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This is the third part of my imaginary interview of Guru Gopinath, the answers of which have been taken from his autobiography in Malayalam translated for me by Babita Nair, a Bharatanatyam aspirant. In the previous two parts of the series, I wrote about Guru Gopinath's meeting with American dancer Esther Luella Sherman/Ragini Devi, with whose initiative Kathakali was presented for the first time outside Kerala in Bombay, where he created an audience for Kathakali. I wrote about his intense self training to learn English to converse with Ragini Devi and read newspaper reviews and reports. I touched upon his hearing of the beautiful maiden Thangamani who was the first student of Mohiniattam under the first teacher on the subject in Kalamandalam. I also elaborated on his connect with the royal family of Travancore and his receiving the Veera Srinkhala award from the Maharaja.
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Since you were not conversant with the English language what was the language of communication between you and Ragini Devi?
In my conversations with Ragini Devi, I used broken English, Sanskrit, Malayalam and Hindi, profusely using the two English words 'yes' and 'no'. And if that didn't help, I used hand gestures to communicate with her. Madhava Warrier and I were curious to know the content of the English newspaper reports about our performance in the Opera House on December 12th and hence we requested Ragini Devi to read these reports to us. She read it out. But we understood only a few words.
How did the audience react to your performances?
On Dec 13th, we repeated our Opera House programme. We had more audience on the13th than the previous day. The audience cheered and clapped enthusiastically after each and every scene. The newspapers next day praised our performance.
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This month, the Unmute series looks at the trajectory of a very important Sexual Harassment allegation that completed a year this month and looks at elements of law and protections available to the artistes.
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Teaching dance is a main source of livelihood even to those among the younger generation. More than a year and half into the pandemic, there is sense of optimism that all will be well shortly. Performing spaces are slowly opening up. Dance did not go into oblivion during those trying times. There was also an overkill.
The series looks at how dancers and teachers kept their morale and their art flying high, in different ways. The series begins with an interview of Sathyanarayana Raju, the Bengaluru based Bharatanatyam dancer.
His life as a dancer was a struggle. Yet he wondered how he could use his art for philanthropy. This was ambition in reverse mode! It took him nearly two decades to establish himself as a soloist of merit, but what a presence he made eventually! His abhinaya evoked deep emotional response in the audience, grace marked his masculine nritta, his creative forays made history as significant works of art.
One celebrated male dancer who has undoubtedly been propelled into stardom is Sathyanarayana Raju. One can imbibe substantially from a composite art such as dance. Sathya has grasped much, right from hisstunningdress sense to a traditionally decorated home splashed with greenery all around, to warmth and hospitality and a sense of gratefulness that has uplifted many a life.
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The Goddess does not enter from the outside
SHE emerges from deep withinPl provide your name and email id along with your comment