Live dance and taped music - Taalam: column by Leela Venkataraman

Classical dance performed to recorded music has become an accepted phenomenon today. Even about fifty years ago, thoughts of performing Bharatanatyam or Kathak to anything but live music, was unthinkable. Sponsors, finding the cost of dance programs with live music (particularly in connection with dancers having to come from outside cities) too hard on the purse, have themselves eased earlier preconditions, agreeing to dancers performing to taped music....

BHARATANATYAM EYE COMMUNICATION IN NAYANA

Apeksha Niranjan with her eloquently expressive eyes is undoubtedly a fitting candidate for her own choreography of the Bharatanatyam program at the Stein auditorium titled 'Nayana', with its accent on the importance of the eye in dance communication. The entire verse of the Abhinaya Darpana (The mirror of Gestures) Yatha hasta tatho drishti, Yatha drishti tatho manah, Yatho manah tatho rasah,... is on the process of evoking the aesthetic sentiment or 'rasa', which cannot happen, without the total involvement of the mind....

TRACING INTIMATE RELATIONSHIP OF WOMAN AND FIRE IN AGNEYA

Presented by Shree Mahamaya Arts and Culture, Dr Sreemoyee Gangopadhyay's concept of Agneya is fashioned round woman's relationship with fire from birth to death. Whether during Puja, Utsav, Vivaha, Yagna or Chitaah, the Indian woman has fire as an inseparable concomitant of life. Trained in the Debaprasad style of Odissi, Dr.Gangopadhyay dips into mythology, drawing from its episodes, a social view point associated with life even today, portrayed through multiple dance styles like Odissi, Bharatanatyam and Kathak.

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