Natya Vriksha centre stages two faces - of an inheritor and of a beneficiary - Taalam: column by Leela Venkataraman

Natya Vriksha, the school for Bharatanatyam run by senior dancer Geeta Chandran in Delhi, on two successive Saturdays showcased on the one hand, its inheritor Sharanya Chandran, at the Stein auditorium, and on the other, at the Triveni auditorium, one of the young beneficiaries of its dedicated dance propagation.

That Geeta's daughter Sharanya Chandran, with the advantage of having grown up in a climate of dance and music from childhood, buttressed by special training in nattvuvangam, should present a program of Bharatanatyam, is hardly surprising. But that she should have got back to a full-fledged solo recital after her second motherhood, alongside her full time 10am to 5pm job, now centered round development, and all the family obligations with husband and two kids (notwithstanding exceptionally strong grandparental support), is proof of rare commitment to the art form....

Not many Gurus think of how the student, after the arangetram, manages finding a dance slot, so as to be formally recognized by the dance presenters as a legitimate candidate for the performance arena. Usually it means just waiting hopefully, for the lucky break whenever it comes. To provide the sorely needed helping hand, Natya Vriksha has now introduced its SOPAAN (The next step) series, wherein the combined resources of both institution and guardians of students, present the respective competent young dancer in a solo performance, thus providing for much needed solo exposure.

Anandita Narayanan performing at the Triveni auditorium showed herself to be an assured dancer, having participated in Natya Vriksha presentations, both singly and as part of the institution's group presentations....

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Saroha Festival: In memory of Guru Hare Krishna Behera - Taalam: column by Leela Venkataraman

In keeping with the quiet, non-controversial and modest character of late Odissi Guru Hare Krishna Behera the event was in memory of, was the modest but well-designed Saroha Festival held at the M.L. Bhartia auditorium of Alliance Francaise, New Delhi, on September 4, 2024. Having trained in Gotipua dance, and in Chanda and Champu of Odissi music, Hare Krishna Behera belonging to Balasore in Odisha, had his Odissi dance training under teachers like Guru Kelucharan Mohapatra and Guru Mayadhar Raut, when he was in Kala Vikash Kendra of Cuttack - till he migrated to Delhi in 1964, where after a stint with the Natya Ballet Centre, he joined the Gandharva Vidyalaya as a teacher in 1971. He later ran his own teaching classes at his place in Asiad Village, till he passed away in 2012. Daughter/Odissi dancer Kavita Dwibedi holds the festival of Saroha every year in memory of her father/guru. 

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Profile - Shivani Jatar reimagines Kathak through a Contemporary lens - Kasmin Fernandes

This boundary-pushing Kathak dancer and choreographer blends tradition with contemporary themes, creating a feminist and cross-cultural reimagining of the classical art form.

From the rhythmic footwork of traditional Kathak to the experimental choreographies she now performs in Leeds, UK, Mumbai-born Shivani Jatar's journey is one of balancing tradition and innovation. Steeped in the age-old techniques of Kathak, yet pushing its boundaries, this young dancer offers a fresh perspective on the classical Indian dance form. Shivani's technical mastery of Kathak is evident in her attention to tatkar which serves as the foundation of her performances. Wearing ghungroos, she skilfully weaves intricate rhythmic patterns known as tihai into her movements, creating a dynamic interplay between sound and motion. 

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Anita says...October 2024

It occurs to me that courage comes from the same place as fear, and where there is fear, there is the possibility of courage.

- Pádraig Ó Tuama, Irish poet and theologian
In the Shelter: Finding a Home in the World

Welcome to October - the changing season, the clocks turning back in North America and our grand silks and festive wear emerging from closets.

All around me in Chennai and elsewhere in India, the spirit of Navaratri has begun. Festivals in dance, music and theatre - starting at 5am with classical music, lighting of the lamps in the evening, display of Golu dolls in South India, the fantastic swirling energy of Garba in the north - everything feels so alive, electric and festive. I am sure the festival season has also begun with diaspora circles all over the world. It really is a delicious time of the year - perhaps my favourite season.

I begin in NYC... the BIG APPLE which has been the western world's most important center for dance for many decades. And for the past three weeks, all eyes were on Indian dance events that crowded the calendar.

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Punjab matters!: Column by Ashish Mohan Khokar

The state of Punjab in India is divided into four geographical regions: Majha, Doaba, Malwa, and Puadh. That's Amritsar, Jalandhar, Patiala and Chandigarh for you. These regions are divided by rivers: Majha is located between the Ravi and Beas rivers; the word "Majha" means "central" or "heartland". Doaba is located between the Beas and Sutlej rivers. Malwa is located below the Sutlej river and extending to the Yamuna river.

Taking Mohan Khokar (1924-1999) Centenary celebrations to his home state - the Punjab - was a commendable feat by the IGNCA under Dr. Sachchidanand Joshi. He has supported the centenary celebrations since Dec 30th last; the first one took place in Chennai at Kalakshetra on the occasion of the birthday of late Prof. Mohan Khokar. Dance icons Sonal Mansingh, Padma Subrahmanyam and guru Kalyanasundaram Pillai blessed on dais and many stars of the scene were in attendance. Dr. Achal Pandya gave full support to the publication of the 300 paged tome on Mohan Khokar: The father figure of Indian dance edited by yours truly. Functions later followed in Bombay, Baroda, Ahmedabad, Pune and now - Punjab. 

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Encouraging response to Aavartan Festival - Taalam: column by Leela Venkataraman

Established in 2020 by Madhur Gupta, to spread classical art education amongst the youth, Sangeet Vidya Niketan's valiant effort has worked on the principle of Marg Darshan through a Guru going far beyond the formal instructions inside of the classroom.

Its latest two day event Aavartan held at Stein auditorium of the Habitat, Delhi, not only provided recitals in both classical music and dance, but also blended in the same show, young talents along with the expertise of established artistes - demonstrating in the process, how Art survives through ages - by enriching on the one hand and in turn getting enriched. Above all making the two evenings ticketed events, for this critic, was a courageous and much needed step - especially for an art viewing community, which in the 'free for all' programs, seems to take for granted the dancer, who, living on air, has to provide programs!

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Obit/Tribute - Pt. Sunil Kumar Dubey - Sharon Lowen

In the recent passing of Pt. Sunil Kumar Dubey on September 17, 2024 at Seraikella at the age of 64, the performing arts of India has tragically lost a vital link in the continuity of the recently recognized as classical Seraikella Chhau dance of Jharkhand. 

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