Sunday, 19 February 2017

Article - Perini Sivatandavam - Sudha Sridhar

To understand one of the ancient Aradhana nrityas, Perini Sivatandavam, one needs to first go to or know about Ramappa Temple, the text Nritta Ratnavali by Jayapa Senani and Dr. Nataraja Ramakrishna, who revived the art in 20th century.

Perini Sivatandavam is said to have been in practice / performed for over 1000 years and the peak of it can be traced to the golden period of Kakatiya dynasty (11th century) who are also credited to have brought Telugu speaking people under one aegis while laying emphasis on dance and culture.

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Wednesday, 15 February 2017

Tantu needs more than hype and hurry - Taalam: column by Leela Venkataraman

It was called ‘Tantu,’ a “unique concept premiering a programme of Gurus Sharon Lowen, Madhavi Mudgal and the performer of the evening Madhur Gupta, framed by classics by the major architect of Odissi, Guru Kelucharan Mohapatra.”
Hype has become the tenor of this generation and young Madhur Gupta, true to this age, seems a man in a hurry. No matter what type of stringing together of items one designs, the ultimate test lies in the dancer’s competence and here the dancer performing at the IIC auditorium, Delhi, left something to be desired.  Right as he made an entry, his profiled body with head, neck, and back were not held in an erect line, the first requirement in a dancer. Apart from not holding the body straight, the shoulders and chest would not open out giving movement a spread. Whether it was the square geometrical motif of the chowk, or a diagonal walk with one leg weaving a circle in the air and being placed at the back of the other in a crossed foot swastika, Madhur’s movements, all executed close to the body gave his Odissi a very constricted feel taking away from the nature of the form, which along with the extreme grace of the tribhanga also has the strong posture of the chowk. Madhur has a flexible torso which is a plus point and he seems to revel in the tribhanga position. But he must first bring to his movements the full range with the contrasts of grace and tandav which are so central to this dance form – learn to walk correctly before trying to run so to speak. In fact one did wonder at a person starting training under Madhavi Mudgal for a short time, as claimed (which Madhavi when contacted denied) having such inadequate anga shuddha

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Monday, 13 February 2017

Profile - Sangita Gosain - Tapati Chowdurie

Dr. Sangita Gosain who is an Associate Professor in Utkal University of Culture and is a renowned scholar and vocalist was born into music and has always been associated with music. She has another prestigious feather in her cap. Recently she has been given the added responsibility of chairing the very important post of the Chief Executive of ‘Guru Kelucharan Mohapatra Odissi Research Centre’ in Bhubaneswar - its name was Odissi Research Centre. At one point, this rechristened institution had a plethora of famous gurus in its faculty. Name an institution which can boast of Guru Kelucharan Mohapatra, Mahadev Rout, Sangeet Sudhakar Balakrishna Das, Pt. Bhubaneswar Misra, Deepak Kumar Bose, Kumkum Mohanty and Durgacharan Ranbir in its rolls; not to be forgotten names were that of Guru Pankaj Charan Das and Guru Debaprasad Das.

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26th Nishagandhi Dance Festival - Footloose and fancy free with Dr. Sunil Kothari

The 26th Nishagandhi Dance Festival at Thiruvananthapuram (20-27 January 2017) was flagged off by the Governor H.E Justice (Retired) P. Sathasivam, by lighting the lamps held by some ten dancers in a semi circle and more than 30 dancers providing backdrop and few standing on either side, choreographed by senior Guru Girija Chandran. The dignitaries including the Minister for Tourism, MLA, Mayor, Director of Tourism, dancer Bharati Sivaji,  followed the Governor when he went on lighting the lamps. Music was played to which the dancers demonstrated the hastas. Colourful and spectacular, it was an impressive ceremony. The Nishagandhi Puraskar for 2017 was given to Mohiniattam dancer Bharati Shivaji from Delhi. From this year it was decided to have a separate exclusive dance festival and one more category of Contemporary dance was also introduced. The Governor suggested that Kerala Tourism Development Corporation could arrange a separate Music Festival. 

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Friday, 10 February 2017

Unique tribute to a maverick musical genius - Taalam: column by Leela Venkataraman

Murali Samarpanam held at the India International Centre auditorium as an evening of tribute to the "inimitable Gandharva Vaagyekara" Dr. M.Balamurali Krishna, designed and organised by Usha R.K, proved to be a riveting event, featuring six Bharatanatyam dancers from Delhi. Visualising the entire event round Balamurali's Thillana compositions was well thought out - for the maestro's compositions in this genre of Carnatic music, apart from exploring his limitless creative energies in manifold areas of raga and tala intricacies also provided space for his poetic sensibility in the dedicatory passages-all of which have made them an excellent base for Bharatanatyam dancers.
Holding the evening together with her own very informative introductions (very much needed for a predominantly north Indian audience) was R.K. Usha for whom this was obviously an emotional journey down memory lane - her several interactions with Dr. M. Balamurali having begun, well over 36 years ago when the master bowled over the barely twenty year old, who on her maiden endeavour at organising a very significant event had timidly approached the already established musician inviting him to sing for the occasion and without the slightest hesitation at a green horn being in charge of this event, the maestro had agreed on the spot. A genius who was adept at playing the violin, the viola, the mridangam and of course singing, and a poet with a great feel for the Telugu language, greatness sat lightly on his shoulders. The arithmetical combinations of rhythm in his compositions could perplex even well known mridangam accompanists with a composition set in a cycle of 17 ½ beats! Natural as they come, for him music was a way of life, flowing effortlessly.

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Wednesday, 8 February 2017

Remembering Rohini Bhate - Footloose and fancy free with Dr. Sunil Kothari

I clearly remember Rohini Bhate and I sitting together at the historic All India Dance Seminar  convened by Sangeet Natak Akademi from 31st March till 7th April 1958, at Vigyan Bhavan in New Delhi. I was an up and coming dance scholar and was deeply involved in dance, having learnt a little Kathak at Deodhar’s classes of music and dance near Opera House, Mumbai. Later on, I studied Bharatanatyam under Guru Kalyanasundaram Pillai at Raja Rajeswari Bharata Natya Kala Mandir at Matunga. 
Rohini and I used to meet in Mumbai when she was staying near Wilson School at Girgam.  She used to visit Mumbai regularly from Pune.  My painter friend Prabha Vithal had given me autobiography Mazi Nrita Sadhana written by Rohini in Marathi. It was a fascinating account of her discovery of and deep interest in dance. She was trained in classical Hindustani vocal music and used to sing for All India Radio, which I remember having listened to.  I was much impressed by her multiple talents. As a Kathak dancer her training had led her to study the theory also.  She had translated Abhinaya Darpana and Isadora Duncan’s biography. Her deep interest in aesthetics and literature were praiseworthy. 

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Article - Munaam Attakkari - Shruthi KP

Sitting in the brightest part of the room, all were applauding her; the nattuvan would not stop praising her performance. She had done complete justice to his choreography and his teachings. On stage, though he is singing and impressing the audience with his beat and dancers…he is a cautious dog, fully aware of how his troupe is performing. To him, she can never make mistakes and we, the other attakkari and I, can never succeed in achieving appreciation. She is beautiful, as they say smooth wheat skin, beetled mouth, voluptuous is her voice, mind and body. Sensuality oozing out, at appropriate times, like the grace in her dance and a purpose to impress as strong as the beat of her feet.
Sitting in the darkest corner of the room, I folded her clothes smelling the chandanam that had submerged with sweat on to her white veil. I know anyone could have done what she did if given the chance but who gets that chance these days?

“Meenakshiye! Here, you go, one pound rice and few annas,” the nattuvanar dropped it into my hands. My remuneration this time is bigger than before as the landlord for whom we danced is extremely happy with her performance of Mukkutti.

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