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,

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

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, 

Hema Karunakaram - Bharatanatyam Arangetram - An Appreciation - May 2015

Hema Karunakaram - Bharatanatyam Arangetram - An Appreciation.
S. Narayanaswamy
30- May -2015
Venue: Towsley Auditorium Washtenaw Community College, Ann Arbor, MI

The normal story of an arangetram in the US goes something like this: Girl attends Bharatanatyam (Or Kuchipudi or whatever dance) classes. A few years later, girl is in high school. If she is sufficiently interested and if the dance teacher decides she is sufficiently talented, and if (and this is a big IF) the girl's parents are sufficiently well funded, they do an arangetram. Then the girl goes off to college and forgets all about this. This has been pretty much the norm for the last 20-25 years.

But the arangetram I attended yesterday was as different from the norm as possible. During all the time Hema has been learning and performing Bharatanatyam with her guru (and my dear friend) Roopa Shyamasundara, she did not nurture the idea of an arangetram particularly. She finished high school, she finished college - she continued to dance at every opportunity all this time. At the end of it all, before she sets off into the corporate world, Hema decides - let there be an arangetram! When Hema decides, it happens, and boy, what a show it was!

The show followed standard Bharatanatyam Margam, staying true to tradition, with small touches of innovation here and there that added some sparkle. Hema's alarippu in misra nadai gave a good preview of what a solid dancer she is. Jatiswaram in Vasanta ragam was crisp and clean. The traditional Shabdam - Gokulambudhi chandra, was handled with delicacy and the liveliness of little Srikrishna. The Varnam she chose, Maye Mayan Sodariye, in Todi ragam, is also a traditional item. The mood is mainly devotional and Hema performed the complex jathis with clean lines and perfect execution. They could have avoided the isolated delineation of the navarasas in the choreography.

After a brief intermission, the program resumed with an Annamacharya composition, Brahma Kadigina Padamu, in mukhari ragam. Hema enacted the Vamanavatara - Bali story as well as Kaleeya mardanam as part of this. The Javali - Muttavaddura Mohananga in Saveri ragam was a pure delight and showcased the mature grasp Hema had in depicting various characters and various moods in a dramatic setting. This was followed by another keertanam - Chandrasekharam Bhajami Satatam in the raga Chandrakauns, in which the story of Markandeya was enacted. The program concluded with a Tillana in Valaji and Mangalam.

I should mention a beautiful subtle touch Hema added in her aahaaryam .. she decorated her hands and feet with real marudhaani (gorintaaku, mehendi, henna) in the traditional way .. did not use the usual red marker pen or other red stain! Not sure how many in the audience noticed it. A lot of care and thought were put into the production, from the decorations in the lounge that greeted the guests upon arrival to the stage design and decoration - everything was arranged tastefully and in harmony. 

Hema's arangetram is a prime example to show the superior product that emerges when the dancer is not only committed to the art, but also superbly talented, and more importantly, mature in age and stage experience to bring out the bhava of each composition. This is what is usually lacking in many arangetrams where the young lady is usually in a hurry to wrap it up along with other high school activities before pushing off to college.

Babu Paramesvaran's majestic voice elevated the mood of the show a couple of notches. The supporting instrumentalists were good. Guru Roopa ran the show efficiently.

Hema graduated from University of Michigan recently with a degree in Engineering and will start working for IBM's Watson Project soon. I should also disclose here that Hema's father, Krishna Karunakaram, was my classmate during undergrad days, and we rekindled our friendship some 15 years later in Michigan. 

I wish Hema all the very best in her future. Keep dancing in grace!!

Pics Credit: S Narayanaswamy

Arangetram, bharatanatyam, Hema Karunakaram, may2015, papers, report, narayanaswamy, do not copy, copyrights acknowledged

Srjan Summer Workshop - Sanskrit Sessions - May 2015

Pt Nityananda Misra 

As part of Srjan Summer Workshop for a month - 10th May 2015 to 10th June 2015, Sri Nityananda Misra, held sessions relating to the language Sanskrit 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::

Pt. Nityananda Misra, elucidating the importance of Sanskrit literature for Indian classical dance and its correct pronunciation while composing music for dance using the Sanskrit text.

As always and each time it is a great learning experience with Nityananda sir. Easily transmits the essence of his experience to the listeners’ consciousness. 

srjan, bhubaneswar, workshop, sanskrit, (C), may2015, nityananda misra, ratikant mohapatra, papers, article, 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

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.

ratikant mohapatra, notes, pravaha, contributor, papers, (C), priyalasya, do not copy, copyrights acknowledged

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

samarpana, program note, bangalore, tapasya, bangalore, sevasadan, (C), priyalasya, papers, contributor, apr2015, do not copy, copyrights acknowledged

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?

apr2015, (C), priyalasya, jagabandhu jana, contributor, reports, papers, do not copy, copyrights acknowledged

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

lalitha sindhuri, kuchipudi, (C), mar2015, report, program note, press note, papers, contributor, do not copy, copyrights acknowledged,

A REPORT ON KRAMA- AN INDIAN CLASSICAL DANCE FESTIVAL IN WEST LONDON.- MARCH 2015

 Sahasra Fine Arts, led by Sarvani Yadavalli, celebrated an Indian Classical Dance Festival –“KRAMA”, meaning Lord Vishnu (n) and Sequence (v) on March 8th 2015 @ West London. The event was a very satisfying event in the Indian Classical Dance Scenario of London with around 300 people witnessing a pure Indian Classical Dance Festival.

 Krama took the audience through different incarnations of Lord Vishnu. Lord Vishnu is known as the Supreme Protector of Life. ‘Dasavataram’ is a story of 10 incarnations of Lord Vishnu at different times when he descended to Earth to save mankind from prevailing evil forces. KRAMA showcased sequences of various incidents of Lord Vishnu, through three different flavours of Indian classical dance forms - Kuchipudi from the South-east, Kathak from the North and Mohiniattam from the southern end of Indian subcontinent. This event combined presentations from professional artists and the students of Sahasra Fine Arts who desire to excel in Indian Classical Dancing.

 The event started at 2PM and the anchor for the event Ms. Bhanu Sistla welcomed the audience and took us through the journey of Sahasra Fine Arts (SFA). Then, the curtain rose with the students of SFA reciting the Natya Sastra Slokas. As the event was celebrated on the international women’s day, the first item was on Parvati Devi in Mohiniattam style describing the great qualities of the "devi".

 Later, the event focussed on the theme selected KRAMA and there were different items taking the audience through different yugas and showing different incarnations. This was done in three dance styles and the narration at the back ground by Sarvani provided a connection between the yugas and made us understand the theme. The students of SFA and the professional artists danced to great lyrical compositions in three different flavours of India. Ms. Mukti Shri enthralled the audience with her captivating abhinaya in Ram Bhajan and Ms. Ranjitha showcased the grace of Mohiniattam in a very beautiful manner. The students of SFA danced to the choreographies of Sarvani on Annamayya and tyagaraja kerthanas. The event concluded with the focus shifting to the other meaning of the theme Krama- Sequence with the Kathak dancers doing a rhythmic composition.

 “I am flabbergasted by the choice of songs and the stunning choreography. It was a delight to the eyes watching the little ones charmingly dancing to the steps, matching the rhythm.”- A member of the audience mentioned.

 The guests of the event Sri Madhava Turumella, Sri. Prabhakar kaza and Smt. Lakshmi Kaul felicitated the guest artists and presented mementos to all the participants. The event concluded with the director of SFA- Sarvani presenting vote of thanks.

Thanks to Sahasra for the report

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Kuchipudi - Kuchipudi Workshop in Kolkata - A Report - March 2015

Kuchipudi Art Academy - Workshop - Kolkata - March 2015- A Report:

Dancers of Kolkata had a wonderful opportunity to attend to a Kuchipudi workshop from Kuchipudi Art Academy, Chennai, which was established by Kuchipudi Guru Dr Vempati Chinna Satyam, and conducted by one of the leading exponents of Kuchipudi , Smt Srimayi Vempati  for a span ten days. 

She conducted a ten days workshop in the nuances of Kuchipudi dance at The Mysore Hall in South Kolkata from 13th March to 22nd March, 2015 

 Participants were grouped according to the knowledge they had about Kuchipudi. There was a group for absolute beginners as well and it they could learn right from the basics. 

 The workshop everyday started with a Pranam followed by Adavus and Jatis. Other lessons included Poorvarangam , an invocatory number where the dancers offered their salutations to Nataraja and Parvati , Mara Katha Manimaya , an Abhinaya elucidating Krishna’s childhood pranks and Swarajati. The most attractive item taught was Tillana. Based on raag Hindolam it was a highly enriched item full of joy and intricate movements.

 Mrs Vempati’s approach to the workshop was that apart from teaching the techniques and skills she also taught her students the right thought process , attitude, discipline and dedication which is as important as learning the dance. Even after hour of rigorous practice she could get the support and enthusiasm to give in a little more effort every day. 

 The workshop was not limited to practical learning only. Students were incorporated with theoretical knowledge of Natyasashtra, Pada Bhedas and Hasta Mudras which helped them to delve into the root of the dance form.

 This workshop left the students of Kolkata eagerly looking forward to the next workshop. Students in modern times are engaged into so many things and and have so less time to dedicate, the workshop made the best use of the time they get with their beloved ‘Srimayi Di’ imbibing from her not only her art, but also as a way of life.

Report from Kuchipudi Art Academy

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An Enjoyable Odissi and Bharatanatyam Performance - Vaikom - A Report

An Enjoyable Odissi and Bharatanatyam Performance - Vaikom - A Report

Contributor- Shubha Nagarajan

February 22, 2015- As artistes,we always dream of showcasing our art in front of many people. The bigger the audience,the more viewership,the better we feel.It gives us the impression that the entire crowd applauded and appreciated us.A houseful auditorium means we have a responsibility to be perfect,to do our best,and that somehow dancing in front of a large number of people means more merit to us.

That should make us feel great,right?

Well, not always. Sometimes a small group is better. Recently,I,along with my co-dancers Abhaya and Siddharatha was invited by the lovely dancer Paris Laxmi to perform Odissi at her School,Kalashakti Mandapam in Vaikom,Kerala. As this was the first time Odissi was ever being performed in VaiKom,we were excited and we put together a good mix of items,and combinations of solo,duets and trios.

Paris Laxmi, created a neat little stage, with thatched roof and simple seating arrangements reminded us of the olden days in the village where all night dramas,dances and harikathas were held.

As evening approached,and we got ready, slowly people started trickling in.About 60-70 people had gathered. We started the show with a puja to light the lamp on stage.

We began with a Shiva Stuti,then an Ashtapadi,followed by a pure item duet.Abhaya continued with an Odiya solo item. The high energy Ahir Bhairav pallavi was the highlight.We concluded with Moksha,and a prayer for universal peace.

I found some things very interesting.The 60 or so people who had come to watch us  were an eclectic mix of dance students, French, American, and a few others.

Maybe it was the enthusiasm  and curiosity of the audience who came from far and near to watch us,the sincerity of the organisers Laxmi and Sunil,the atmosphere created by the dimly lit oil lamps and the rustic auditorium,that all 3 or us felt this strong fire within us and we danced for 1 hour 45 minutes with a strangely high spirit and energy. Despite the sultry and hot weather,we did not feel tired,nor did we realise the time flying.We danced with joy and flow of happiness .

Laxmi and Sunil were very happy,and so were the audience. Each and every person came up and appreciated our performance.They were curious about the Odissi style. A few hoped to learn it some day, others had keenly observed the unique features of this dance and discussed it with us.The foreign tourists were so enamoured by the stamping of the feet for rhythm,and of course our costumes. We were very satisfied with our performance. Afterwards Laxmi treated the us and her relatives to an impromptu Bharatnatyam recital.

In the olden days,private concerts or baithaks used to be held. A lot more energy is exchanged between the performer and the audience when its a small closed setting .The performer connects with the people in front of him/her.

Performing in front of a few but informed audience, was in fact very nice experience, as I enjoyed watching dance and music programs and realised how the physical and non physical elements come together to give that energy and spirit to a performer. It is these unusual places and people who  give us such opportunities to perform that become more memorable and what we cherish for a long time.

-Shubha Nagarajan

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Dance Review- Pay Attention

Dance Reviews:

Why dance reviews are still very important?

Primarliy:

> Do not get confused with dance reports, program reviews and notes to dance reviews.

> Not every review is a review. Reviews in national news papers from known and acknowledged critics carry more weight as compared to simple and general reviews from attendees.

True Critic:

The true critic is a true friend. I come up with good amount of post- performance material but nothing is more valuable than a good third party, unrelated but neutral critic. A true critic bridges the distance between the dancer and the common man

Role of Organizers:

Even organizers should not shy away from giving importance and respect to neutral writers. Most of the organizers fear that the repute of their events would get tarnished if there is a bad review. But remember, everybody knows that an organizer has nothing to do with the reviews of a neutral writer and standing the test of a neutral and learnt critic enhances the reputation of the organizer in the long run. 

Never allow conflict of interest and never try to denounce a critic - readers/ enthusiasts play a key role here:

Both organizers and dancers should never interfere with a critic's work. Patience pays and  if dancer's pay attention to the material and analyses the content of the review, it would prove to be a valuable lesson and exercise.

Lastly:

Pay attention to dance reviews, don't pay to dance reviewers to get a good review. 

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Devmudraa group performs Bharata Natyam at Natyanjali Festival in Mumbai: A Report - February 2015

Devmudraa group performs Bharata Natyam at Natyanjali Festival in Mumbai: A Report- 19/Feb/2015: Chembur

Sri Subramanya Samaj Temple, Chembur has been organizing ten day festival on the occasion of Maha Shivaratri in Mumbai for the last ten years. 

            Every year more than hundred artistes participate along with senior and emiment guru’s special performance on Shivaratri day in the temple sanctorium where specially built stage is built in front of Lord Nataraja’s idol. Every day four slots are available for artistes of all classical dances and dancers from all over the country and abroad participate in this pious festival. Mohini Attam Exponent Smt Jayshree Nair of Upasana Arts, Mumbai and Sri Sudhakaran Nair have been taking great efforts to restore and conduct this festival in the traditional manner in the similar lines with Chidambaram and Tanjavur temple festivals.

The budding dancers Shital Kshotriya, Sai Ghadge, Aditi Kakne & Ishita Kulkarni, disciples of V Soumyasri, Director, Devmudraa a movement school were fortunate to get an opportunity to perform in this festival on 19th February and represent their city, Aurangabad. They performed Pushpanjali, Mallai, Shivastuti, Kali Rave and Mangalam in Bharata Natyam.            

             The artistes consider performing during this Mahashivatri time as a blessing from Lord Nataraja.

Invitation:

*thank you for the write-up - v.soumya sri

devmudraa, bharatanatyam, natyanjali, mumbai, (C), contributor, feb2015, papers, report, 11,