Individual dance creations of compelling resonance - Taalam: column by Leela Venkataraman

VILASINI NATYAM PREMIERE

It all started at the Stein auditorium of the Habitat with a stunning solo premiere in Vilasini Natyam by veteran dancer Swapnasundari, followed by a group presentation of her creation of temple dance in the Agamic style.

PARABOLA OF DANCE
Aditi Mangaldas' generous initiative in starting what she has named Parabola of Dance, featuring creative efforts by dancers pertaining to different dance traditions, with the performance part succeeded by discussions on the constantly evolving process behind these creative enterprises, has been attracting larger sections of dance lovers. 

SWAN LAKE IN ODISSI

Sharmila Mukerjee (student of Guru Kelucharan Mohapatra) and her group of students from Sanjali Ensemble of which she is the Artistic Director, presented her creation of Hansika, based on the famous Swan Lake Ballet of Pyotr Ilyich Tchaikovsky; the work in the Odissi format premiered back in 2018. 

LOKCHANDA CULTURAL UNIT PRESENTS EVENING OF NRITYA KATHA

Designed by Maitreyi Pahadi, the Nritya Katha evening at the Habitat was predominantly a Kathak event, with one exception of an item of Mayurbhanj Chhau, the event centered round the Monsoon theme.

UMA SHARMA'S CUSTOMARY JANMASHTAMI

Veteran Uma Sharma's Janmashtami evening Sree Radha at the IIC, saw her students of Bhartiya Sangeet Sadan present Nritya Ras, her annual homage to the Krishna Janma Bhoomi -which constitutes her personal contribution to the world of dance - based on the research she undertook, in the Brindavan area and its vicinities. 

TWIN SHADES OF FOLK AND CLASSICAL AT IIC

In support of its recent approach supporting both fold and classical, IIC Double Bill concert presented an evening clubbing Kajri music with Kathak. 

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Article - The connotative appellative: Does arangetram need multicultural synonyms? - Dr Lavanya Iyer

Why is it that BHARATANATYAM ARANGETRAM-s are being categorically and repeatedly designated with the name of RANGAPRAVESHAM, duly by Bharatanatyam gurus themselves? Even on the invitation cards, the trend is being followed. Earlier, it was prevalent only in other south states which I attributed to state linguistic issues (not that I endorse it, but still it made sense). Now it's prevalent among the Tamizh speaking gentry from Tamil Nadu and in Tamil Nadu itself. Now that is appalling. Now my simple question is ----- Why is this so called "trend" prevalent and what has trend got to do with tradition?

RANGAPRAVESHAM, a term exclusively associated with KUCHIPUDI, the classical art of Andhra and Telangana, neither fits into the linguistic side of Bharatanatyam nor is it that there has been any issue with the term ARANGETRAM which is exclusive to Bharatanatyam's patrimony and legacy of its mother state Tamil Nadu. Why take away the basic beauty of a Tamizh word meant to decorate the art born of Tamil Nadu and push a nonnative vernacular version for no reason. ETRAM and ARANGAM being Tamizh words fit the bill, RANGA and PRAVESHA being Sanskrit / Pali, definitely do not. We also see the terms MANCH or MANCHA that are derived from Prakrit / Sanskrit. Kathak and Odissi use the terms RANGMANCH PRAVESH and MANCHA PRAVESH respectively, which is common to Sattriya as well. Manipuri of course has a very different genre of MAIBI or the Ras Leela depending upon the debuts. 

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Article - From Abhinaya to Responsibility Nāṭya, Human Formation and the Ecological World - Rohit Viswanath

The discussion of Nāṭya, Abhinaya, Rasa, Sādhanā, and related dimensions of practice in this essay draws substantially upon the writings and reflections of Dr. Padmaja Suresh, whose work has explored the philosophical, aesthetic and spiritual dimensions of Nāṭya. Her contribution is especially relevant here because of her association with Nāṭyaśāstra Gurukulam, where she has contributed to its pedagogical and aesthetic direction. The extensive engagement with her work reflects both its direct relevance to the argument and its place within the intellectual and pedagogical context from which this essay emerges. 

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Interview - Bharatanatyam dancer Vinay Tiwari on choreographing Magadh in Kathak - Shveta Arora

I spoke to Vinay at length about his repeated presentation of Bihar in his choreographies, about 'Magadh' and working with Gauri in Kathak and the process of conceptualizing each piece in the function. I also spoke to Gauri about choosing Vinay as this year's guest choreographer and about how he fared in her estimation.

When Gauri invited you, a Bharatanatyam dancer, to choreograph for her Kathak showcase, how confident were you - firstly, about choreographing the disciples of another guru and then, of a different stream of dance altogether?
The idea of such a collaboration had been in my mind for a long time. I had been in Lucknow for 7-8 years - my exposure to classical dance, I would say, consisted more of Kathak than Bharatanatyam. I was a student at Bhatkhande University, and Bharatanatyam in Lucknow was either those people who were in my class or those who were related to that class. But Kathak was more widely present in the form of performance or presentation. So just my constant observation of Kathak spans 12 years to 13 years. I also had some opportunities to play characters in Kathak dance productions by Surabhi Singh Tandon ji. So it was that I understood the body language of Kathak. I have many friends in Kathak and much exposure to it.

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Article - In Me - The Shishya and the Guru - Dr. Lata Surendra

Abstract:

In Me - The Shishya and The Guru:
The Dualistic Paradigm of Shishya and Guru in the Eternal Continuum of Learning

The paper explores the epistemological and ontological dimensions of lifelong learning through the dual lens of the Shishya (the perpetual student) and the Guru (the inner teacher). Rooted in the rich philosophical heritage of India, this study unpacks the multi-tiered evolution of mentorship - tracing the spiritual and intellectual trajectory from Upadhyaya (skill instructor) to Acharya (the exemplar of conduct) and, ultimately, to Guru (the absolute dispeller of existential darkness). Drawing upon a shared global tapestry of insights, the narrative synthesises the existential angst of Western thought (Eliot, Sartre, Kafka, Dostoevsky), the abstract spatial geometries of modern painters (Kandinsky, Van Gogh), the humanist architecture of Rabindranath Tagore, and the moral and contemplative rigour of East Asian classical traditions (Confucius and Japanese Zen Buddhist aesthetics). On the occasion of Teacher's Day, and in alignment with the seminal warnings of philosopher-statesman Dr. Sarvepalli Radhakrishnan, the author argues that true intellect resides not in the accumulation of empirical certainty, but in the radical vulnerability of acknowledging one's own profound ignorance. The paper establishes that the act of giving (teaching) is intrinsically an act of receiving (learning); by interacting with the diverse human "moulds" of life, latent wisdom, historical experiences, and artistic masteries are reawakened and transmuted into immediate tools of comprehension. Ultimately, the paper positions life's inevitable crises - typified by the divine alchemy of Sri Krishna on the battlefield of Kurukshetra - as the supreme catalyst for spiritual unravelling and self-realization. The study concludes with a phenomenological reflection on macro-micro cosmic unity, asserting that the deepest depths of universal wisdom do not require external conquest, but an open, receptive heart capable of listening to the echoing depths of the infinite cosmos mirrored in the most ordinary fragments of nature. 

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Article - Beyond Familiarity: Authenticity, Adaptation, and the Odissi Experience - Dr. Rohini Dandavate

Ever since I migrated to the U.S., I have sought to remain rooted in the authenticity and integrity of the Odissi style while finding ways to connect with audiences unfamiliar with its traditions, aesthetics, and cultural contexts. For me, the tension between authenticity and adaptation has never been about choosing one over the other. Rather, it has been a continuing process of understanding what must remain rooted in the tradition and what can evolve so that Odissi can speak meaningfully within the multicultural context of my adopted home.

Authenticity, as I understand it, cannot be static. Odissi itself has evolved through many historical transitions - from temple traditions and Mahari and Gotipua practices to its modern reconstruction and codification. Authenticity, therefore, is not the preservation of a frozen historical moment, but an ongoing relationship with tradition. My challenge has been to translate the form without losing its grammar, integrity, or cultural memory, while making it possible for audiences to encounter Odissi without first needing to understand all that lies behind it.

My experiments in translation began almost a month after my arrival in Ohio. In one of my earliest presentations, for a class of kindergarteners, I quickly learned from these five-year-olds that I needed to begin with stories and images familiar to them. Their response prompted me to think, learn, and discover new ways of presenting Odissi that could create curiosity about a movement language they had never encountered. 

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Interview - We worship Bharata Muni in Thailand: Bharatanatyam dancer Awassada Kilnsukhon - Shyamhari Chakra

She was in her mid-20's when she represented her country in the historic international conclave on Indian dance hosted by the Ministry of Culture and Sangeet Natak Akademi in New Delhi two years ago. The youngest delegate in the meet, she was one of the panelists to speak in the important and interesting session on Indian dance diaspora.

She is Bharatanatyam dancer Awassada Kilnsukhon from Thailand who was in India for two years and recently returned to her country upon completion of her masters in Bharatanatyam from Banaras Hindu University.

How did you get interested in dance?
I was born into a family of Thai classical musicians. Therefore, I grew up surrounded by the arts traditions of ancient Thailand. As a kid, I was quite fond of dancing. I began learning classical Thai dance as part of my school's dance curriculum from kindergarten when I was just four years old.

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