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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