Many years ago, when I had met Sattriya dancer Sharodi Saikia at Guwhati at Indira PP Bora's residence, I was pleased to learn that her contribution to revival of Sattriya dance was similar to revival of Odissi by Sanjukta Panigrahi. Very few women had taken to learning Sattriya dance, which was practiced by the monks in Sattras. Raseshwar Saikia was the first Adhyapak/Guru who after leaving Kamalabari Sattra and adopting grihasthashram (marriage), took a bold step to give training in Sattriya dances to few young girls - among them were Sharodi Saikia, Indira PP Bora and others. Hailing from a distinguished family, Sharodi had been performing and studying Sattriya dance with complete devotion. She had performed in Indonesia when she had gone with the President of India, Fakhruddin Ali Ahmed. She had good academic career and had been serving in Department of Education.
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Ever since its premiere in St Petersburg in 1877, the ballet La Bayadere has fascinated audiences not just in Russia but around the world. The master choreographer, Marius Petipa (whose bicentenary is celebrated this year) himself oversaw three different versions during his lifetime, the last in 1900 when he was 82 years old. This genius, considered the father of 'classical ballet', not only created over 50 of them but his versions of many classics, like the ballet Giselle that he revived, are regarded as definitive. Some of the most popular ballets seen today from Sydney to San Francisco: Swan Lake, Sleeping Beauty, Don Quixote, are associated with him and one of his most enduring creations is La Bayadere, a fantasy tale about an Indian temple dancer, devadasi, a being who fascinated the European world for centuries.
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In the classical dance scene of Kolkata, Bharatanatyam has understandably a large number of institutions devoted to it, followed by those available for Kathak and Odissi - in no particular order. Thanks to the presence of the pioneering Guru Bipin Singh in Kolkata and influence of Santiniketan's overwhelming choice, Manipuri should have found a stronger foothold in the metropolis, but that does not seem to be the case, as seen from only a few scattered learning centres. Kuchipudi, Mohiniattam and Kathakali schools are not too many either. Sattriya being a new starter (with recognition received only in 1999) is yet to find a firm niche in the city. To set the records straight, Navanritya, an innovative synthesis of classical and folk forms by Manjushri Chaki-Sircar has a couple of centres and Gaudiya Nritya, Bengal's own tradition resurrected from sculptural and scriptural sources by Mahua Mukherjee, has its students securing Central government scholarships but no national recognition yet.Under the circumstances, the recent happenings with Mohiniattam and Kathakali were like a breath of fresh air in the city. While the performances in the first case were in keeping with the complete rigor of music and costume, in the second instance they were sans the traditional attires. Both the events drew huge applause from the large number of viewers, showing renewed interest and enthusiasm for these styles.
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Bharat Utsav, as the two-day festival of Debadhara Delhi was titled, showed up the inclusive nature of the organization started in the name of late Odissi Guru Debaprasad Das - with half hour slots of Odissi, Bharatanatyam, Kathak and Mohiniattam being sponsored by them at the IIC auditorium. Indeed Debadhara is projecting itself as a strong supporter of all dance forms and an events manager - overriding its image as an institution producing young Odissi dancers. While applauding the festival organization, one pondered on some things which could perhaps be thought over. For instance, the start with screening of a film on the generous sponsor (but for whose support this festival could not have been held) followed by an Odissi presentation by the youngsters of Debadhara, not to speak of the inaugural formalities with chief guests from the bureaucratic world, the actual program scheduled to begin at 6.30pm, began a good forty minutes late on both days. Also does every dancer after a few years in the field, become a 'Bidushi?' This word is being devalued like the word 'guru'. Will not dancer so and so do?
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A dancer on the stage depicts a romantic scene between the nayak and the nayika. She expresses her love through her eyes and sensuousness through her lips as they tremble. As the nayak pulls her towards him, her face lights up, her cheeks radiant. And then, in the next scene, we see a nritta piece, in which the feet of the dancer move across the stage in different movements. It's as if the alta-reddened feet are a different entity altogether in this piece of dance. The hastas, the hand gestures are used to depict certain animate and inanimate objects, each finger beautifully made up to be seen by a house full of spectators. And then you wonder, who is this make-up artist who has made the dancer look so beautiful, and so expressive. Brij Mohan Gupta is a make-up artist very well-known in dance circles for his expertise. During a recent talk with photographer Avinash Pasricha, I learnt that Brij Mohan Gupta has made up many dancers for his photographs too. Brij Mohan, who has worked with dancers, theatre artists and others for decades, worked as a make-up artist with Doordarshan television, and now freelances.
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The unstoppable shenanigans of Carnatic musician TM Krishna continues. Grabbing the spotlight at every available opportunity, he has once again used his opponents to turn the spotlight on himself in New Delhi.A recently cancelled concert in the park alongside dancers Sonal Mansingh and Priyadarsini Govind, resulted in the AAP government and his supporters organizing another show at THE GARDEN OF FIVE SENSES.Read the media exchange that followed the original show cancellation
To be a Guru, is to touch a life forever. Their teachings live on, not only in their transference of an Art, but also in the humanity, sincerity and love that they bequeath to each and every soul they touch. It is with a heavy heart that the Odissi community grieves the loss of one of the finest masters of the Mardala and a legendary Guru of Odissi music, Guru Banamali Maharana. On November 17, 2018, Banu Dada breathed his last at Sum Hospital, Bhubaneswar. He was 77. He is survived by his wife, son and grandchildren.
Guru Banamali Maharana was the younger cousin of Guru Kelucharan Mohapatra (Guruji) and as my uncle, a father figure to me. Born on May 16, 1941 in the famous artistes' village of Raghurajpur in Puri district, Banu Dada was responsible for developing the grammar and codification of the Odissi Mardala, and giving it a special identity and establishing it as a solo instrument in the realm of Odissi music. He learnt under Guruji, and later became a pioneer in the field of Odissi music.
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Post-Independence, India has seen not merely an upsurge in its consolidation of eight recognised classical dance forms (and a few more waiting in the wings for formal recognition), but also a succession of gurus who have held the cudgels in their capable hands and led the ever increasing batches of learners - in India and in the diaspora abroad, keen to bond with cultural roots they had left behind - over the years. The first generation gurus have been, without exception, trail blazers and have left their stamp on the individual dance forms. An eager batch of new learners - marked by talents and quite often handpicked by the gurus -- were initiated into the mystique of canons of, and choreography in, their styles and have now transformed themselves into worthy second generation gurus in all the eight forms. It is with immense pleasure that one watches the scenario that heralds the emergence of third generation gurus, for, the show must go on.
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That no hurdle barring ultimate death can hold back the determined dancer can be seen from the life of Nityananda Das. A young enthusiastic student of Odissi in Bhubaneswar, learning under his Guru Bimbadhar Das, the lad showed real promise of a bright future as an artist, till misfortune in the shape of a grievous fall, resulted in an operation robbing him of one leg. Moving on crutches, a sobbing Nityananda greeted his teacher who angrily looked at this mess of self pity standing in front of him, and in one fell sweep taking away the crutch, ordered him to join the dance class and learn to dance with what he had! Thus started hours of indomitable courage and effort, by both teacher and taught to get the body used to balancing on one leg. And today watching the aplomb with which Nityananda performs, one can only come away astonished at the tenacity and resilience of the human material.
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If the historical curtain could open on the turning point of the first Christian millennium's end, one would accost the loose "confederacy" of Baro Bhuyan (Twelve Landlords) as a relic of the erstwhile Kamarupa kingdom that covered all of Assam, North Bengal and large portions of Bangladesh. When eventually the central Kamarupa kingdom fragmented, the system of small chieftains remained. In Bengal as in Assam, the Baro Bhuyans were found in regions within the traditional boundaries of the erstwhile large kingdom.The more prosperous ones gave themselves the epithet of Raja (the King). In times of aggression by external powers, they generally cooperated in defending and expelling the aggressor. In times of peace, they maintained their respective sovereignty. In the presence of a strong king, they offered their allegiance.
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The Nakshatra Dance Festival of NCPA (October 12 – 14, 2018) originated in 2009, and is held every October to feature innovative group choreographies. The festival featured two choreographic works on the first day - from Kolkata, Bimbavati Devi’s Ghana Baari Barikhata in Manipuri and Vikram Iyengar’s Shunya Se, a contemporary dance work based on Kathak.Bimbavati is the daughter of late Guru Bipin Singh and Kalavati Devi. Dance is in her blood. Brought up in a house where dance was taught to young dancers round the clock she imbibed the best from both her parents. Over the years she has proved to be not only a brilliant solo dancer but also as a choreographer. Ghana Baari Barikhata (Reflections in a raindrop) is her latest choreographic work that I saw in Dhaka on a large stage with large number of dancers and at Rabindra Sadan in Kolkata when she presented it as a part of concluding program of centenary celebrations of Guru Bipin Singh.
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It was by all accounts an impressive curtain raiser for Satraranga's collaboration with JNU; the latter unfortunately of late have been in the news for the wrong reasons. Developed as part of a Production Oriented Workshop for the Sattriya training classes held in the University, the choice of a dance drama on the life of the founder of Sattriya, viz. the religious teacher who compounded in his person the talents of artist, poet and dramatist, was very intelligent, for it provided scope for all levels of proficiency, enabling both novices and trained dancers to come together. Concept, Script and Direction for 'Dhanya Toho Srimanta Sankara' were by Dr. Bhabananda Barbayan with Niranjan Saikia Bayan working as assistant Director, and Rupashree Mahapatra, Gargi Goswami, Kiran Borah and Sukanya Boruah as the dance teachers. The manner in which the choreography was designed had to be lauded, for while enabling trained dancers to present their expertise in traditional group segments like Gayan, Bayan, Ojha, through experts from Uttar Kamalabari Sattra in Majuli, the narrative seamlessly wove in movement sequences by less experienced amateurs, without diluting the aesthetic totality.
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The word ‘Jayantika’ rings a bell in the mind of each and every Odissi dancer, old or new, upcoming or established, professional to amateur. All of us know that towards the end of the 50’s an association was formed among the gurus, intellectuals, dance researchers and practitioners with the intent to systematize the practice and teaching of the Odissi style as it was known till then. Repertoire and technique was discussed, dress code was decided and fixed and guidelines were laid down for the future generation of Odissi dancers. In few words, if we are existing today and dancing Odissi in the four corners of the globe, it is largely thanks to Jayantika and the people who took part in it.
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Do not be daunted
By the enormity
Of the world's grief
Do justly, now
Love, mercy, now.
Walk humbly, now
You are not obligated
To complete the work
but neither are you free
To abandon it. - THE TALMUDAs this newsletter drops into your INBOX, the debate about the world's most famous hashtag rages on in India.I will begin by getting some of the dance events out of the way so I can focus on the most crucial issue that is hitting the performing arts scene in India.
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