Teaching is trending this summer season but the emphasis is on learning
more and more, from divergent sources. Gurus and gharanas don't matter
much more; neither do banis or boons! Who, except a handful, really even
know the difference? Gone are the days when a ward sat at the feet of a
master to learn seriously for long - 10/20 years. Today 20 weeks seems
like eternity!
Lack of REAL gurus has also led to this situation. What are REAL gurus?
First and foremost they are NOT in the market. So, they are free of the
money angle. Or ego. Or awards. They are not waiting to teach. Only if
they feel convinced the seeker is genuine, capable and serious would
they take on a ward. Not like now, come-pay-your-way,
learn-abhinaya in a weekend workshop! These gurus also knew EACH and
EVERY aspect of dance, not just items. They knew music, they knew
literature and they knew shastras. What are shastras? We use words
loosely often in India. Shastras are basically four types: Shruti - the
recited ones like the Vedas; Smruthi - the remembered ones like the
epics Ramayana and the Mahabharata; Shloka - the ritual ones like Tantra
and Mantras. Add the Puranas, the rites. 4 r's.
So, how many so-called gurus of today know even one ASPECT or one DEPT.
fully or correctly? Not even ten in the whole country, 2 in each form if
we are lucky and most of them are about 75, hence last remnants of
another era. New gurus, who are basically teachers - acharyas - know
only what little they acquired from their gurus and are today palming it
off as knowledge or deep art. A case of some better than none?
Read the article in the site
Figuring out the definition of happiness can be a time consuming
preoccupation for all of us in different stages of our life, though
parameters for a happy existence can keep changing in time. But
definitely we are bound to find an answer to this eternal question
sometime in life, though how satisfactory the answer, is very
subjective.
Read the article in the site
On
June 26, I lost a dear friend, Kavalam Narayana Panikkar, the renowned
poet – dramatist of Kerala. But my association with him has been
entirely in Mohiniattam. Some 35 years ago he came searching for me
through a common friend. He had heard of my sustained efforts for
reviving Mohiniattam which was facing extinction.
Read the tribute in the site
I have seen too many women fall prey to clever marketing and advertising
that promise the perfect body. That’s what sells. Of course, we
contribute to this walk down fantasy lane too. We choose to take the
easy way out and not question these miracle claims. We make excuses for
ourselves and play the victim, thereby relinquishing control of our
bodies and health.
I believe we need to be more proactive about choices that concern our
bodies. We need to be more discerning about long-term health, not just
short-term cosmetic results. We should protect ourselves from falling
prey to societal pressure to ‘look’ a certain way. It is not always
possible to get to a ‘certain size’. Much depends on genetics and
environment, especially lifestyle, stress, work and so on. Comparing
oneself with another who is perceived to be ‘beautiful’ or ‘slim’ is a
futile exercise.
Read the article in the site
It is a proven fact that there is a direct effect of religion,
philosophy, culture, social conditions of any country on the art forms
that originate in that surrounding and Indian classical dance forms are
not an exception. It is very important for every individual to have
knowledge of such conditions or components while training in any art
form. We need to know why we perform, instead of mechanically taking
knowledge only on educational level.
The love between the nayak and nayika is one such aspect which is seen
through the praises of gods and goddesses, their characters, short
stories; it sometimes depicts Indian culture, philosophy and the
relation between a man and woman. So what exactly does the philosophy
signify?
Read the article in the site
The recently concluded historic South Asian dance conference in
Birmingham NAVADISHA 2016, has elicited a wide range of opinions on
social media. Some may have been fueled by my editorial message of June
2016 on the home page of this portal.
In the spirit of discourse, we are sharing the views of two writers.
Join the discussion.
Editorial Team-narthaki.com
View the links in the site
Acclaimed Odissi dancer, teacher and choreographer Guru Aruna Mohanty,
Secretary and Creative Director of Orissa Dance Academy (ODA) keeps her
guru’s torch ablaze by organizing the Dhauli-Kalinga Mahotsav as its
Festival Director regularly at the foothills of the Vishwa Shanti
Stupa. A fantastic organizer, Mohanty gives the background and
instillation of this annual event, which has a strong martial arts
component alongside the classical dance form. This clarifies to
many why the Kalinga Martial Arts Festival, a brainchild of Dr. Ileana
Citaristi, merged with the Dhauli Festival started by her Guru
Gangadhar Pradhan.
Read the interview in the site
This may be a momentous period in the evolution of Kuchipudi.
Rarely ever does this lesser-known, country-cousin of Bharatanatyam get
as much attention as now. Some critics are despairing that it is in the
ICU….predicting its demise…pointing fingers…questioning…looking back and
asking what went wrong? Is it a time for resurgence? Or an impending
funeral?
The spotlight recently fell on Kuchipudi when Sangeet Natak Akademi
awarded two relatively unknown Kuchipudi dancers, sparking debates on
transparency. Perhaps the more important question is what is the
significance of this debate in the larger scheme of things? As far back
as 500 BC, the Greek philosopher Heraclitus said, "There is nothing
permanent except change". Clearly some changes are good, while others
are not. And what is good can be a matter of debate. Like the village
with the same name, Kuchipudi dance is also under the pressure of
change.
Read the article in the site
An entire month away from home, watching many
varieties of dance, theatre and performance art forces me to spend more
time and space than usual on a densely packed month of May.
#TRIPLE THREAT NYC
There are movies every dancer must watch, books that are a must read and
plays/shows that should not be missed. Broadway continues to be the
testing ground for so many great and inventive choreographers. The
unique demands of creating for “THE GREAT WHITE WAY” (a euphemism for
the glittering lights of Broadway in NYC) has spawned some of the most
exciting choreography in American modern dance history. Remember Jerome
Robbins’ stunning dance designs for WEST SIDE STORY in 1957 which was
later adapted to film in 1961? The opening scene on the basketball court
that morphs seamlessly into a dance “battle” between the two rival
teams, SHARKS vs JETS? Ballet, modern dance and sports images fused
effortlessly like a champion dribbling the creative ball. On a recent
visit to New York, I watched AN AMERICAN IN PARIS. The Gershwin lyrics,
“I Got Rhythm", "S Wonderful” had me foot tapping in my seat. It was
exhilaration from the moment the curtain rose. The male lead was
performed by Garen Scribner, a former dancer at NDT1, the fabulous
Netherlands contemporary dance company. The TRIPLE WHAMMY of dancing,
singing and acting that Broadway exemplifies, always leaves me
awestruck. Imagine 8 shows a week. Non stop. For months without end. I
wonder how most Indian dancers would handle even a 6 performance week
long “run”. Think of what Akram Khan has done for the past 15
years! 3 shows a week without stop. That, according to his manager
Farookh Chaudhry! Mind bogging!
Read the message in the site
