Bharatanatyam Knowledge
Thursday, June 20, 2024
Online, inline!
This post was originally created in 2020 which was not published due to oversignt. Today I saw it after four years and thought it was worth publishing The world of Online is producing some real magic in the world of dance. There are not just dances by individual performers in plenty but also the display stage is completely changed perhaps for good. No longer one need to be dependant on the askance of a major sabha to be considered having "arrived" on stage. Your stage is your home. There are no expensive lighting, printed cards, getting busy artiste gurus to be with you and of course the money spent on stage decorations flowers and such other. All that has now been replaced by some clever mangement of your hall, certain basic lighting and of course complete focus on your actual work.
No doubt it is very challengeing and not for faint hearted. In fact the online foray has also prodced a world of opportunites for not just artists but also some enterpring entreprenurs. We talked about one such host in the last post. There are artistes especially the young ones who do not depend on such platforms also like the duo, child prodigies Priya Pranesh and Lakshmi Srikutty https://youtu.be/m4MibrvLCzU
https://youtu.be/-UTTySfNCqc
K P Adhiti https://www.youtube.com/@adhithikp1703Saturday, August 8, 2020
An Evening with Ananga the Peruvian Bharathanatyam icon!
This programme aired today was one of the best that I heard in recent times, owing to the honesty and forthrightness of a young artist who could be called truly international. Ananga Manjari Malatesta is a rare Bharathanatyam Dancer from the Perurvian culture with an Italian background. A thoroughly spiritual practicing Hindu, Ananga came out as being one of the most sensitive global cultural ambassador of Indian Dance form which she has dexterously blended with the native Peruvian dance forms with the help of her mother who herself is a an artiste par excellence. That Ananga had Ballet background and is conscious of maintaining her form externally and also her heart internally through spiritual realisation, has been a great help.
For the first time I also heard someone explaining without mixing up the dogmas and the usual religious underpinnings as to the practical difficulty in reaching out to her students coming from a different, mostly Christian cultures. "Krishna is completely part of dance expressions in India where one could relate to the divinity easily, it becomes difficult in cultures like Christianity where the relationship between the followers and the divine is not based on love", she says and goes on to explain how she manages to bridge the cultural chasm. Mother Mary is the Devi equivalent and the Dasa and Dasi way of expressing obeisance to God almighty in Indian cultures could be explained by relating to the Christian pursuit of the Divine, he explains.
In much the same way the dance expressions like Adavu for instance cannot be taught as a free flow but needs to be nuanced with numbers and words which the students could easily relate to. The biggest advantage according to her that the Peruvian culture also has the same cultural underpinnings such as the worship of Earth, water, Sun and Nature aspects that are core to the Indian culture as well as the dance form.
Being an artist with a global footprint and having Gurus drawn from different cultures though being a student of the Indian danseuse Janaki Ramachandran, Ananga could relate to the challenges the artists face both in India and in her own country. "For me Dance makes us a human", she puts it simply.
In Pandemic times the biggest challenge for the artists to keep themselves motivated which Ananga also lists as her biggest challenge. And at the same time, both the interviewer Kavya Iyer choregrapher and dance heritage enthusiast besides being an accomplished dancer and agree that the close down also has given space to reflect deep within and hone the art form. Ananga for one says she is experimenting with Thattadavu big time. Online of course also is a challenge that needs to be understood and platforms such as Artscomeonline and the its curator Shivani Jatar who also is a major Kathak dance icon in Indian dance and culture are doing a great job in bringing together the artists and infusing new life and direction to the world of Dance.
Sunday, June 21, 2020
New stars shining bright
Saturday, February 2, 2019
Bright stars in the sky !
Here is one such artiste Shreyasi Gopinath , looking so stunning in her full attire planning to alluring the audience.
Monday, July 30, 2018
This is a lot about two professionals easily the best in their pursuits who can weave sheer magic with their work about whom I have been following only through the published articles , interviews and write ups about them and interacting with them off and on through social media platforms and just once did meet one of them at a social level at home. But the encounter of the great professionals at their work stunned me and Smitha beyond belief and each stood out as stupendous icons of their own by their sheer dexterity of art and professional prowess. It was an evening to remember.
Yes there were other dancers as well each amazingly superior in their own way at the "Looking Back to move forward" dance festival at IIC Delhi. But these two were personally special to us and even otherwise the best that can ever be. Purva Dhanashree could manage to put her her entire over two decades of practice as Vilasini Natyam dancer and researcher in a capsule in just one little over ten minutes song of flowers "puvvalu patta". She simply and with great agility and fluidity became a medium to communicate the ecstasy felt by her soul to us who watched her from below the stage. It was a celebration in time where time stopped, it was artistry that could have no parallel.
Time that Purva stopped by her dance remained still and even the God who created the world decided to keep his eyes closed for eternity perhaps after having achieved the limit of his creation!
Dr Vasudevan Sridhar who enacted the creation of this world by the God almighty as narrated by Ravi Subramaniam the contemporary Tamil Poet, could bring out with greatest possible detail as to how God perhaps had gone about his job. With amazing footwork, flexibility and pure poetry of body moments Vasu painted a moving picture of how the world got created one step at a time , one creature, one plant, one tree, one hillock ......each with its own beauty by God almighty and all created in a wink when God opened his eyes saw the vast sky and earth bereft of life.
Each creation Vasu brought forth by his magical dance moments had its own sense of purpose and place in the world that God created. God went into a idyllic self-fulfilling rejoiceful trance after He created humans who excelled beyond his own expectations. Personally I have never seen anything as close to storytelling in detail as to what Vasu accomplished that evening.
I may have been partial to my chosen ones whom I respect and I admire most but the work of few of the others featured in the group photograph that we got to see as part of the three day festival put together by Manasa-Art Frontiers in collaboration with IIC once again made me hopeful of the current generation preserving and vastly improving the body of work the great masters have left behind for the posterity. The Mayur Banj Chau by Carolina Prada with her troupe ably highlighted the eternal quest for wealth and power by humans culminating in realising the God within after understanding how all that is material is unreal while God alone is eternal.
The beautiful Divya Goswami in her Kathak solo brought forth admirably the ecstasy of a girl seeing the beauty of dawn and her sweet desire to wake up her friend also to join her in her magical morning reminded one of Sri Andal's Thiruppavai a celestial song composition urging the girls to wake up and join her in the early morning worship of God almighty in the month of margazhi. Tanya Saxena through Bharathnatyam could with great feelings bring out the pathos and sheer ecstacy all at the same time of the two river Goddesses Padma and Ganga as they flowed through the land which went through vicissitudes of time to become East Bengal first, then East Pakistan and now Bangladesh while sharing the same history and culture of the neighbouring West Bengal (shortly Bangla).
Tanya had such tremendous energy and great imagination to bring forth the greatly mixed emotions of people who lived in these two tracts of Ganga sharing the same culture over the centuries. Katyayini Gupta through Kroora Hridya Megha song called out to the recalcitrant clouds to pour forth for life to flourish on earth. Her Bharathnatyam rendering of the cruel cloud's antics left one breathless with sheer happiness. God bless the youngster. The background singers and musicians were amazing in their rendering and also their stamina to last through the three hour repertoire! The credit for putting together the show on July 26, should go to the two great stalwarts of dance Sharon Lowen who also had her own photo exhibition of her 45 years of dedication to dance in India and Kamalini Dutt the famous dance historian and archivist who was the founder director of Doordsrshan's archives.
Photos of Purva Dhanashree & Dr Sridhar Vasudevan are from their respective webpages
Saturday, October 14, 2017
First what is that which is sustaining me who is a perfect stranger to this art form and almost an illiterate when it comes to the techniques and nuances of dance or even music. I know no ragas, nor do I know any thalas and of course I have zero knowledge in bhavas, nritya and timings. I have nothing to offer when it comes to knowledge of dance and yet I have sustained this blog for nearly a decade purely hoping someday to attain the knowledge and depth necessary to turn myself into a critic rather than a casual bystander which is what I am today. I am writing this blog without overtly describing personalities or their rendering. Aiswarya Ramakrishnan, a young Kuchipudi exponent of considerable depth and tremendous grasp of the techniques of this unique dance form from deep Andhra Pradesh.
This girl is fascinating as she is so well focused on dance as a career that she literally fought tooth and nail to get there being born into a prosperous middle class family of professionals. Father being a banker wouldnt listen to anything other than writing the bank officers exam and bagging the coveted job like for the life time Fortunately the kids Mom and her father are carnatic vocal singers themselves and Aiswarya herself is an accomplished vocalist.
he one who has fascinated me of late is an amazing dancer who belong to the modern generation of a mixed race coming from a rich cultural family of considerable standing and reputation.