Odissi dance. Whenever any dancer from out side comes here for a new composition , kindly be serious about the reality of that composition that should be like Odissi. Because non Odiya dancers have very less knowledge and experience about ODISSI RAG , TAAL, GAYAKI .I specially mean for the dancers who dont have respect for ODISSI, ODIYA CULTURE and doing experiement ,,,,,,means who only use Odissi according to their own interest . Be aware of them .

 Use of BINA, BENU , MARDAL and MANJIRA with specific Odissi TAAL and Singing style of Odissi is most important. So it is our moral responsibility to guide her / him to maintain the classicism of Odissi music. We should not be purchased . I have seen many times that non Odiya dancers have taken help of Odiya Musicians but that compose were not proper Odissi ,,,,,,,it was really disappointing.

Your comments?

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Kuchipudi Performance - Program Note - Hyderabad Central University - March 2015

Lalitha Sindhuri - Kuchipudi Performance::

27/ March 2015::

DST Auditorium, HCU

Hyderabad Central University, Hyderabad

University of Hyderabad Concert Series

Program Note

The concert would be a varied blend of songs showcasing you the Happy dancing of Ganesha, Tandava of Shiva, Madhura Bhakthi of Meera bai, the romance of a heroine in Javali, the victory of Goddess Durga and a beautiful Lullaby sung by a mother.

Invocatory item is Ananda nartana ganapathi , a keerthana on the dancing Ganesh (Narathana Ganapathi) composed by Oothukkadu Venkata Subbayya set to Gambheera nata ragam, Adi Talam.

Performers: Lalitha Sindhuri, Swapna Krishnamohan

Shankara Sri giri Natha Prabho , a keerthana of Swathi Thirunal on Lord Nataraja in Hamsanandi ragam, Adi Talam

Performer: Lalitha Sindhuri

Narayaneeyam, a Sadasiva Brahmendra Swamy keerthana

Performer: Swapna Krishnamohan

Meera Bhajan – Darbari Kanada Ragam

Performer: Lalitha Sindhuri

Javali – Kapi ragam

Performer: Lalitha Sindhuri

Jaya Jaya Durge – Tarangam- a composition of Narayana Therthar

Performer: Lalitha Sindhuri

Jo Atchutananda – Navaroj Ragam – composition of Saint Annamacharya

Performer: Lalitha Sindhuri

Lighting: Sri Rahamathulla

Sound: Ajay audios

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