Monday, May 20, 2013
Friday, May 10, 2013
DHYANAM-Purva Dhanashree!
DHYANAM-Purva Dhanashree!
Hey Manusha! I am Devi! I am Mata, I am your mother, I am everything and yet I am frail and may be no match to the timeless stone images which surround me! The eyes are closed but are seeking an seeing which a wakeful mind cannot perceive. The stones which have come alive around me and myself as a person, are no different from each other.
All of us are made of the elements of nature, combined differently, ordained uniquely by our creators. The one, man created has stood the test of time and is withering away ever slowly bearing witness to the centuries of human agony, ecstasy and realisation!And yet as a human I know that I have but a limited window to live and to give, to seek and be sought after, to create and be part of the creation, like the artists who have long gone but whose creations have stood the test of time, I would also create, carve something out of the human consiousness so that when I am gone, my work would stay, it would be carried in the mind and feet of the generations to come, each adding to the learning as I did after learning from Guru, who did likewise. Each individual adding to the uniqueness of dance, the expressions and the life itself!
My eyes are shut and yet I am seeing the world that is passing in its own rhythem, creating and destroying everything around it and everyday man is waking up thinking he would live for another 100 years and yet men in their millions have come and gone, each merged with the soil, the rivers, the skies from where they came and each becoming the soil on which new saplings grew, creating a world anew. No one is dying, no soul is going back to the creator as creator is no one different than his creation. All are here and would remain in the only world that human knows which can preserve him, the world I salute with my eyes closed as I seek to know the truth, the truth of my existence.
The reason why I came, the reason why I would go so that a new generation would walk the same path, move mountains, create a new world, only to become part of the dust that they would leave in their wake. Dhyanam is not just to discipline my mind and thought process but it is the unique few minutes when you could visit your soul and be with it so that you know you dont have to be born again as you would never have gone, you are here and you will always be here. This is the world I came to this is the world that has been given to me, this the world that I would shape in my unique way, this the world that I will leave to become part of its microcosm so that in every shaft of light, in every drop of water and every gust of cool wind, I know I will be there, again and again!
Inspired by the beautiful young friend and Bharathanatyam Dancer, Purva Dhanashree
Saturday, May 4, 2013
Bharathanatyam, a street dance?
Cazrode Yongsterz has taken Bharathanatyam literally to the streets! May a bit unconventional but it does catch the attention of people and makes them curious to know this form of dance. The dress is colourful and the moves are ethereal and fluid and the dance would fit with any crowd. In fact, the street theatre of Tamil Nadu with Kagagattam, Mayillattam, Oyilattam....all have some elements of bharathanatyam including even its trademark attire in these. Dance is an expression of the inner peace and good dance simply flows when the artist decides it should be. The art and artist become one and the universe simply wraps them around and watch them in awe. Street or stage makes no difference. Great show Cazrode!
Cazrode Yongsterz has taken Bharathanatyam literally to the streets! May a bit unconventional but it does catch the attention of people and makes them curious to know this form of dance. The dress is colourful and the moves are ethereal and fluid and the dance would fit with any crowd. In fact, the street theatre of Tamil Nadu with Kagagattam, Mayillattam, Oyilattam....all have some elements of bharathanatyam including even its trademark attire in these. Dance is an expression of the inner peace and good dance simply flows when the artist decides it should be. The art and artist become one and the universe simply wraps them around and watch them in awe. Street or stage makes no difference. Great show Cazrode!
Tuesday, October 23, 2012
Following my blog!
I didnt quite know there is a fair amount of following of my blog and it is going to touch 10,000 views! Amazing. Well, the beautiful dance form is something everyone is now rediscovering for its true worth. The artistes are getting new recognition for their efforts. In my recent visits to the USA, the Orient and within India I find more people are getting interested in traditional art forms. More people are willing to spend money to train their children, take the effort to drive them to the classes and wait patiently outside for hours, go through the pain of getting the Arangerrams done. It is no longer fad, it is serious business.
Move over man! Also I guess internet has also contributed hugely to this phenomena where people are able to track the best and also follow their favourite artists. Despite all this disconcertingly, the senior artists are still ruling the roost and in the process inadvertently denying the fair chance to the youth. Besides, such art forms as these require lithe young artists who could carry themselves in the stage. The elders should have the magnanimity to vacate the space and encourage the youth to take the centrestage as a show of their true maturity. Sharing of knowledge, researching and uncovering new knowledge nuggets is possible only if the elders turn to be mentors and not remain as competitors.
The ICCR show!
A serious research on some of the key shows that took place with government ICCR assistance in the last one year would easily tell you that 90 per cent of the funds have gone to a handful of senior artists which is pretty unfair. Someone in the profession should file an RTI to find out who has utilised the government funds, who has used the Doordarshan programmes, who has performed in some of the key government supported mega dance shows. A serious rethinking is needed to see that the big names remain big by mentoring and not by competing with the youngsters. This trend is not only in bharathanatyam, but in all art forms where government funding is involved.
Can someone also file an RTI to find out how much money was dished out, who benefited and what follow up action was taken while providing the ICCR scholarships. Here is the link http://www.iccrindia.net/otherschemes.html
Did you know that ICCR has dozens of Fellowships and Chairs abroad in practically every country you can think of. http://www.iccrindia.net/chairslist.html I wonder who used these funds and what follow up was done to pass this knowledge to the young artists in India.
Check this list and you can easily spot everyone who is anyone including the wife of a famous crickter is here. Most of the yesteryear artists who refuse to step down are also there in equal measure. http://www.iccrindia.net/iccr-annualreport-2010-11/Annexure%2011%20(Festivals%20of%20India).pdf
I rest my case!
Having said this, I must also place on record the tremendous contributions made by the senior artists like Padma Subramaniam, Alarmel Valli. Bhavalaya.com has an interesting collection of bios of leading artists of yesteryears and not so yester too! See this ">link
Move over man! Also I guess internet has also contributed hugely to this phenomena where people are able to track the best and also follow their favourite artists. Despite all this disconcertingly, the senior artists are still ruling the roost and in the process inadvertently denying the fair chance to the youth. Besides, such art forms as these require lithe young artists who could carry themselves in the stage. The elders should have the magnanimity to vacate the space and encourage the youth to take the centrestage as a show of their true maturity. Sharing of knowledge, researching and uncovering new knowledge nuggets is possible only if the elders turn to be mentors and not remain as competitors.
The ICCR show!
A serious research on some of the key shows that took place with government ICCR assistance in the last one year would easily tell you that 90 per cent of the funds have gone to a handful of senior artists which is pretty unfair. Someone in the profession should file an RTI to find out who has utilised the government funds, who has used the Doordarshan programmes, who has performed in some of the key government supported mega dance shows. A serious rethinking is needed to see that the big names remain big by mentoring and not by competing with the youngsters. This trend is not only in bharathanatyam, but in all art forms where government funding is involved.
Can someone also file an RTI to find out how much money was dished out, who benefited and what follow up action was taken while providing the ICCR scholarships. Here is the link http://www.iccrindia.net/otherschemes.html
Did you know that ICCR has dozens of Fellowships and Chairs abroad in practically every country you can think of. http://www.iccrindia.net/chairslist.html I wonder who used these funds and what follow up was done to pass this knowledge to the young artists in India.
Check this list and you can easily spot everyone who is anyone including the wife of a famous crickter is here. Most of the yesteryear artists who refuse to step down are also there in equal measure. http://www.iccrindia.net/iccr-annualreport-2010-11/Annexure%2011%20(Festivals%20of%20India).pdf
I rest my case!
Having said this, I must also place on record the tremendous contributions made by the senior artists like Padma Subramaniam, Alarmel Valli. Bhavalaya.com has an interesting collection of bios of leading artists of yesteryears and not so yester too! See this ">link
Friday, February 24, 2012
I happened to meet Padmavathi, the former danuese whose background and pictures adorn this blog elsewhere, after a long gap during which period she had "hung" up her Salangai, something very sad and very poignant and a great loss for the world of Kuchupudi. She just couldnt cope with all that happened in her life, her marriage, her daughter, her career first as a lawyer, then as an AirForce Air Traffic Controller, next as a Admin head of CSS, followed by a News Anchor at a popular Telegu channel and now as its head of administration and external legal support official. A great girl that she is and she will do a lot more and perhaps may even come back to Dance and contribute in a much different way than her peers who might still be dancing or set up a dance school.
Here is one artist, a professional and one of the Dance Trios of Chennai who stuck to dance and made a great career with fan following around the world. ICCR seem to have quietly supported many an artist to go abroad and perform, looks like. Shobanaa Bhalchandra of Om Shakthi Dance School is the youngest of the renowned Trio Sisters of Chennai. A seasoned and versatile artist, she is also recognized as a senior Bharathanatyam "Guru". One of the early disciples of the famous dance duo, Dhanajayans, Shobanaa was trained in the popular Kalakshetra style. She went on to complement this with an extensive study of Abhinaya (Expressions) under Padmabushan Kalanidhi Narayanan. In her quest for all-round excellence Shobanaa underwent professional training in Classical Music as well as Nattuvangam. Her dedication to this art form is also evident by the fact that she opted for a career in performing and teaching this dance form, in-spite of having a Masters degree in Business.
Finally, I was watching two different videos of Shobhana today, the versatile actress and dancer who is equally effective in both her roles. I am not sure about the way her life has gone so far, which is quite a sad thing for a artist and performer of her greatness and also coming from a legacy of the Travancore Sisters, Padmini, Rahini and Lalitha, all three of them known for their pure dance prowess. In one video, the artist had put on unusually lot of weight and in another, a more recent one she looked a bit sick and tired with her body slightly emaciated. Whatever private hell she is passing through, she is quite dedicated to her art which one can easily discern, perhaps this is what is getting her going.
Here is one artist, a professional and one of the Dance Trios of Chennai who stuck to dance and made a great career with fan following around the world. ICCR seem to have quietly supported many an artist to go abroad and perform, looks like. Shobanaa Bhalchandra of Om Shakthi Dance School is the youngest of the renowned Trio Sisters of Chennai. A seasoned and versatile artist, she is also recognized as a senior Bharathanatyam "Guru". One of the early disciples of the famous dance duo, Dhanajayans, Shobanaa was trained in the popular Kalakshetra style. She went on to complement this with an extensive study of Abhinaya (Expressions) under Padmabushan Kalanidhi Narayanan. In her quest for all-round excellence Shobanaa underwent professional training in Classical Music as well as Nattuvangam. Her dedication to this art form is also evident by the fact that she opted for a career in performing and teaching this dance form, in-spite of having a Masters degree in Business.
Finally, I was watching two different videos of Shobhana today, the versatile actress and dancer who is equally effective in both her roles. I am not sure about the way her life has gone so far, which is quite a sad thing for a artist and performer of her greatness and also coming from a legacy of the Travancore Sisters, Padmini, Rahini and Lalitha, all three of them known for their pure dance prowess. In one video, the artist had put on unusually lot of weight and in another, a more recent one she looked a bit sick and tired with her body slightly emaciated. Whatever private hell she is passing through, she is quite dedicated to her art which one can easily discern, perhaps this is what is getting her going.
Saturday, December 31, 2011
Monday, December 26, 2011
You are seeing the face of Aishwarya Nair! Well, the artist whom I am talking about is not someone who need to go by her name as her art is going to take her places and the name and the brand that it would carry would follow. Smitha and I had been invited to her enthralling performance at RK Puram Iyeppan Koil. Rather I should say that this was an invitation to prayer and to do so while watching the flawless footwork ofAiswarya whose performance was not picture perfect but something that went beyond and touched a chord in the heart. Honest! Why temple and why the shape of a deity? This is because the ordinary mortals have no means of witnessing the celestial dances and perhaps thought getting peace is best done standing in front of the santum santorum. For both of us, the dance itself turned out to be the soul filling experience. Iswarya, we sincerely pray should go a long way and fill the hearts and soul of many more like us. The accompanying artists, Ilangovan on vocal and the violinist and the person on Tabla (I will get their names soon enough) did a great job to make Iswarya dance to her soul of which I am definitely sure about.
Subscribe to:
Posts (Atom)