Article - Unsung characters for adaptation in dance (Part 2) - Dr. Padmaja Suresh

The development of different Sanskrit dramatic literature and poetry had parallel narrative structures and themes from the Mahābhārata. Some have become immortalized just like the main epic through the medium of folklore, poetry, drama and dance, while there are many that have hardly been noticed or remotely thought of with aesthetic purpose. Dance drama art forms like Kathakali, Yakshagāna, Harikatha and Koodiyāttam preserve the Sanskrit lineage within a limited repertoire. The Naḷa-Damayanti story, Kiratārjuniya, Karnashapadam, Kalyānasougandhigam, Sishupāla Vadha, Keechaka Vadha and few others have become adapted prominently. 

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Article - The use of Mudras in Odissi dance: A symbolic language of expression and spirituality - Sunandini Das

This research paper explores the ancient classical dance form of Odissi, originating from the Indian state of Odisha, emphasizing its historical and cultural significance. It highlights the connection between Odissi and religious traditions. The study delves into the role of mudras (hand gestures) in conveying stories and emotions, connecting Odissi to Hinduism and Buddhism. The paper showcases how these dance traditions have persisted over the years, evolving while staying rooted in the language of symbols. It sheds light on the rich cultural tapestry that Odissi dance continues to represent.

The Use of Mudras in Odissi dance: A symbolic language of expression and spirituality

Odissi, a traditional dance style originating from the eastern Indian state of Odisha, is globally renowned for its graceful movements, sensuous expressions, and its deep connection to devotion and surrender, known as "bhakti bhava." Odissi enthusiasts and scholars argue that it is the most ancient among India's classical dance forms, with its roots in temple performances in Odisha. They support this assertion with various forms of evidence, including architectural and textual sources, as well as ongoing ritual practices.  

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Unmute - Unmuting on Grooming - Asiya Shervani & Arshiya Sethi

 In the world of Indian dance, where metaphors abound in the art and oblique references are signs of great artistry, some of the forthright statements and examples contained in this article might startle. But where love, care and concern are indistinguishable from the most ignoble and sordid forms of violence and abuse, that is an evil place. Unfortunately, recent incidents have shown that the world of Indian dance is also one such space. Both inside and outside the ecosystem of dance, we see an activity called grooming happening.

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Aikyam: The Art of One - Echoes of Many - Ratikant Mohapatra calling

Guru Shradha is committed to preserving and promoting the profound legacy of Guru Kelucharan Mohapatra's Odissi dance tradition, while fostering cultural exchange through the transformative power of classical performing arts. The organisation envisions creating a vibrant community where the timeless beauty of Indian classical dance flourishes in modern America, reaching and inspiring audiences across generations and cultural backgrounds.

Founded in 2008 by Guru Kelucharan Mohapatra's distinguished disciple, Niharika Mohanty, Guru Shradha has grown into one of the premier Odissi dance institutions in North America. Headquartered in Palo Alto, the institution was established with the blessings of Guru Kelucharan Mohapatra himself and is recognised as one of his important global extensions. Over the years, Guru Shradha has gained wide acclaim, including the 2019 Best of Palo Alto Award for Best Dance School. It continues to enrich the cultural landscape through regular classes, workshops, lecture demonstrations, festivals, tours, and innovative collaborative presentations. 

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Article - Bonds beyond boundaries - Ranee Kumar

Encased in our cocooned existence, conditioned by misled fervour about the singular spirituality of our music and allied arts, we turn a blind eye to the rest of the world. Our myopic memory makes us oblivious to the fact that there existed ancient civilizations on the globe along with ours. Surprisingly antiquity surpasses time, survives onslaughts of new aggressions on its land and yet, presents the future generations with its treasured art forms that emerge with stamp of eternity.

It's astounding that the number 72 in terms of music, has a magical significance across world cultures which we were not even aware of. A brief look into the ancient music systems of Middle East and south of India for instance, will throw up the core similarities of classical music.

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Profile - Steps beyond sound: How Devika taught Devalakshmi to hear through movements - Bibin Balan

18-year-old Devika's story took a compelling turn when her guru returned to his native village, entrusting Devika with the full responsibility of running the dance school. With no time to hesitate, she had to swiftly transition from student to teacher, mentor, and guide, all at once. Among the first two students to learn under her was Devalakshmi....

Born to ordinary working parents in a humble household, the early years of Devalakshmi were marked by quiet struggles. Until Grade 7, she attended a regular government school, relying on basic gestures and lip reading to communicate with those around her. In Grade 8, when she joined Bishop Moore (Special) School, she learned formal sign language for the first time, giving her the confidence to express herself and connect more deeply with her dance teacher.

"The beginning was incredibly slow," Devika recalls. "I didn't know sign language well, and she struggled to communicate too... 

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Article - Unsung characters for adaptation in dance (Part 1) - Dr. Padmaja Suresh

Aesthetic experience says John Dewey in his Art as Experience, has been superimposed from systems of thought framed without direct reference to art. Rajashekhara in Kāvyamimāmsa, calls Sāhitya Vidya, Sarvapārṣada common to all Darshanas - hence we have drawn our aesthetic theory from concepts of Sānkhya, Nyāya-Mimāmsa, Vedānta, Tantra, Pratyabhijñya and all Bhakti schools. The Taittrīya Sootasamhita extolls the spiritual value of dance and music, both of which are performed incessantly by Śiva. Dance productions rely heavily on the poet, the scripts and the aesthetic value it holds. Choreography will depend on the artistic capabilities of imagination and skills to bring before the spectators, the popular legends and poems with added novelty or to bring to life a rarely exploited idea by inventing a production and discovering new possibilities of relish. The need to regulate Kama with Dharma and Mokśa sees the integration of beauty with goodness and truth all through our dance productions.

Bhārat is indeed the home of storytelling. It was from here that the Persians learned the art, and passed it on to the Arab continent, Constantinople, Venice and so on. The book The Ocean of Story of Somadeva's Kathāsaritsāgara is a magnum opus, the earliest collection of stories extant in the world. Somadeva was a Kashmiri court poet of the 11 century. It contains 22, 000 slokas, nearly twice as long as the Iliad and Odyssey put together. We can find well-known tales from the epics, as well as Rig-Veda, the Vetālapancavimśati and also some original ones. Embedded or Nested Stories can be traced back to the Rāmāyaṇa, the Mahābhārata, Pañcatantra, Jātakaṭṭhavaṇṇanā and the Kathāsaritsāgara.

The authors of the Mahākāvya-s and Nātaka-s gave a portrait of the sublime hero, Dheerodātta or a Mahāpuruṣa. Rama of Valmīki was both Dharmātma and Gāndharve ca bhuvi Śreṣṭha, a master of music (Ayodhya Kānda). The origin of the Ādi Kavi marks a sheet-anchor of poetic theory being the embodiment of Rasa, as cited by Anandavardhana in his Dhvanyāloka. 

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Anita says...June 2025

Welcome to the June monthly newsletter!

This month my writings will be brief. I have been travelling for most of May and have not seen many performances. Personal time has been uppermost on my calendar. May has always been a quiet month. The weather is blazing hot in most cities and academics take an annual break. I remember being in the mountains in Kodaikanal for summer vacations with my cousins and far away from dance classes, studies and examinations. It was a time to enjoy family, friendships and reset energies for the rest of the year.

For India based dancers, May is when many head to the west seeking opportunities in teaching, sharing and performances. Having just returned from the USA, I have seen Northern California already buzzing with musicians and dancers who have made their annual "Pilgrimage" to the Bay Area Bank of Mylapore! KA Ching! KA Ching! The sound of dollars is flowing in and the eager students are willing to part with significant sums of money to "enrich" themselves - for one weekend - through short intensives in technique through item learning. 

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