25 years of Kala NADAM Festival 2024 - Dance Matters: Column by Ashish Mohan Khokar

Murali Mohan Kalvakalva is a rather foolish man. His partner in crime, Nandini Mehta, is more foolish. Between the two of them, they have shared and given much of their worldly wealth (time too and health) in promoting all shades of artistes - dancers, photographers, gurus, musicians, teachers and more. Youngsters. Wannabes and have beens. Could have been and never should have been (on stage!). They do this for their love of the art of dance. They also mount two of Bangalore's most popular and professional festivals: one in end-November every year and one for kids in August called Chinna NADAM. Lots of new, upcoming talents get a chance to dance. 

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Profile - Greatest dancers of our times - Vazhuvoor Saravanan

In the entire history of classical dance 'Sadir' later rechristened as 'Bharatanatyam', Maduranthakam Jagadambal Ammal (1873 - 1943), Thiruvazhaputhur Kalyani Ammal (1873 - 1938) and Thanjavur Veenabashini Ammal (1877 - 1962) were revered as the greatest and most accomplished classical dancers on record. All three were born in the late 19th century in Tamilnadu.

Maduranthakam Jagadambal Ammal learnt this divine art from Vazhuvoor Samu Nattuvanar (Grandfather of Vazhuvoor Ramaiah Pillai), Thiruvazhaputhur Kalyani Ammal from Pandanallur Meenakshisundaram Pillai and Thanjavur Veenabashini Ammal from Thanjavur Kannuswamy Nattuvanar. They enthralled the audience with their scintillating performances and showcased the glory of ancient Vazhuvoor, Pandanallur and Thanjavur baani of classical dance respectively. 

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Brilliant metaphoric interplay of life and kite flying in Pagrav Dance Company's Kattam Katti - Taalam: column by Leela Venkataraman

"If Winter comes can Spring be far behind?" said poet Percy Bysshe Shelley. Signifying this new life energy associated with the oncoming of Spring, is the festival of Uttarayan in Gujarat, when people shedding social and religious inhibitions, even transgressing geographical boundaries, join in the unique event of kite flying. In its highs and lows, this sport, much like ball play or motion of the swing, becomes an ideal metaphor for the unpredictability of life, with its ups and downs. Kite flying, in the competition for air space amongst fliers, witnesses the thrill of joy and sense of freedom as the kite soars in the sky, and the corresponding sense of deep loss and dejection when it comes spiraling down, its string in the air severed by a competing flier's kite - with the entire gamut of human emotions at play. 

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Prism - CHAALI... taking dance to her audience - Bharat Sharma

Performance thrives in Live Performance - this is fundamental to any Intangible Art. At a fundamental level, it is a conversation between the Body and the Viewer in a defined space of culture. This is primal, if we take stick figures etched in Bhimbetka Caves near Bhojpur in Madhya Pradesh as manifestation of community and participatory exuberance, or sophisticated articulation of an individual's craft of the sharira to the rasika, as expounded in the rasa theory in the Natyashastra (5th century BC). From time immemorial, the relationship between dance and her audience has been crucial for the survival of oral traditions.

Dance as Live Performance is also linked to life cycle of humans - dance is lived while the body has breath. Dance gets activated at birth and dies at death, leaving traces in memory of viewers, or remembered through traditions passed on by generational lineages. These memories of the dancing body are affirmations of the ethereal nature of performance. Dance can be kept alive, in Time and Space, through a system that brings together the dancing body and the viewer to converse. These eco-systems of performance can then be termed as support system within a culture. 

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Beyond margam expressions - Taalam: column by Leela Venkataraman

MANDALA -A MOVING PSYCHOLOGICAL MUSIC/DANCE INTERACTION
Presented at Chennai's Bharatiya Vidya Bhavan auditorium, Mandala was a truly interactive music/dance artistic journey between two classical artistes - dancer Amrita Lahiri and musician Chandana Bala Kalyan. Mandala, the symbolism representing sacred space (in Hinduism and Buddhism) with concentric circles converging in one center, becomes a metaphor for one's search for the sacred, traversing through several journeys in search of that center, which one finally realizes, is within. India's classical music and dance have always been regarded as a search for that oneness through works, in this production representing different states of being - sringar (love), viraha (separation), maya (illusion) and aikya (dissolution), the final state of getting merged into that, which one has been seeking....

 

TO DUST WE RETURN
Yet another non-Margam performance conceived and presented by Anuradha Venkataraman, harnesses the Bharatanatyam technique in a stark dance theatre production - expressing deep seated anguish at how, what one mistakenly deems as Progress, has not only fatally damaged the environment leaving Planet Earth gasping for breath, but has also contributed to creating an unbridgeable chasm between the privileged few as against the largely neglected sections of society....

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Anita says...December 2024

We do not have to

become heroes overnight.
Just a step at a time,
meeting each thing that comes up,
seeing it as not as dreadful
as it appears,
discovering that we have the strength
to stare it down
- Eleanor Roosevelt, Former First Lady, USA



At the end of a tumultuous year, when we are staring into several conflicts and possible further escalations, we pause to take stock of our lives and our journey in the dance arts. This is the final edition of ANITA SAYS for the year 2024.

As we continue to wonder at the speed of passing time and the urgency and purpose of our lives, I would like to share my views and reactions to four performances I have watched in four cities over the 30 days of November. In New York City, Coimbatore and Chennai. Varied in content, purpose and intentions, these dance events have thrown up further questions about reinvention, re-purposing and revival. I will discuss each of these performances and add my personal take. These opinions are mine and mine alone and I hope that it is received in the spirit of someone who has been engaged in the performing arts scene for 6 decades.

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Bridging gap between theory and practice in multi-faceted Tripuranthara Festival - Taalam: column by Leela Venkataraman

Tripuranthara Arts Festival mounted at Music Academy Mini Hall, was a collaborative effort between Anthara Centre for Performing Arts run by Bharatanatyam dancer Sreelatha Vinod and Tripura Ace Trust headed by Sripriyaa Venkataraman, spearheading a focus on Arts, Culture and Education as a means for creating inclusive and inspirational space for a future generation of leadership. A three-day event, the festival presented a combination of acclaimed senior dancers and emerging talents. In pursuance of its overall educational objective in narrowing the gap between theory and practice, the festival also included papers on aspects relevant to dance read by young researchers.

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Dance on...: Column by Ashish Mohan Khokar

PUNE PADHARO!

Pune has finally a swanky new terminal to say Padharo! Pune today ranks as the HQ of Hindustani music, film and television training and new trends in dance. India's only yearbook on dance (attenDance) in its 25th anniversary issue focused only on artistes of Pune.

Gurus like Shama Bhate are changing Kathak without changing its form or structure. She has come up with many productions over the years to extend the language and create new works. Unnayan is a smashing, sophisticated and spiffy production with high values of discipline, diligence and depth......

LASYAPRABHA 2024

It started 20 minutes late - that's a no, no these days. Everyone's time is precious and valuable. And if the organizers are waiting for the main guest (now there are atleast 3-5! Please one please all: local level guest; state level, then regional, and national. Even international) to show up, it tests the patience of the audience....

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Prism - Resonating traditions: The power of Odissi in a global context - Dr. Rohini Dandavate

(This paper was presented virtually at the conference ODISSI ODYSSEY: Novel Research Perspectives on September 28, 2024.)

Introduction
In discussing my recent work, I aimed to share how it focuses on three key aspects: fostering cultural understanding through art, engaging diverse audiences, and balancing tradition with contemporary themes that resonate with specific contexts. My experience presenting Odissi dance to multicultural audiences over the past 35 years has profoundly shaped my approach.

During my graduate studies, I observed that engaging effectively with diverse audiences required selecting themes and narratives to which they could relate. This strategy not only served as a bridge for cultural connection but also guided my choice of presentation contexts. I embraced the idea of using contemporary issues as themes in my performances. By blending modern interpretations of traditional stories, I aimed to keep Odissi vibrant and encourage reflection from the audience. 

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Old n new winds!: Column by Ashish Mohan Khokar

In dance, like in wine, old is gold. Guru Anuradha Shridhar is one such gold in the field of Indian dance, who has kept the tradition intact, trained new generation well and maintained dignity and standards in the form. She's a chip off the old block, so to say. Anuradha's early life and dedication to Bharatanatyam are deeply rooted in her cultural heritage and familial background. Born into a family of musicians and Vedic scholars, with her father, the late H.S. Chandrashekhar Shastri being a revered mridangam vidwan and Vedic scholar, and her mother, Leela Shekhar, also a musician and homemaker, she was naturally immersed in the world of music and dance from a young age.

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Varied interpretations of Shakti Mahima in Nritya Samutsavam - Taalam: column by Leela Venkataraman

Nritya Samutsavam '24, curated by K.R. Manasvini, and jointly sponsored by Chennai's Charsur Fine Arts and Kala Sadhanalaya, built round the theme of Shakti Mahima, emphasized in more ways than one, the advantages of joint sponsorship, with the advantages of organizations combining resources for hosting events. At another level the event, by sponsoring dancers, both established and upcoming, each with a vocalist, not in the conventional dancer/accompanist mode, but in a coming together of talents fashioning a work with both singer and dancer contributing ideas, made for real collaboration. Here was a platform wherein, each production enriched by ideas from both sides, also entailed accommodation and adjustment, as much for the composer of music as for the movement choreographer.

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Ratikant Mohapatra Calling.... - Exploring the methodology of teaching dance and its implementation

Dance, as an expressive art form, has been an integral part of human culture for centuries. From ancient rituals to contemporary performances, dance has served as a medium for storytelling, spiritual expression, social interaction, and personal fulfilment. The teaching of dance, however, is a complex process that goes beyond mere choreography. It involves imparting knowledge of technique, fostering creativity, and nurturing the physical and emotional well-being of the student. The methodology of teaching dance has evolved over time, influenced by cultural shifts, advancements in pedagogy, and the growing recognition of dance as both an art form and an academic discipline (Hanna 5).....

Research Problem

Despite the rich history and diversity of dance education, there is still a lack of standardized methodology for teaching dance. Different teachers and institutions often adopt different approaches, leading to inconsistencies in the quality of dance education (Kassing 64). Furthermore, the implementation of dance teaching methodologies is often influenced by external factors such as cultural norms, economic conditions, and technological advancements (Carter and O'Shea 14). This study aims to explore the various methodologies of teaching dance and examine how they are implemented in different contexts.

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Interview - Geeta Chandran celebrates 50th anniversary of her arangetram - Shveta Arora

Soloist, choreographer, teacher, scholar, a shaper of arts policy and a leading light in Bharatanatyam, dancer Geeta Chandran performed a one-hour varnam, old-school, at the golden jubilee of her arangetram in Delhi on 25 October. 'A varnam is actually a one-hour piece, it's not something that is finished off in 20 minutes, like it is today. It is like a vilambit khayal - it needs that kind of delineation. Each line needs to be slowly delineated. I'm planning to do a varnam in the old style,' she said of her recital on marking exactly 50 years to her arangetram on 25 October 1974.

Geeta Ramakrishnan was only 12 when, on that day 50 years ago, she took the stage under the watchful eye of her first guru, Swarna Saraswati. On 24 October, her students performed 'Pravahati' showcasing the work and the philosophy she has imparted to them over the decades. The two-day programme took place at Kamani auditorium, Delhi.

It was learning with no stakes.
Geeta Chandran describes the teaching methodology, the attitude towards the arts and even the approach to a piece's choreography when she was a student, all radically different from today's structured, limited, time-bound learning.

The learning was never geared towards performance. None of my teachers came from a space where they only talked about performance. They talked about acquiring knowledge and going deeper into the learning process, because there were no workshops like there are today, no way to teach items. It was all long years with the teacher, imbibing an ethic for the work and a philosophy towards the arts. The learning was very different from what it is now, when it is all about what to do in the next programme and the next item. It was (then) always about increasing the base of knowledge.

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Anita says...November 2024

 The old healer to the soul

It's not your back that hurts, but the burden
It's not your eyes that hurt, but injustice
It's not your head that hurts, it's your thoughts
It's not the throat, but what you don't express or say with anger
Not the stomach hurts, but what the soul does not digest
It's not the liver that hurts, it's the anger
It's not your heart that hurts, but love
And it is love itself that contains the most powerful medicine
- Ada Luz Marquez, Spanish author

Hello, everyone! I know that wherever you are, the holiday spirit has seized you. New clothes, parties, celebrations for Diwali - the air is sparkling with joy and hope and optimism. And food! And I hope you are all doing what makes you feel fulfilled and grateful.

India's biggest festival of lights is celebrated globally by the diaspora and several years ago the US Postal Department issued a stamp in honour of Diwali. Recently, the state of Pennsylvania in the US has signed into law an official holiday for Diwali. Australia has recently declared October as Hindu Heritage Month. We in the South of India call this popular festival DEEPAVALI - but it's the same meaning. A festival of lights, bursting crackers and new clothes, meeting friends and family, gifting and feasting. A day when the smile muscle is overworked and our faces ache at the end of the celebrations.

While I was unable to be physically present due to a family commitment, here are the many reports from friends and dance colleagues that I received about the largest Indian dance gathering of this century.

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Articles - Dance, identity and religion in the Pakistani context - Sheema Kermani

I am a performing artist, a dancer from a country that banned all public performances of classical dancing by women on stage and all other media in 1981. The official document stated that dance was "obscenity and nudity" and against the religion of Islam. A whole generation has grown up being told that not simply dance, but all "culture" is a dirty word and since then all performing arts have been discouraged in Pakistan especially dance.

The official ban exists even today and those of us, who continue to defy it, do so at the risk of our lives! 

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Obit/Tribute - In fond memory of beloved Naba Sir: Guru Nabakishore Mishra - Ratikant Mohapatra

With profound sorrow, we bid farewell to Guru Nabakishore Mishra, a distinguished figure in the world of Odissi dance, who passed away on October 28, 2024. A man of many talents, Guru Mishra was not only a dancer and choreographer but also a gifted mathematician and an exceptional educator who devoted himself to nurturing young minds as the headmaster of Radhamadhaba Vidyapeetha, his village school. His wisdom, humanity, and unwavering dedication to both the arts and education have left an indelible mark on all who had the privilege to know him. 

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Mahakumbha - The SNA International Dance Festival: Column by Ashish Mohan Khokar

The national dance, music and theatre academy - called the Sangeet Natak Akademi - in Delhi, mounted a 6 day juggernaut of dance from October 16-21. Gurus, shishyas, sadhaks, stars, critics and academicians rubbed shoulders with technicians, teachers, tribal and folk artistes. New vocabulary for dance was addressed - like traditional instead of classical and indigenous instead of folk. For over 500 dance related people to meet in one place, for so many days from 9am to 9pm was like going on a pilgrimage. In the end, there was manthan. 

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Natya Vriksha centre stages two faces - of an inheritor and of a beneficiary - Taalam: column by Leela Venkataraman

Natya Vriksha, the school for Bharatanatyam run by senior dancer Geeta Chandran in Delhi, on two successive Saturdays showcased on the one hand, its inheritor Sharanya Chandran, at the Stein auditorium, and on the other, at the Triveni auditorium, one of the young beneficiaries of its dedicated dance propagation.

That Geeta's daughter Sharanya Chandran, with the advantage of having grown up in a climate of dance and music from childhood, buttressed by special training in nattvuvangam, should present a program of Bharatanatyam, is hardly surprising. But that she should have got back to a full-fledged solo recital after her second motherhood, alongside her full time 10am to 5pm job, now centered round development, and all the family obligations with husband and two kids (notwithstanding exceptionally strong grandparental support), is proof of rare commitment to the art form....

Not many Gurus think of how the student, after the arangetram, manages finding a dance slot, so as to be formally recognized by the dance presenters as a legitimate candidate for the performance arena. Usually it means just waiting hopefully, for the lucky break whenever it comes. To provide the sorely needed helping hand, Natya Vriksha has now introduced its SOPAAN (The next step) series, wherein the combined resources of both institution and guardians of students, present the respective competent young dancer in a solo performance, thus providing for much needed solo exposure.

Anandita Narayanan performing at the Triveni auditorium showed herself to be an assured dancer, having participated in Natya Vriksha presentations, both singly and as part of the institution's group presentations....

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Saroha Festival: In memory of Guru Hare Krishna Behera - Taalam: column by Leela Venkataraman

In keeping with the quiet, non-controversial and modest character of late Odissi Guru Hare Krishna Behera the event was in memory of, was the modest but well-designed Saroha Festival held at the M.L. Bhartia auditorium of Alliance Francaise, New Delhi, on September 4, 2024. Having trained in Gotipua dance, and in Chanda and Champu of Odissi music, Hare Krishna Behera belonging to Balasore in Odisha, had his Odissi dance training under teachers like Guru Kelucharan Mohapatra and Guru Mayadhar Raut, when he was in Kala Vikash Kendra of Cuttack - till he migrated to Delhi in 1964, where after a stint with the Natya Ballet Centre, he joined the Gandharva Vidyalaya as a teacher in 1971. He later ran his own teaching classes at his place in Asiad Village, till he passed away in 2012. Daughter/Odissi dancer Kavita Dwibedi holds the festival of Saroha every year in memory of her father/guru. 

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Profile - Shivani Jatar reimagines Kathak through a Contemporary lens - Kasmin Fernandes

This boundary-pushing Kathak dancer and choreographer blends tradition with contemporary themes, creating a feminist and cross-cultural reimagining of the classical art form.

From the rhythmic footwork of traditional Kathak to the experimental choreographies she now performs in Leeds, UK, Mumbai-born Shivani Jatar's journey is one of balancing tradition and innovation. Steeped in the age-old techniques of Kathak, yet pushing its boundaries, this young dancer offers a fresh perspective on the classical Indian dance form. Shivani's technical mastery of Kathak is evident in her attention to tatkar which serves as the foundation of her performances. Wearing ghungroos, she skilfully weaves intricate rhythmic patterns known as tihai into her movements, creating a dynamic interplay between sound and motion. 

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Anita says...October 2024

It occurs to me that courage comes from the same place as fear, and where there is fear, there is the possibility of courage.

- Pádraig Ó Tuama, Irish poet and theologian
In the Shelter: Finding a Home in the World

Welcome to October - the changing season, the clocks turning back in North America and our grand silks and festive wear emerging from closets.

All around me in Chennai and elsewhere in India, the spirit of Navaratri has begun. Festivals in dance, music and theatre - starting at 5am with classical music, lighting of the lamps in the evening, display of Golu dolls in South India, the fantastic swirling energy of Garba in the north - everything feels so alive, electric and festive. I am sure the festival season has also begun with diaspora circles all over the world. It really is a delicious time of the year - perhaps my favourite season.

I begin in NYC... the BIG APPLE which has been the western world's most important center for dance for many decades. And for the past three weeks, all eyes were on Indian dance events that crowded the calendar.

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Punjab matters!: Column by Ashish Mohan Khokar

The state of Punjab in India is divided into four geographical regions: Majha, Doaba, Malwa, and Puadh. That's Amritsar, Jalandhar, Patiala and Chandigarh for you. These regions are divided by rivers: Majha is located between the Ravi and Beas rivers; the word "Majha" means "central" or "heartland". Doaba is located between the Beas and Sutlej rivers. Malwa is located below the Sutlej river and extending to the Yamuna river.

Taking Mohan Khokar (1924-1999) Centenary celebrations to his home state - the Punjab - was a commendable feat by the IGNCA under Dr. Sachchidanand Joshi. He has supported the centenary celebrations since Dec 30th last; the first one took place in Chennai at Kalakshetra on the occasion of the birthday of late Prof. Mohan Khokar. Dance icons Sonal Mansingh, Padma Subrahmanyam and guru Kalyanasundaram Pillai blessed on dais and many stars of the scene were in attendance. Dr. Achal Pandya gave full support to the publication of the 300 paged tome on Mohan Khokar: The father figure of Indian dance edited by yours truly. Functions later followed in Bombay, Baroda, Ahmedabad, Pune and now - Punjab. 

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Encouraging response to Aavartan Festival - Taalam: column by Leela Venkataraman

Established in 2020 by Madhur Gupta, to spread classical art education amongst the youth, Sangeet Vidya Niketan's valiant effort has worked on the principle of Marg Darshan through a Guru going far beyond the formal instructions inside of the classroom.

Its latest two day event Aavartan held at Stein auditorium of the Habitat, Delhi, not only provided recitals in both classical music and dance, but also blended in the same show, young talents along with the expertise of established artistes - demonstrating in the process, how Art survives through ages - by enriching on the one hand and in turn getting enriched. Above all making the two evenings ticketed events, for this critic, was a courageous and much needed step - especially for an art viewing community, which in the 'free for all' programs, seems to take for granted the dancer, who, living on air, has to provide programs!

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Obit/Tribute - Pt. Sunil Kumar Dubey - Sharon Lowen

In the recent passing of Pt. Sunil Kumar Dubey on September 17, 2024 at Seraikella at the age of 64, the performing arts of India has tragically lost a vital link in the continuity of the recently recognized as classical Seraikella Chhau dance of Jharkhand. 

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Article - Is it time to rethink the beloved nayikas? - S.Janaki

 The nayika holds a very important place in Indian art; she is the heroine of the story and is an integral part of most presentations in the performing arts. In classical dance, the nayika holds sway centrestage - most often describing her love for the nayaka/hero who is not with her. She adorns herself for his return, she waits for him, she pines for him, goes through all the avasthas or emotional states and sends her friend or messengers to convey her sorrow in separation, urging the hero to come to her.

The nayikas, who hold the pride of place in the performing arts, are numerous and of various types. So one wonders why the different classifications of the nayikas are given mostly relating to her nayaka or based on her reactions in love sport! We have classifications of the nayika as mugdha, madhya and pragalbha based on her experience specifically in the art of love. Sringara is indeed the king of rasas and keeps the world going, but it is not the be-all and end-all of existence, is it?

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Book Review - The Dance of Tantra and a Satguru - Priyamvadha Murali

An intricate design of the natya yoga intertwined with the tantra philosophy, weaved by the insightful movements of a Satguru that locks and releases us in a state of pure Aananda - A sum up of the book, 'The Dance of Tantra and a Satguru' by Bharatanatyam dancer Dr Padmaja Suresh.

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Nrityantar's Naman 2024 an interactive delight - Taalam: column by Leela Venkataraman

In the present dance scenario, the performance aspect has assumed such pre-eminence, that interactions on dance between artistes, dance writers, and audiences have become too few and far between. It is in blending performance with the educational benefits of interaction with various agencies concerned with the dance, that the two-day event Naman 2024 (an annual event), hosted by Nrityantar, the Odissi school of Bangalore based artiste Madhulita Mohapatra, deserves high praise for.

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Crowded week starts with monsoon moods - Taalam: column by Leela Venkataraman

One recollects the time when late Manna Srinivasan, an arts activist, informally helping out IIC with ideas for its Programme Division, first mooted the idea of a Monsoon Festival as a seasonal event over two days of dance, built round presentations, in some way connected with the Monsoons. Today any idea of "Rimjhim Rimjhim Barase" ideas belong to the past - for now IIC's Monsoon Festival is like any other festival in terms of its content. This year's two-day event presented two Kathak dancers, each consummate in the art form in her own way. 

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Anita says...Sep 2024

 

No one leaves here alive.

So please stop treating yourself as an afterthought
Eat delicious food
Walk in the sun
Jump into the sea
Speak the truth that you carry in your heart like a hidden treasure
Be silly. Be good. Be weird
There is no time for anything else
- British film actor Anthony Hopkins

Wise words. Very few of us have the courage to follow through on every one of his prompts but we can keep this mantra in our hearts as we breathe through our days and pursue our goals.

Rape case protest
(Rupak De Chowdhuri / NurPhoto via AP)

As I write this editorial, many cities in India are still protesting and holding candlelight vigils as a response to the horrific attack on the medical trainee at RG KAR hospital in Kolkata on August 9. The soul-numbing rape-murder occurred in the middle of the night when the 31 year old was resting in the hospital's seminar hall. The incident has since turned political and updates and revelations are emerging every day.

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Moham and performances for Independence Day - Taalam: column by Leela Venkataraman

Performing after a fair gap in the capital, Ragini Chandershekar's Bharatanatyam recital at the Deshmukh auditorium, under the banner of Kalangan, displayed the power and depth of dance proficiency stemming from family inheritance, and the ambience of music and dance she grew up in. As Jamuna Krishnan's daughter / student, honed right from childhood with training under the best of Gurus - K.J. Govindarajan, K.N. Dakshinamurty, Kalanidhi Narayanan and Usha Krishnamurty, Ragini has been performing for over forty years. Heading Kalangan ever since Jamuna Krishnan's absence, the dancer would seem to have single mindedly further enhanced her music / dance, knowhow and performance.....

Time and tide wait for no man and soon after the mortal remains of legend Yamini Krishnamurti being consigned to flames, dance lovers entering the portals of Ganesa Natyalaya for the Swarna Saroja evening for Padma Subrahmanyam's lecture on the Natya Sastra, was for this critic, a pointer to the reality of life that marches on with arrivals and departures....

Supported by Ministry of Culture and the Habitat, Odissi exponent Ranjana Gauhar's Utsav held its annual two-day, handsomely attended festival Sare Jaahan Se Achha, at the Stein auditorium of Habitat. Several dance related personalities encompassing dancers, art sponsors, art bureaucrats, music composers, dance writers, not excluding costume and jewellery designers et al were honoured before the dance presentation started, both days. While the performance calendar, for the first evening, featured dancers of Utsav only, the second evening, starting with a short presentation by the hosts, featured Bharatanatyam, Manipuri and Kathak in that order....

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Article - Handing over a tradition - Renu Ramanath

Once again, the flames were flickering. Once again, the miniscule, multihued 'thiraseela' (curtain) was being held up. Once again, the petite figurines in Kathakali costume were held up in hands. But this time, the hands were new. And young.

Pulling back an endangered art form from the abyss of oblivion is the task that takes a lifetime. But, ensuring that the resuscitated art form does not slip back onto the brink of that abyss again, is the responsibility of another lifetime, another generation. When 'Pavakathakali,' the glove puppet tradition indigenous to Kerala, is being handed over to the next generation of artistes, it is the beautiful continuation of that uninterrupted flow of artistic endeavour taking its course from one generation to another.

The resuscitation of Pavakathakali had happened about forty years ago, under the auspices of Natanakairali, the research and performing centre for traditional and folk art forms of Kerala that was founded by G. Venu, scholar, performer and trainer. Spurred on by none other than Kamaladevi Chattopaddhyay, the then Chairperson of Sangeet Natak Akademi, New Delhi, and the prominent patron of India's handicrafts, handlooms and traditional and folk art forms, G. Venu had taken upon the responsibility of piecing together the almost-lost heritage of Kerala's glove puppetry tradition and breathing a new life into it. Supported with a meagre financial aid sourced through Kamaladevi, Venu had managed to create a troupe of Pavakathakali at Natanakairali with K.C. Ramakrishnan and K.V. Ramakrishnan, two youngsters from the village of Paruthippally in Palakkad district, which was the home of the art form in bygone days. Chamu Pandaram, the last of the Pavakathakali performer hailing from the Andi Pandaram community, the traditional community who were the guardians of the art form, had passed away a few years ago before that. Armed with a couple of puppets made by Thottassery Narayanan Namboothiri at Vijnana Kalavedhi, Aranmula, where the initial part of the revival project was conducted, and supported by his own training and knowledge of Kathakali, Venu managed to design a couple of Pavakathakali performances. 

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Natyarpana by Natyamurthy: Column by Ashish Mohan Khokar

While Yamini Krishnamurthy was forgotten soon enough (Delhi being Delhi or reality of life today in most metros), one function that stood out was by her mansik shishya, Abdul Khalid. He is an Eklavya of and in Kaliyuga. Ask him his thumb and he'd give his head for his guru. Possessed by dance like no one I've seen in recent years, he is a survivor. No money, no mentor no nothing in hand but dil ka dhani and dimag ka dabangg!

He dedicated his annual day Natyarpana to his mansik guru's memory and it was not tokenism as such things often become. It was genuine. The emotion, the energy, the eclectic audiences of babus, defence officers, business class, parents and all.

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Obit/Tribute - Yamini: The enigma - Leela Venkataraman

Words fail me even as I try hard to capture in writing, the magic of that meteor, streaking across the skies and illuminating the dance world - adding a different texture to Indian dance history. Even amidst changing socio/political contours with dance trying to steer a path between flagrant sensuality and punctilious religiosity, Yamini Krishnamurti burst on the scene - the sheer exuberance, joy, sparkle and effulgence of her dance making all arguments meaningless. The formal contours of Bharatanatyam, of Kuchipudi, of Odissi apart, what Yamini's magic gave to the dance was something that came from within her. It was Yamini's dance, which could not be replicated. The minute she stepped on the stage, that switch was turned on, and carried the audience along with its ecstasy. There will never be another Yamini! 

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Angikam bhuvanam... Aagnika Bhagyajainam!: Column by Ashish Mohan Khokar

Dr. Aagnika's Nritya Samarpane was a grand function at Chowdaiah Memorial Hall in Bangalore recently. The city's cognoscenti was in attendance and she with her guru were in top form.

What's top form? Three aspects ought to fall in place: Sangeet, sahitya, shastra. 3S. Add shishya! This one had beauty of form, clarity of delivery and depth of face to show fleeting emotions. One can see this talent enjoys dancing. Period. It comes through.

Kathak acharya Shalini Garg mounted her annual day in which she showcased students from age 5-50. All shapes and sizes. Most showed good tayari, much involvement and happy faces. Shalini Garg is an acolyte of guru Rajendra Gangani of the Jaipur gharana. 

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Obit/Tribute - Whispers of divinity: Yamini Krishnamurthy's dance odyssey - Navina Jafa

Yamini Krishnamurthy carved her place in the history of classical Indian dance from the 1950s to the 1970s, when India saw the emergence of the first generation of non-hereditary female performers take the centre of the stage. Her rigorous training in Bharatanatyam at Kalakshetra, along with Kuchipudi and Odissi under eminent gurus, and her music training expanded her artistic horizon. Her performances were infused with electrifying energy, leaving an indelible impact on the dance world and the modern stage, transcending the chaotic environment that often forces performers to constantly negotiate content and aesthetics dictated by the audience.

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Connection between poetics, music and abhinaya - Taalam: column by Leela Venkataraman

THREE-IN-ONE NEEDS MORE WORK

It was called Sangam - saga in Devotion with three dance traditions Bharatanatyam, Odissi and Kuchipudi sharing the Stein auditorium stage at the Habitat - the concerned dancers, in the order of traditions mentioned above, being Ritwika Ghosh who apart from four years at Rabindra Bharti University has trained under Jayanti Subramaniam, Seetharama Sharma and Kalanidhi Narayanan; Rina Jana trained under Guru Kelucharan Mohapatra and 'Sanjunani' (Sanjukta Panigrahi); and Bobby Chakraborty who studied under Madhuri Mazumdar and off and on has trained under Vanashree Rao. One wonders if such evenings, prompted largely by the dancer verses opportunities-for-performance being so stilted, plus a feel that something different from the usual can attract more attention, are worth the effort involved. Looking at the pitifully slender audience seated in the auditorium, though a few more joined in later after the inauguration by the chief guest Vanashree Rao, the long winding introductions for each dancer had no place and should have been avoided. Ultimately what is shown on the stage as performance, is what audience mind carries home. 

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Article - Drawing parallels between Taylor Swift's Eras Tour and Bharatanatyam - Prakruthi Kolay

Classical dancers: Time to be Fearless!
Classical dancers, it's time for a reality check! When was the last time you performed for 3 ½ hours in a dance festival? Today, normally at Bharatanatyam dance festivals, each dancer gets a maximum of 1 ½ hours. This time slot usually includes the Pushpanjali, varnam, padam (or javali), and thillana, followed by Mangalam. Sometimes, performances are even shorter, reduced to an hour or just 45 minutes to fit more dancers into an evening's lineup - a strategy driven by money hungry organisers.

In contrast, consider Taylor Swift's performances. She gives a full-length concert equivalent to a Sampoorna Margam daily. She not only sings, plays the guitar and piano, but also changes costumes, interacts with hundreds of thousands of audiences, and writes her own songs. Classical dancers could benefit from adopting some of her rigorous routines to truly excel rather than settling for mediocrity. She's truly a MASTERMIND. 

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Obit/Tribute - Dance was her life: Yamini Krishnamurthy (1940-2024)- Ashish Mohan Khokar

Purna Tilakam was her real middle name. Her art symbolised it. Born to a totally non-dance family of Madanapalle, Andhra, she became a benchmark in and of Bharatanatyam. The form can be divided into two broad phases: before Yamini and after Yamini. Everyone before her faded when she came on professional stage and everyone after her tried to copy her eye make-up, her blouse fan and her mannerisms, pout, spout and all. She was the first prima donna, if India ever had one. 

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PRIDE: Column by Janaki Patrik

The passage of time has allowed PRIDE to overcome prejudice. We now openly celebrate dancers whose lives were cut short during the 1980-1990 AIDS epidemic. And likewise we celebrate the "inclusion, diversity, equity and accessibility" for which so many have given their lives. This article is a tribute to their lives and their art; a memorial for their dancing and choreography, which could not reach full fruition; and a celebration of the promise found in more accepting attitudes and behavior, which are now being encouraged by corporate, government, social, legal and personal changes.

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Anita says...August 2024

 PATHS ARE MADE BY WALKING

- Franz Kafka, Czech author

This is an important quote and a very important signifier for everyone.

It's August - a time between the Indian seasons of summer, GRISHMA and the upcoming monsoons, VARSHA. This is also when many in South India take to health resorts and Ayurvedic centres to strengthen their immune systems. It is believed that this is a very important time when the rays of the sun weakens and our bodies become most susceptible to infections and illness.

So wherever you are, I hope you are well, in good health and taking the time to read my thoughts.

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Interview - Divya Goswami on Nadant: Even if people understand 10 per cent, it's okay - Shveta Arora

Divya Goswami is a well-known Kathak soloist whom I have watched and admired for many years. She brings a rare intelligence and depth to Kathak and the breadth of her influences is obvious in her productions. Last year, I watched an excerpt from her production Nādānt, which she premiered in Bengaluru in March 2024 in its full length of 75-80 minutes.

The press note about Nādānt describes it thus: 'There is a force of existence, which cannot be contained by space or bound by time, yet it is the one that creates the many dimensions, patterns and emotions. This is the perpetual dance of existence, Nādānt, without a beginning or an end, and at the very centre is Lord Shiva. Nādānt is an exploration by Divya Goswami navigating through the leela of the manifest form of the cosmic dancer and the visual discourse on the true purpose of existence; until there is no more.'

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Matters that matter - Dance Matters: Column by Ashish Mohan Khokar

Guru Shishya Parampara matters. In this month that was, last week was guru purnima on 21st July, a day when we propitiate our gurus. What's left of the tradition really? Does the core kernel remain or its mere shadow? Shops that are run for profit; egos larger than talents and output less than desirable basic quality in art of dance?

Okay, if that sounds too harsh then let's dilute it a bit to say, 30 years old as gurus sound childish; arangetrams done in six months of learning is a joke! And teachers who don't know much, except items, are a blot on this exalted soul of Indian traditional art learning systems.

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Swarna Saroja program proves an eye opener - Taalam: column by Leela Venkataraman

The second event of the ongoing Swarna Saroja programs at Ganesa Natyalaya as homage to the founder of the institution, the recently departed Dr.Saroja Vaidyanathan, had its surprises for the audience in the packed hall. The evening had two sections, Dharover (signifying tradition passing on from teacher to student from one generation to another) and Sabka Vikas (meaning progress for all).

Starting under the Dharovar section, was a Bharatanatyam program She the Divine, presented understandably (considering the occasion) by a student of Saroja Vaidyanathan, Anupama Thakurda settled in Atlanta, USA, where she runs the Deeksha School for Performing Arts. The evening proved how, despite the passage of time, the umbilical cord with Ganesa Natyalaya remained for many senior dancers who had been trained under Saroja Vaidyanathan. And here was an instance of a student, after twenty three years visiting the institution where she had started her Bharatanatyam journey. One knows that foreign tours of Rama Vaidyanathan (who inherits the teaching reins) with visits to Atlanta, have greatly helped in keeping the Natyalaya bonds alive.

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Prism - Natya Shastra: The ancient text bridging music, dance and drama - Vasini Shyama Charan Jha

The Natya Shastra, a foundational Indian treatise on performing arts, transcends the boundaries of a simple guide. Composed by the sage Bharata Muni between 200 BCE and 200 CE, it delves into the intricate connection between music, dance, and drama, elevating them to a sacred status in Indian culture.

This remarkable text isn't just a manual for creating performances. It delves deeply into the aesthetics, techniques, and spiritual significance of each art form, weaving them together into a cohesive whole. 

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