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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