For ankle bells which have sounded for over two decades, Goa’s annual
Nupur festival spread over three days, marking its 21st consecutive
celebration this year, had a modest audience gathering each evening.
Carrying a certain aura pervading its performance site, in the precincts
of Shree Mahalsa temple at Mardol in Goa, this festival mounted by Kala
Academy Goa in association with the West Zone Cultural Centre, was
conceived as a means of initiating, what popular perception sees as, a
very western oriented people of Goa into the classical dance heritage of
India. The event is now perhaps in need of a venue like the Kala
Academy’s own aesthetic premises by the sea, frequented by a
cosmopolitan clientele. Also the travails of having to travel twenty odd
kilometers from Panjam to Mardol for a festival which starting at about
7 o clock ends at nearly 11pm each evening, belies the purpose of the
endeavour to reach out to the larger population. The temple grounds with
the lit Dnyandeep in the rear bounded on by the temple (very
distinctive architecture unlike any other region in India, sporting
exquisite chandeliers hanging from the ceiling in the main entrance hall
leading to the garbagriha) on one side and living premises for priests
and visitors on the other, arguably makes for an attractive setting, the
sound of puja bells and the drums heralding the evening haarti,
suiting the ambiance of ‘temple dances.’
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Born to the most illustrious family of Ammu Swaminathan, Mrinalini
Sarabhai was most low key about her high pedigree and station in life.
It was Santiniketan that shaped her interest in art (Indira Gandhi was
her hostel mate!) and she then learnt Bharatanatyam properly from two
greats - Guru Muthukumara Pillai of Kattumannarkoil, Chidambaram and
Guru Meenakshi Sundaram Pillai of Pandanallur. She partnered Ram Gopal
and won world acclaim before marrying eminent scientist Vikram Sarabhai,
from whom she has two children Kartikeya and Mallika Sarabhai.
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Guru Padmini Ramachandran was born in Kerala's Mavallikkara on
September 8, 1944. She was brought up in Chennai and started
learning Bharatanatyam under Pandanallur Chokkalingam Pillai. She went
on to learn under Vazhuvoor Ramaiah Pillai and performed her arangetram
with his guidance. She sprung to popularity and was scouted by several
directors which led to her flamboyant yet brief stint with cinema. Her
most noteworthy works were Narthanasala opposite N.T. Rama Rao, Iruvar Ullam opposite Sivaji Ganesan and opposite Raj Kapoor in Dil Hi To Hai
where she danced in the popular song "Laaga chunari mein daag." Many
more opportunities beckoned her into acting but she gave it all up to
pursue her true passion - dance.
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It is a well known fact that literature has always been the wealth of
our country. Indian classical arts and literature go hand in hand.
Many dance treatises have been written by ancient Indian authors (not
dancers) that are popular even today as handbooks and encyclopaedias.
One such piece of literature is Bharata Muni’s Natyashastra. It is
believed to be one of the oldest treatises and the one which talks about
all Indian arts combined; viz dance, drama and music. It contains
information as well as courses of action so as to help artists design
their performance. The Natyashastra talks about how an ideal auditorium
should be, and also gives detailed information about the various kinds
of plays that can be performed. With dance in mind, Bharata lays down
certain guidelines regarding use of hand gestures (mudras), eye
movements (drishti bheda), movements and positions of feet (pada bheda
and charis), postures arising due to combination of the above (karanas)
etc.
In the layman’s terms, “Nayika” means a heroine; the principal subject
of any storyline. But does Bharata Muni have the same conception in mind
while he describes the Nayikas? I think the answer is negative; the
obvious reason being that the text was written sometime between 200 BC
and 400 AD, and with the then status of women in mind.
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Seventy six year old Guru Ganesh Hiralal Hasal is one of the foremost
and senior most exponents of the Jaipur Gharana of Kathak dance. He
belongs to the seventh generation of classical dancers and musicians,
whose contribution towards the propagation and enrichment towards the
classical arts spans generations. Although his contribution is immense,
he maintains a low profile as he feels that it is the art that has to
speak for itself and the artist is only the representative of the art
form. The veteran mentor talks about his experiences for more than six
decades.
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I am knitting blue wings into my dress
Sewing sparrows in my sleeves
Azadi is the name of my unborn daughter
and perfume of love in my poem’s dress
If I fail to tell my stories of struggle
I will lose myself
- Afghan poet PARI
On the first month of the New Year, I share these lines with the hope that the coming year will not carry scars of violence, savagery and cruelty that 2015 has witnessed. The largest number of displaced peoples in a century, the worst heat and floods in a century, rising fear and hate mongering … 2015 is best behind us.
My own New Year has been marked by the ritual visit to my favorite Chennai temple - Parthasarathy Kovil in Triplicane. As I waited in the long lines at 4 am, the memories of how the entire community bonded during the flood crisis returned. Muslims, Hindus and Christians took refuge inside the temple, and in the aftermath of the chaotic disaster, the Muslim community in Triplicane helped clean the temple before the auspicious month of Margazhi began on December 16th.
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