Anubandh– Scintillating blend of collaborative inputs with performative excellence - Taalam: column by Leela Venkataraman

The HCL sponsored concert at Kamani auditorium, attracting Delhi’s art cognoscenti, featuring Malavika Sarukkai’s scintillating post-pandemic maiden offer Anubandh (meaning connectedness) could not have been better timed– coming as it did, after the harrowing period of forced isolation, with loneliness fracturing all relationships. And what better call to the transformative power of hope could there be, than one reclaiming man’s primordial relationship with the elements forming the world he lives in –viz the sun and the moon, Prithvi or earth providing the grounded security and living space, Apah or water sustaining life’s thirsts, Vayu wafting sweet nothings across space, fanning the fires of passion, Agni or fire destroying and igniting grief and Akash or space providing that release into vastness.

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Book Review - Muthulakshmi Reddy – A Trailblazer in Surgery and Women’s Rights - Srinivasaraghavan NC

I read the book ‘Muthulakshmi Reddy – A Trailblazer in Surgery and Women’s Rights’ by V.R. Devika and I have to say it was a highly engaging biography that was simple to read and process. Those of us who know Dr. Devika are aware of the hard work that she has put in for this book, the research for which began about four decades ago. Having attended many of her online talks, I was already quite well informed on Dr. Muthulakshmi Reddy and this book provided a more extensive view of things I had pondered about while listening to Dr. Devika.

Dr. Muthulakshmi Reddy was a multi-hued personality and I am sure her life and work were boundlessly difficult to document. But the book neatly arranges events in a breezy chronological fashion - starting from Muthulakshmi’s early life as the daughter of Chandrammal and Narayanasami Iyer, her struggles to obtain education, the conflict within herself to hold on to her identity as someone from a hereditary art family who did not want to continue the family tradition and so on - her life as a whole is quite inspiring and interesting. The story of how Narayanasami Iyer stood behind her entirely like a rock makes one think how progressive this particular gentleman must have been for his times.

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Profile - Dr.Kanak Rele: Multifaceted Maestro - V. Kaladharan

 

Mohiniyattam, the sole female dance heritage of Kerala, had for long been sandwiched between Kutiyattam, a highly evolved Sanskrit theatre tradition and Kathakali, the globally renowned classical dance-drama. Its history, till the dawn of the 20th century, was replete with illusions, myths, half-truths and highly individualistic interpretations. Since the resurrection of Mohiniyattam at the Kerala Kalamandalam in the 1930's by poet laureate Vallathol Narayana Menon, its unsavoury reputation started shrinking gradually. In course of time, aspirants from middle-class families boldly came forward to enrol themselves as students of Mohiniyattam at Kalamandalam much to the relief of Vallathol. By the early 1970's this exceptional lasya dance form drew the attention of dancers and scholars from outside Kerala and India. Dr. Kanak Rele who took up the preservation and promotion of Mohiniyattam as a noble mission was then a young dancer based in Mumbai and had already been trained in Kathakali under the renowned Panchali Karunakara Panikkar. She had had acquaintance with Mohiniyattam too.

Kanak Rele came over to Kerala Kalamandalam mainly as a researcher to explore the history and aesthetics of Mohiniyattam through observation and analysis of the sources available. She did document the contributions of the surviving stalwarts in the field who were mostly confined to their practical knowledge. Of those whom Kanak Rele documented, she found the stylistics of Kunjukutty Amma far more appealing than those of the rest. Armed with the documented materials, Kanak Rele delved deep into the craft and content of Mohiniyattam. At the theoretical level, she garnered support from Hasthalakshanadeepika, a manual on the hand-gesture language widely in vogue as an indigenous text in Kerala, Sage Bharata's Natyasastra and Balaramabharatam of King Karthika Thirunal. With all these, she came out with her concept of body kinetics which became instrumental in providing a scientific temper and academic rigour to the art of Mohiniyattam.

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Profile - A sprightly 84, Radha Sridhar's wards still dance to her tune - Jyothi Raghuram

Nectar In Stone remains one of the finest cultural documentaries made on Indian television till date. A Bharatanatyam school in Bengaluru, set up in 1969, has presented many memorable dance dramas in traditional format. Several dancers sprinkled around the globe and practicing this art, hail from this institute -- a cultural hub that celebrates Hindu festivals in traditional gaiety, an open house for hospitality, senior dancers enjoy a rare respect from its founder; all this in the leafy green environs of a house of a bygone era which breathes warmth and camaraderie.

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Profile - Regatta - Fifty golden years of Guru Girija Chandran - Ambili Ramnath

Regatta Natya Sangeetha Kendra sails its way into its 50th year of purposeful existence under the stewardship of Guru Girija Chandran.

'Regatta' which means a boat race, seems an unlikely name for a dance academy-but delve a little, and a beautiful connection becomes apparent. In the words of Girija Chandran, "The organisation was originally known as Regatta Cultural Society, registered under the Social Welfare Board - one that my father started with the aim of empowering women and making them self-sufficient. This was around the time that the Nehru Trophy boat race was in the limelight and a relative of ours suggested the name 'Regatta' as it implied movement forward - something that perfectly reflected the spirit of the organisation".

Initially dance was only one of the activities of the society, while training in book-binding, typewriting etc., gave wings to many women. Over the years the focus came to rest on dance, with Girija's keen interest. Soon Regatta came to be synonymous with the dance school whose students and presentations won the applause of many an audience.

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Kathak Lok: Dimensions of temple tradition and history in Kathakc - Taalam: column by Leela Venkataraman

A lively evening at the Multipurpose Hall of the Kamaladevi Chattopadhyay Enclave in India International Centre, marked the release of the book 'Kathak Lok' on the temple tradition and history of Kathak, authored by retired civil service officer cum Kathak teacher/performer and choreographer Dr. Shovana Narayan, and Geetika Kalha, an Indian Administrative Service Officer for over thirty years, with a background of history and extensive work on revival, documentation and dissemination of Indian art. On the discussion panel headed by the Moderator who was none other than Dr. N.N. Vohra, former Governor of Jammu and Kashmir, were distinguished persons like Ambassador Pavan Varma, well known art personality and retired bureaucrat Dr. Ashok Vajpeyi who has served as chairman of the Lalit Kala Akademi, and Art historian, critic and former Vice- Chairman of Sarabhai Foundation, Ahmedabad, Dr. B.N. Goswami. With Dr. B.N. Gowami's comment, "A new dimension to the studies of Kathak", prominently printed on the cover of the book, not to speak of Art historian and Founding Director of the IGNCA, late Dr. Kapila Vatsyayan's observations, "Absolutely stupendous work: field work most impressive" dominating the back cover, the work starts off with a heavy vote of confidence - which, whether upheld or not, will be known in time after research scholars and others read and respond to this work.

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Prism - Sandesa Kavya - Seema KS

In Samskṛta language, sandeśa means 'message' and kāvya means 'poem' or 'poetry'. Sandeśa Kāvya deals with the sending of a message through the agency of a messenger. The idea of sending of a message, through a messenger, from one person to another was taken up as an independent theme for a poem first by Ghatakarpara and later on by Kālidāsa, Dhoyī, Udaya, Bhavabhūti and many other poets of note. There are about fifty five Sandeśa Kāvya-s (also known as Dūta Kāvya-s). Sandeśa Kāvya belongs to the category of Khanḍa Kāvya. (Kāvya consisting one section or Khaṇda is called a Khaṇda Kāvya. It is different from a series of stanzas, or what is called as a Samghata. Khaṇda can employ themes much more freely and it usually narrates a story; or it might sometimes provide a background to the narrative. The classic examples are: Kālidāsa's Méghadútam having about just over one hundred stanzas and Bilhaṇa's Chauri-surata-pañcāshikā (fifty stanzas concerning secret enjoyment of love act.)

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Anita says...September 2022

 Opportunity is missed by most people because it is dressed in overalls and looks like work.

- Thomas Edison


As I settle into my independent accommodations in Sunnyvale, California, in preparation for my role as KAA, the serpent character in THE JUNGLE BOOK: RUDYARD REVISED, I am reminded of the early days more than 25 years ago of spending extended periods of time outside India on creative engagements. There is a kind of excitement in working in the theatre, when the director sits in a circle along with the cast and discusses the script. It is this visual / physical democracy, without a noticeable leader, that can become an important marker when the hierarchical business world seeks inspiration from the arts. It is also a good way for guru and dancers/musicians to begin lessons in the classical world.

I share the large apartment with a stand up comedienne Sonal Agarwal, a delightful desi girl born in the USA. The generation gap and the tone of daily conversations is such an eye opener. I feel fortunate to have my two children, especially my son, who has kept me up with the pace and jargon of how today's Millennials talk. There is no ending to the learning curve!

Working with a large cast, many very young children, along with actors of diverse ethnic backgrounds and performance experiences is also challenging. However, it is a relief to be a guest artiste, concentrating on creating and performing the role week after week - 4 shows a week - as THE JUNGLE BOOK: RUDYARD REVISED travels across Northern California. No headache or responsibilities of production, fund raising and managing egos!

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