Singapore based Kuchipudi exponent Shantha Ratii performed for the
multi-arts Kala Ghoda Festival that concluded on 17th Feb in Mumbai.
Shanta reveals her growth as a versatile dancer performing three
distinct classical dance styles, her experience as a performer, film
maker, choreographer, teacher and the setting up of Shanta Ratii
Initiatives in Singapore for the promotion and propagation of classical
arts of India and Antara for the underprivileged and much more.
Read the interview in the site
Cycling from LB Road in Chennai, in the vicinity of Ganapathyram
theatre, to Shastrinagar to attend dance, music, theory, nattuvangam and
abhinaya classes at Abhinaya Sudha is by far the most lasting memory of
my childhood and one person who is undeniably associated with all these
classes is Kalanidhi maami. Yes, maami did not just teach abhinaya, but
a select few had the privilege of being trained entirely at Abhinaya
Sudha where maami, who had the foresight to see the importance of
holistic training, brought in the best teachers around town and abroad
to train us in all aspects of Bharatanatyam.
Read the tribute in the site
She was universally known as Maami. As though the word was her name. In
Madras dance circles, this name stood for Kalanidhi Narayanan
(1928-2016) and for no other ordinary maami of Mylapore or Mambalam. She
was the quintessential dance aunty, teacher, friend, guru. She
was amiable, affable and admirable. Amiable to all, affable to many and
admirable because she didn’t dance for half her life professionally but
when she returned to stage, even if for abhinaya items, she made a huge
impact.
Read the tribute in the site
This article is based on the identification of the use of the simple
device of Maxims of methodical teaching for giving training in dance. It
is seen that the use of “maxims of methodical teaching”[1] help organize
and grade teaching matter according to the age, background and
psychological make-up of the students to be taught. The judicious and
ingenious use of these maxims also helps expedite the teaching-learning
process of the students in the academic curriculum.
The researcher has attempted to expose the use of these maxims in giving
training or teaching Bharatanatyam by using as a model the curriculum
design of Sri Rajarajeshwari Bharatanatya Kala Mandir (the Alma Mater of
the researcher, therefore the progression of lessons is as learnt by
the researcher then). The researcher has been fortunate to learn under
all the gurus of the institution and observe their teaching methods at
close quarters; particularly of Late Guru G. Karunambal, the co-founder
of Sri Rajarajeshwari Kala Mandir, Mumbai, who taught at the Chembur
branch. There, with her, the researcher has worked as trainee, assistant
teacher and teacher for nine years. By observing and analyzing her
mentor’s teaching methods as a trainee, the researcher attempts to
document the commonly used teaching methods of Bharatanatyam under the
varied techniques as per the list of maxims of methodical teaching.)
Until now, the students have been learning the basics of the art form of
Bharatanatyam. They have learnt the adavus and basic theory like
hastas, viniyogas, talam and a little historical background. Still,
embarking on the learning of margam appears to be a new chapter in their
life. With awe and wonder, they must have observed the seniors
perform the items of the margam. So, this makes the learning of margam
look all the more challenging to them, as their seniors have set
standards while performing their arangetrams. And thus they look forward
to learning the margam with excitement and thrill.
Read the article in the site
Make in India! That's major focus now. And on Feb 13th, as the PM with 5
other PMs (of other countries), inaugurates this huge focus on India,
what’s the dance component? Forget all the Padmashris and self
tom-tommed great ones with big names and titles. It is two sisters under
35 from Bangalore - Mayuri and Madhuri Upadhya - through their group
Nritarutya that has been commissioned to choreograph the Opening
Ceremony in an Ammchi Mumbai stadium. 85 dancers, drawn from Pune,
Chennai, Delhi and of course its main company Nritarutya from Bangalore.
Watch it live on most channels that day and I’m sure later for
eternity, on social media. This shows where real talent lies and counts.
Chennai is not. Delhi is not. Bombay is not. Not a single choreographer
or dance company from any of these big cities, just good old simple
Bangalore.
Read the article in the site
By and large, when reviewing a dance performance, on principle, I make
no mention of the age or physical appearance of a dancer as I see her on
stage. Generally, this is a part of journalistic ethics; personally age
factor has never appealed to my mind unless I find a tender artiste
emoting a rather tough abhinaya with spontaneous ease. The second
factor, the physical appearance, of course, this I curb myself from
making a mention of it, more so when it is far from being complimentary
to the artiste in question. But I must own up, that bloated
figures on stage, young or old, are a disturbing sight to the audience,
leave alone a critic. Not to stir a controversy, I would like to
briefly explain that it is not mandatory that a dancer needs to have a
gym-toned body. On the other hand, I don’t quite agree that if one is an
exquisite, excellent dancer, well her figure, no matter how uncouth,
shouldn’t worry us. Well, a weighty body is not light on the feet to
that extent, and the nritta has to be scaled down. Then comes the TINA
(there is no alternative) factor where you make do with matured,
excellent abhinaya and minimal footwork or at times no footwork at all.
This critic has been a witness to both and much more. Can a dance be
complete without nritta complimenting abhinaya and vice-versa in a
balance of both?
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It is the season for "Paddu Akka" all over again. Padma Subrahmanyam is
being featured on two magazine covers in the same month. DRISHTI, an
initiative of dancer Anuradha Vikranth and NARTANAM edited by scholar
Madhavi Puranam. Finally, a long overdue assessment has begun of Paddu
Akka’s pedagogy, scholarship, costume innovations, choreographic and
musical imprints, solo dance theatre inventions of BHARATA NRITYAM and
finally her ambitious vision for BIFAC- Bharata Ilango Foundation for
Asian Art and Culture, a centre outside Chennai. At 75, this compelling
dancer-actor continues to win audiences in the various avenues she
continues to explore.
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