sign in sign up
<<
Home , Aruna Mohanty, Astad Deboo, Bharatanatyam, Dance in India, Garba (dance), Kalidas Samman

P 2 | JUNEDECEMBER 2018 2017 Contents Volume 2, Issue 12 | June 2018

Editorial Team 04 Cover Story 18 Reviews 47 Mrinalini Amma: Jathis-Tenali 2018: Editor’s Note 05 A Phenomenon in the field An Entrancing Classical of Festival Cultural Bulletin 06 Sambhavana - Torch Bearers 08 Celebrating New Directions In Indian Dance Maisnam Kamini Kumar Singh: A Radiant Veteran of Manipuri Zohra Segal Arts Festival: 's choreo- graphic work Nayaka Pratinayaka

Reports 56

Beacons of Light 32 Scholarly Corner 60 Sheela Unnikrishnan: Moulding Tadepalli Aspiring Students into Profes- Satyanarayana Sarma: sional Artistes A Propeller of Tradition Frozen in Time 37 Cultural & Tourism 13 Tourism: Proscenium 38 Confluence or Confusion

Dance in 14 Rays of Hope 42 Mahari - the Dance of Shaik Nadiya: An Epitome of God-wives Grit and Determination

Tributes 64

P 3 | JUNEDECEMBER 2018 2017 Editorial

‘The Dance India’- a monthly cultural magazine in English is our humble "Art speaks the attempt to capture the spirit and culture of art in all its diversity. soul of its culture"

Articles may be submitted for possible Editor in Chief publication in the magazine in the following BR Vikram Kumar manner. • Send in your articles to Executive Editor [email protected] Paul Spurgeon Nicodemus Please include your full name, contact information (address and telephone Feature Writers number) and a short bio data. Rajahamsa • Articles are published in the magazine only RMK Sharma on the condition that the author agrees to the terms of the Copyright Statement and Sandhya Parimala Policy Contributors Dr Coordinators Regd. Office: Trivikram Publications, New Delhi (News, Advertisements & D.No. 50-01-50/1, ASR Nagar, Seethammadhara, Subscriptions) Visakhapatnam - 530 013, A.P. Avinash Pasricha Tel: +91 8897987445 Sai Venkatesh New Delhi The opinions, beliefs and viewpoints expressed Kashmira Trivedi by the various writers in the articles and Nita Vidyarthi reviews do not necessarily reflect the opinions, beliefs and viewpoints of the editorial team or Gopal Sagar Sagar official policies of The Dance India. Seuli Chatterjee Kolkata All rights reserved. © June 2018 - The contents published in The Dance India Basu Sinam magazine are an exclusive copyright of Trivikram Publications. No part of the magazine Alaknanda Noida may be reproduced in whole or part without the written consent of Trivikram Publications.

Kshitihija Barve Goa All disputes are subject to the exclusive jurisdiction of competent courts in Visakhapatnam only.

Edited, Published and Owned by Bathina Ranga Vikram Kumar, Mobile No. +91-9848137445, on behalf of Trivikram Publications from D.No. 50-01-50/1, ASR Nagar, Seethammadhara, Dist. Visakhapatnam - 530 013, A.P. and Technical Advise and Graphic Design Printed by G. Sangameswara Rao, at Follow us on Sri Lekha Power printers D. No : 30-20-30 &31, Nehuru Sreet Seetarampuram, Elluru Road Vijayawada (AndhraPradesh) thedanceindiamagazine Editor: Bathina Ranga Vikram Kumar P 4 | JUNEDECEMBER 2018 2017 BR VikramKumar, BR VikramKumar, Editor BR VikramKumar, BR VikramKumar, BR VikramKumar, BR VikramKumar BR VikramKumar BR VikramKumar Jai Hind! rich culture. take anoathtopromoteandpreserveour State andCentralGovernmentsshould accommodation instarhotels.Boththe may notaffordtheirtravelinflightsand bodies arebeingignoredbecausethey departments. LocalNGOsandcultural resort tounfairfavoursintheirrespective with privateplayersandsometimes only beeninterestedintravellingabroad Many directorsinthedepartmentshave Bodies workingattheregionallevel. is totakeinputsfromNGOsandCultural ministries undertheGovernmentofIndia needs incorporationintheworkingof An importantpractice,neglectedbut tourism. and protectorsisthebackboneof and culturealongwithitspractitioners should notforgetthatIndiantradition BR VikramKumar BR VikramKumar Ministries undertheGovernmentofIndia are beingignored.Tourism AndCultural classical, traditionalandfolkartforms ambassadors whilestalwartsfrom being paidincrorestoactastourism celebrities fromthefilmindustryare tradition andculture.Today, ifwesee promote thetrueessenceofourIndian promotion buthavebeenfailingto being spentonthepublicityand tourism industry, croresofrupeesare promising. Especiallyinthecultureand so farthescenariohasn'tbeenthat developing thecountryanditsstatesbut Tourism andCultureareessentialfor P 5|DECEMBERJUNE 20172018 Editor’s Note Source: PIB

The ministerial opening of the Exhibition - 'India and the World - a History in Nine Stories'

inisterial Opening of the exhibition 'India & unprecedented collaboration in a museum exhibition, The World - A History in Nine Stories' by with the British Museum, London; National Museum, MHon'ble Minister of State for Culture (I/C) New Delhi; and Chhatrapati Shivaji Maharaj Vastu and Minister of State for Environment, Forests and Sangrahalaya (CSMVS), and is actively Climate Change, , Dr. Mahesh supported by the Culture Ministry. 'India and the World: Sharma and UK Secretary of State for Digital, Culture, A History in Nine Stories' offers insights into two million Media and Sport, The Rt Hon. Matt Hancock MP was years of history. Over 200 objects from British held today at the National Museum auditorium, New Museum, London and 20 museums and private Delhi. Dr Alexander Evans, deputy High collections from India are on display. The Exhibition will Commissioner, British High Commission, New Delhi, run for two months till June 30 and is available for Hartwig Fischer, Director, British Museum, Dr public viewing on all days from 10 am to 6 pm, except B.R.Mani, Director General, National Museum, were on Mondays and public holidays. also present at the event. The Exhibition marks an

Inauguration of the 'India and the World - a History in Nine Stories'

P 6 | JUNEDECEMBER 2018 2017 NEWS Uttam Pacharne appointed as the Chairman of Lalit Kala Akademi

he President of India has appointed Uttam Janaseva Sahakari Bank Borivali. He is the recipient of Pacharne, as regular Chairman of Lalit Kala National Lalit Kala Award 1985, Maharashtra Gaurav TAkademi. Pacharne is an eminent artist and Puraskar 1985 from Government of Maharashtra, sculptor. He is a widely respected person in the field of Junior National Award 1986 and Jeevan Gaurav art and has held various important positions. Currently, Puraskar 2017 from Prafulla Dahanukar Foundation. he is Member of Advisory Committee, Kala Academy, Pacharne will hold office for a term of three years from Goa and Member of Advisory Committee, PL the date on which he assumes the charge of his office. Deshpande State Lalit Kala Academy and Director,

National Committee for Commemoration of 150th Birth Anniversary of Mahatma Gandhi

he President of India, Ram Kovind, Gandhians, social thinkers and activists representing a chaired the first meeting of the National cross-section of Indian society and regional diversity. TCommittee for the Commemoration of the The Committee also has nine international members, 150th Birth Anniversary of Mahatma Gandhi, at including two former Secretaries-General of the United Rashtrapati Bhavan on May 2, 2018. The Committee Nations - Kofi Annan and Ban Ki-moon - and Nobel has a total of 125 members, including 116 from India laureates Archbishop Desmond Tutu of South Africa and encompasses the President (as chair), the Vice- and former US Vice-President Al Gore. Eighty-two President, Prime Minister, Union Ministers, former members of the Committee, including two from Prime Ministers, Chief Ministers, senior MPs and abroad, attended the meeting. political leaders from across party lines, and eminent

Exhibition to commemorate the birth anniversary of

he exhibition titled 'Gurudev: The Journey of the Cultural Counselor, Embassy of the People's Republic Maestro', to commemorate the birth of China in India, Santiago Ruy Sanchez, Cultural Tanniversary of Rabindranath Tagore was attaché, Embassy of Mexico to India and Carlos inaugurated at The National Gallery of Modern Art Varona Nervion, Director, Spanish Cultural Institute, (NGMA), New Delhi, Ministry of Culture, Government of New Delhi. India on 7 May 2018. The exhibition was inaugurated Post-inauguration ceremony witnessed Welcome Song by H.E. Daniel Chuburu, Ambassador of the Embassy "Ekla Cholo Re" by Children and a musical concert by of the Argentine Republic to India, Jeffrey Sexton, Hungarian Duo - Virág Kiss pianist and Sándor Dezs? Minister Counselor for Public Affairs from U.S. cellist on . The exhibition will be on Embassy, New Delhi, Prof. Dr. Zoltan Wiliam, Director, view for the public from 8 May to 10 June 2018, from and Cultural Counselor, Hungarian Information and 11 am - 6.30 pm, except on Mondays and National Cultural Centre, Embassy of Hungry, Zhang Jianxin, holidays. P 7 | JUNEDECEMBER 2018 2017 P 8 | JUNEDECEMBER 2018 2017 anipuri dance as an art form goes beyond Churachand Maharaj (1891-1941). He was a fond dance and music. It is an amalgam of Meitei Pung player, who also cherished the profession Mhistory, mythology and performance; a of his grandfathers and uncles. means of storytelling woven into a smooth sequence Kamini Kumar as a child, at eleven, attended a temple of dance moves. One such astounding performers of pavilion (Mandap), which was the venue of scholarly the dance form is Maisnam Kamini Kumar Singh. Born gatherings and performance activities run by Pandit on 1 May 1947 at Sagolband Kangabam Leikai, Imphal Atombabu Sharma, an SNA Awardee, who was also a as the second son to Meisnam Tombisana Singh and patron of learning . Meisnam Ongbi Mangi , he grew up in the post Being fondly taken to these friendly gatherings by Second World War environment of poverty. His father elders, his young mind imbibed a spontaneous feeling was a small-time trader and a hard-working of association with the cultural arts. businessman who travelled through the state of Disciples of his grandfather, gathering at home dealing with Manipur handloom products. His mother encouraged him to play the drum instrument at the was a homemaker. young age. He was initiated into dance by his Hailing from the town of Imphal and being born in the grandfather's disciple Mutum Madhumangol of Meino family of Maisnam lineage, with elders like Padmasree Leirak, who was a veteran singer. He was enrolled into Maisnam Amubi, an SNA awardee, Ustad the school in the year 1957. Maisnam Thambou Singh, a veteran of Hindustani With the association of teachers like Guru Maisnam Classical Music in the 1940s to 1960s and Maisnam Amubi Singh, Guru Haobarn Atomba Singh, Guru Maipakpi Devi, a Nata Sankirtan Singer in the 1950's Takhellambam Amudon Sharma and Guru Rajkumar inspired Kamini Kumar to be associated with the Akesana emphasising him to underline his character performing arts. and quality from that generation of performers, His grandfather, Listad Thambou was a Meitei Pung dancers, musicians and drummers, who were noted veteran of the Nata Sankirtana during the rule of

P 9 | JUNEDECEMBER 2018 2017 personally at their homes were undertaken and the State Kala Akademi which provided scholarship also augmented his quest for in-depth understanding of the tradition. He retired with thirty years service as Pradhan Guru or Principal. The dual pursuit of knowledge and practice in the Manipuri dance form also became an inexhaustible urge in his journey of Manipuri dance and culture. Speaking about developing the tradition academically,

for excellence in the golden days of Maharaja he suggests that an in-depth emphasis and research Churachand (1941-1955). He absorbed the precious should be focused on the ancient Manipuri society, learning from his teachers at the Jawaharlal Nehru Manipur Dance Academy (JNMDA). Becoming a dance student of Jawaharlal Nehru Manipur Dance Academy, which was run by the best crop of dancers, musicians, ritual practitioners, traditional scholars and pupil of the culture of the Churachand and Budhachandra regime (1891-1855), Kamini Kumar imbibed the true cultural tradition of Meitei and its expression in dance. As a student, he was a part of various cultural performances presented by JNMDA, and thus his experience grew among the pristine representatives of dance culture. Inclined towards higher education, Kamini Kumar enrolled himself in newly established diploma courses in the years 1971-1975 and later joined as a teacher in the year 1976. During these learning and teaching years, he deeply drenched his thirst to learn in depth about the culture, traditions and the necessity to culture and traditions. Also, he comments that the preserve them for future. Research and study of students should be given a chance to develop a broad ancient manuscripts, consultation intimately and view of other communities in India and their dance forms. Deeper theoretical knowledge on art, cultural history and dance along with techniques, dance notations should be included in the syllabus for the students to be studied. This system helps the students to ensure individual creativity amongst them to be competent performers, composers and future producers of the tradition.

P 10 | JUNEDECEMBER 2018 2017 He adds that ethnic in Manipur should be of culture and quite researched. On his plans in life, he theoretically and practically studied with the inclusive comments "At this age of 71, the time is good for syllabus. He also pledges to support and dedicate his retirement, but still I am active in the community for the time for causes with deeper modernisation in the special religious occasions and encourage emphasised study of dance forms. consultations by young researchers." Speaking on the authenticity of Manipuri Dance, he His daily routine is simple as him, frugal diet and comments that it differs greatly from the other classical walking around have been an important part of his dances of India. To popularise it systematically along daily routine. Teaching dance movement adds more pleasure to his day. His interest lies in producing more researched publications related to Manipuri dance and culture. Kamini Kumar aspires to be connected with the dance culture despite being through a period of rest from stress and mundane anxieties. He forgets the difficulties of poverty and deprivation through the pleasure of his dance discipline and systematic life. Being recognised and respected by the state and with other dances, development of training institutions national institution for his humble services and would be of great help. He adds that inspirations are contribution towards the dancing fraternity serve as derived from closer association of the interactive best moments of his life. dance activities supported by the benign government; On experimental fusion, he opines that creative the journey all over India and the foreign experiences encouragements by young generations should be had benefited the self deeply. encouraged but the purity and integrity of tradition His passion lies in whatever is connected in the realm should be respected, protected and reserved. He

P 11 | JUNEDECEMBER 2018 2017 India, but also thinks that they should be qualitatively organised. Throughout his impeccable journey, Kamini Kumar has received prestigious awards such as 'Thouranisabi Gold Medal' from Manipur Sahitya Parishad, Imphal in the field of Raas Dance in 2003, "Manipur State Kala Akademi Award" by Manipur State Kala Akademi, Imphal for Raas Leela in 2003, the " Bhushan" by Manipur Sahitya Parishad, Imphal in 2010 and the renowned " Award" by Sangeet Natak Akademi, New Delhi in 2016. With immense honour and privilege to represent the nation, state and his community, he wants to gracefully retire from his teaching career and lead a peaceful life. adds that debates in a democratic form are essential. With such passion and penchant towards art and He mentions that the purity of the vocation and the culture, Kamini Kumar stands a beaming Torchbearer integrity of the artistes and institutions are essential of the Manipuri dance form. while performing such experimental fusions. Kamini Kumar travelled in most parts of India and the USSR in the festival of India in 1987. He took part in the Tarun Kalakar Nritya Samaroh (1972) organised by the SNA in New Delhi and gave demonstrated lecture for JNMDA extension program in the year 2000. He performed at Kalakshetra, in the year 2003 and at the festival of Manipur at Swabhumi, Kolkata as Rasdhar in the year 2003. He has organised 'Maharaas' at Bangsi Bat Vrindavan as a tribute on the 208th death anniversary of Rajarshi Bhagyachandra under the aegis of Sangeet Natak Akademi and later at Imphal in the year 2006. He has contributed his literature knowledge to a book on drum vocabularies-'Ras Sheirangee Punglon' (on Basanta Raas and Nitya Raas) 1987. He contributed as co-writer in the book Manipur Raas Sheirang, published by JNMDA 2005, and the second edition in 2016 with Meetei Mayek and Roman script. In view of dance festivals, he feels that they are necessary to expose the traditional dance forms of

P 12 | JUNEDECEMBER 2018 2017 houseboat from . Portraying and promoting elements of other states proved to be defeating the whole purpose of promoting tourism in Andhra Pradesh. In reality, though there were efforts made to replicate the houseboats of Kerala, the whole project has been in question. Dindi houseboats might appear he vision, ideology and efforts of Nara in the advertisements but don't be surprised if they Chandrababu Naidu, Chief Minister of Andhra don't function in reality. Pradesh, must be appreciated for ensuring that T It shows the lack of knowledge of the team looking no stone is left unturned. He is one of the few leaders with a high standard of administrative experience and after branding and advertising of tourism in Andhra he is known for making the best use of the available Pradesh. This nonsense was the result of inefficiency time and opportunities. Naidu's ideas are undoubtedly and incapability of all those who are directly or brilliant but when it comes to the implementation and indirectly instrumental in it. Especially, the Minister of their reach to the public, the story begins to change Tourism who either do not have the subject knowledge and leaves ample scope and chance for pointing or did not look into it. "They are paying attention only to fingers. sugar coating and taking people on a fantasy ride," opined a passenger travelling on the Ratnachal The public opinion on the branding of Andhra Pradesh Express. Needless to say, these irregularities would Tourism Development Corporation under the Ministry rather create 'confusion' than 'confluence'. of Tourism, Government of Andhra Pradesh goes with the saying, "Something is better than nothing but The intent to brand and advertise tourism in Andhra nothing is better than nonsense." That is what has Pradesh by no means a wrong thing to do but the exactly happened with corporation's style of branding choice and selection of images that represent the state and advertising. Recent advertisements on railway are definitely incorrect. Chief Minister's idea to promote coaches of the trains originating and terminating at the tourism, which in turn would improve the state's state capital stand as an example. The advertisements economy and help in creating employment, is a noble on the train with captions, 'A Confluence of Art, Culture one. But again, they failed in controlling corruption and and Tradition' had an image of a unprofessionalism and allocated funds to a team that dancer when Kuchipudi is the classical dance form of doesn't have proper knowledge of Andhra Pradesh Andhra Pradesh. The dance form originated in Andhra and its culture. After all, branding and advertising utilise Pradesh and thanks to the efforts of several legendary a lot of money and it is a misuse of funds by the and accomplished artistes, the art form is now Department of Tourism. Another suggestion is that the known across the world. priority and target of attracting more tourists should be made in other states of the country than in the own In another blunder of sorts was that the advertisement state and that too not so much in the capital region. had the backwaters of Konaseema with an image of a

P 13 | JUNEDECEMBER 2018 2017 P 14 | JUNEDECEMBER 2018 2017 in the daily temple rituals. Out of navadha Guru Mahaari Rupashree bhakti or the nine primary ways of worship Mohapattra mentioned in the scriptures, Keerthanam is vital. It is the way of singing, dancing, enacting the glories and pastimes of the lord. Thus, emerged Nritya . It is also a part of Yin and Yang concept of Buddhism where the men take part in the more masculine form of conducting rituals and women take part by making garlands, singing and dancing.

The concept of Maharis in is postmodern. In ancient , Maharis could be absolutely

he term Mahari refers to two root words, Mahan which means, great in Odia and Nari that Tis the Odia word for a woman. Thus the term Mahan Nari or great woman has been colloquially transformed into the term Mahari.

Origins of the maharis can be traced back to 1058 CE with the historical inscriptions of the Brahmeswar temple where Queen Kalavati Devi had dedicated many beautiful dancing girls for the service of Lord . The tradition continued through the Konark Sun

independent, aloof from any restrictions of marriage and household. These women were strong and politically powerful women who chose the men in their lives. The kings of erstwhile Kalinga, Odra or Utkala, have always considered Maharis with utmost respect and honour.

There were different categories of maharis. Some of them like 'Hruta' is a term used for girls who have been kidnapped and have been made maharis. The term 'Bikreta' was used for the maharis who were sold to the temple. They are later ceremoniously married with the god and termed as god-wives or Temple and in recent past in the famous . Temple of . The , in general, comprises very slow The major philosophy behind the practice of dance in and ornamented movements that are antique. It is the temple was to incorporate the practice of Navadha not as stylish as its successor, . The rawness

P 15 | JUNEDECEMBER 2018 2017 of the dance form is enchanting. The movements are very slow and abstract without rapid transitions or fast movements. The expression and the emotions related to the dance are given more importance.

The dance was performed inside the inner sanctum of Jagannath temples where the Bhitara gauni or one that sings inside the sanctum, performs. A single mashal or temple lamp present inside sets the milieu of the performance. In the wake of such low light facilities and prohibited audience, the dance became more of an interpersonal search for the divine. It became a solo and a private dance form.

The dancers mostly use the pataka which gives it an uncanny similarity with Manipuri dance. The costumes previously comprised heavy ornaments on a bare chest. Breasts were symbols of motherhood so maharis never believed in covering them. The Patta or silk handloom that comprises of Banarasi, Bomkai,

P 16 | JUNEDECEMBER 2018 2017 Sambalpuri and Brahmapuri Sarees known as Patta in Odiya, was worn. They wore gold jewellery, above the waist and silver jewellery bellow it, as gold is the symbol of Mahalaxmi, it was always above the waist farthest from the feet. They decorated their foreheads with Chandan and hair with many fragrant flowers that lead to the creation of Tahiya in modern days.

Maharis have a rich culture of art and music with many literary works associated with maharis and their children. Even, Adi Guru was an adopted son of Ratna Prabha Devi, a devadasi. He is considered as the first guru of modern-day Odissi.

P 17 | JUNEDECEMBER 2018 2017 P 18 | JUNEDECEMBER 2018 2017 P 19 | JUNEDECEMBER 2018 2017 Mrinalini Amma: start Darpana Academy of Fine Art which was an era of spreading Bharatanatyam and A Phenomenon in in the northern regions of Bhaarat. the field of She revolutionised the cultural ethos of and neighbouring states by infusing values of Performing Arts Sanatana and Bharatiya Samskriti. Through her Academy, she brought in so many creative, innovative and evolutionary changes in the performing arts arena setting Text: Natyacharya Dr VP Dhananjayan new trends in the classical forms of - rinalini Amma as we fondly address her Natyam (a comprehensive term for all was a phenomenon in the field of performing arts of Bhaarat). Breaking away Mperforming arts in our Bharata Desam. from traditional repertoire oriented Born in a freedom fighters' family in Kerala with a presentations and mythological or epic lineage of art patronage, she imbibed best of her she introduced socially relevant parents' passions and further embellished her love contemporary themes using the idiom for for the cultural heritage of her motherland. In her early educating the people creating awareness of formative age, she had the advantage and privilege environmental pollutions, atrocities on of meeting and interacting with great and pride of downtrodden, women's liberation and such personalities like Gurudev Rabindranath Tagore, contemporary events and stories. This was Mahatma Gandhi and Pt Jawaharlal Nehru to name a the beginning of a new era in the annals of our few. I presume Gurudev and Rukmini Devi must have performing arts. made a great impact on her life having spent few She has written many books and articles on years in in and Kalakshetra in various subjects, all of them are reference Adyar, Madras (now Chennai). literature for matters of art, culture, history and Marrying a Scientist of a rare distinction Dr Vikram politics. For me, her "Understanding of Sarabhai, brought her to Gujarat and enabled her to Bharatanatyam" is a handbook of knowledge pertaining to the theoretical studies of not only Bharatanatyam but also useful for practitioners of Bharatiya Naatya.

I consider it a great honour and blessings that she always loved us and admired our work, and we never missed a chance to meet her and interact with her. Some unwarranted politics denied her the nation's highest honour of Bharat Ratna which she richly deserves for the contributions she made to preserve, popularise our rich heritage. Dhananjayans with Mrinalini Amma at New York in 1999-91

P 20 | JUNEDECEMBER 2018 2017 n May 11, Google honoured Indian classical dancer with a doodle on its homepage Ocelebrating her 100th birthday. The tech giant also described her as someone who quickly developed her own technique, spirit, and strength by training at a young age, studying both the South form of Bharatanatyam and the classical dance- of Kathakali.

The Doodle was illustrated by Sudeepti Tucker and depicted Sarabhai with her parasol, standing proudly in the auditorium of that same academy where her students are dancing on stage.

P 21 | JUNEDECEMBER 2018 2017 in Kathakali from the celebrated Guru Kunchu Kurup. Mrinalini Sarabhai - She absorbed the nuances of different dance forms. A Legend Lives On It was Gurudev Tagore who identified her latent talent Text: Anup Attavar, an author, teacher and motivator, and potential, not only in performing dance but also in his book 'World Famous Indian Scientists', motivated choreography. Tagore asked her to choreograph his the youth to achieve excellence. dance dramas, offering her opportunities to nurture and hone her skills. Her innovation was rooted in her rinalini Sarabhai, the distinguished dancer, aligning to traditional form and her penchant to needs no introduction. Thousands of her experiment. She thus created new horizons in classical Mstudents and admirers across the world dance, elevating it to great heights, at a time when the would be pleased to note that her 100th birth dance was not considered a respectable profession. anniversary was on May 11. She went to America to study at the American Mrinalini, one of the foremost exponents of classical Academy of Dramatic Arts. On returning to India, dance was an exceptional choreographer. She was Mrinalini continued to get trained in classical dance and also a teacher par excellence because of her kind and established herself as a multi-faceted artiste endowed benevolent human nature. She had a rare quality of with grace and poise. Mrinalini was also a creative love for humanity and the inclination to do good to others.

Mrinalini, with her husband Dr , founded the Darpana Academy of Performing Arts - an academy of dance, music, puppetry and drama. She helped to propagate Indian classical dance all over the globe. She accorded Bharatanatyam its rightful respectable place in the world of dance and gave it the recognition as a highly regarded dance form throughout the world.

Mrinalini was born in Kerala on 11 May 1918 to S Swaminathan, a lawyer and Ammukutty, popularly known as , a social activist who took part in India's freedom movement. Her elder sister was Captain Dr Sahgal, who led the all-women 'Rani of Jhansi' regiment of the of Netaji Subhash Chandra Bose. Her brother was Govind Swaminathan, a barrister, who served as Attorney General of Madras state.

The young Mrinalini was initiated into Western dance at a dance school in Switzerland. Later, she studied at Santiniketan under Gurudev Rabindranath Tagore, where she realised her passion for classical dance. She learnt Bharatanatyam under Meenakshi Sundaram Pillai and Muthukumar Pillai, and also received training Mrinalini Sarabhai

P 22 | JUNEDECEMBER 2018 2017 writer and a publisher. She wrote several stories for She travelled far and wide with her troupe, both children, novels, poems and plays. She within India and abroad, performing in South choreographed more than 300 dance-dramas, out America and countries such as Japan, USA, of which she penned several. Her autobiography , France, etc. where she and her team won was titled 'The Voice of the Heart'. Apparently, she a lot of praise, appreciation and rave reviews. With could accomplish whatever she planned to do. her troupe performing all over the world, she set benchmarks of excellence in dance and theatre. Mrinalini met Dr Vikram Sarabhai - regarded as the Mrinalini could thus create connections between the father of the Indian Space Programme - who, peoples of India and those from different besides being a scientist, was an innovator, an nationalities and cultures. It was a notable embassy industrialist and also a visionary. They fell in love bigwig from South America in 1951, who remarked, and got married in 1942. They had two children, "You have done in two hours what no embassy was and Mallika, both of whom are also well- able to do in two years - made India beautiful to known artistes in dance and theatre. these people". With the active support and encouragement of Dr Just like her illustrious husband's vision in Science, Sarabhai, Mrinalini established the Darpana Mrinalini possessed a rare vision to bring classical Academy of Performing Arts in 1949 in dance and theatre to prominence as art forms. Her . Her thrust for innovation and untiring and relentless efforts paid off and Darpana perpetuation of classical dance forms and theatre became a world-renowned institution. She trained ensured that her academy would grow from over 18,000 students in Bharatanatyam and strength to strength. In 1949, she showcased her Kathakali. talent in Paris where she gave a dance performance. The critics went into raptures over Besides promoting dance and art, Mrinalini her concert. It was after this performance that expanded her scope of work to include activities several countries invited her. concerning the environment, education, study of

P 23 | JUNEDECEMBER 2018 2017 ¾ Gujarat's State Award for Dance in 1969 for distinctive contribution to the arts

¾ Veera Shrinkala title for her contribution to the Kathakali dance form of Kerala. She is the first and perhaps the only woman to receive this award.

¾ D.Litt. in 1979 for prominence in dance and literature by Rabindra Bharati, University of Calcutta

¾ Vishwa Gurjari award in 1984 for the accomplishment of unique worldwide repute as a contemporary Indian classical dancer and for contribution to Indian classical dance

¾ Desikottama (D.Litt. Honoris Causa) degree in 1987, the topmost honour of Santiniketan's Visva- Bharati University

¾ Nominated in 1990 to the Executive Committee of the International Dance Council, Paris

¾ Honor Summus Award in 1991 by the Watumull nature, health, science, etc. She was the Chairperson of Foundation, Honolulu, in acknowledgement of her the Nehru Foundation for Development. She headed exceptional achievement as a dancer, for her an organisation 'Prakriti' in Ahmedabad, which focuses creative dance-dramas, and for reviving and on protecting greenery in the city. She was Trustee of preserving Indian dance, puppetry and drama Sarvodaya International Trust, which is a body committed to supporting Gandhian values. For several years, she shouldered the responsibility of the Gujarat State Handicrafts and Handloom Development Corporation, helping in giving a new lease of life to traditional skills of village artisans. She also tried to restore the past glory of folk theatre and puppetry offering opportunities to artistes to work with her.

Mrinalini was bestowed with several honours from several institutions across the globe:

¾ Diploma of the French Archives Internationales de la Danse-the first Indian to receive this award

¾ Natya Kala Sikhamani in Madras in 1960 in appreciation of her artistic distinction and her unparalleled Bharatanatyam performances

¾ in 1965 by the Government of India

¾ Gold Medal in 1968 by the Government of Mexico for choreographing the Folklorico of Mexico

P 24 | JUNEDECEMBER 2018 2017 ¾ Pandit Award in 1991 for ¾ Nominated in 2005 along with 1000 women valuable contribution in performing arts from globally for the Nobel Peace Prize

the Government of Gujarat ¾ Natya Kalanidhi in 2007 by the Association of ¾ in 1992 from the President of Bharatanatyam Artistes of India (ABHAI India Chennai) for her service in and contribution to

¾ Fellow of the Sangeet Natak Akademi in 1994 Bharatanatyam ¾ ¾ Scroll of Honour in 1995 from the Vice- Aditya Birla Kalashikar Puraskar in 2007, a President of India mark of a beautiful association between Industry and Arts ¾ Fellowship in 1995 ¾ Ambassador of Peace award by The ¾ in 1996 by the Government Universal Peace Federation, New York of Madhya Pradesh for her contribution to classical dance ¾ Nishagandhi Puraskaram in 2013, being the first recipient of the annual award instituted by ¾ Degree of Doctor of Letters, honoris causa the . (D. Litt) in 1997 by the University of East Anglia, Norwich, UK

Kathakali

P 25 | JUNEDECEMBER 2018 2017 Through the medium of dance and drama, Mrinalini strived to influence public opinion and communicate with policy makers, addressing vital issues and challenges faced by Society. Among the common subjects were women empowerment, environmental concerns and human rights issues. In a documentary, she said, "I was looking for subjects that would shake people through the medium of dance". Her well- known performances include Chandalika on untouchability and Ganga on the degeneration of the holy river.

Motivated by the resistance by environment activists to a plan of construction of a dam in Kerala, which they complained would wipe out a forest; Mrinalini came up with her presentation titled 'Aspirations'. It was performed at a conference in New Delhi and to her credit; she has successfully stayed the construction of the dam.

She was once asked what dance meant to her. She explained, "Continuously through the years people ask me, 'What is dance to you?' It is my breath, my passion my 'self'. Can anyone ever understand these words? There is no separateness in the dance and my entire being. It is the radiance of my spirit that makes for the movements of my limbs. People now ask me, 'what is meaningful, what is your fulfilment? You have achieved fame; you are called the Goddess of Dance. Why do you go on straining yourself?' I have no answer. How can I tell them that I am 'I' only when I dance? I am only eternity when I dance. Silence is my response, and movement is my answer".

Mrinalini passed away due to old age at the ripe age of 97 in Ahmedabad on 21 January 2016. With her, a golden era of dance and drama has ended. She is no more, but she continues to live in the hearts of all her students, admirers, and connoisseurs of dance and drama. She will continue to inspire generations of Indians towards attaining excellence.

P 26 | JUNEDECEMBER 2018 2017 Mrinalini Sarabhai: likely to, all of it makes Mrinalini Amma a unique subject. No article or assessment on her can be Graciousness meets complete without taking into account her family background, her marriage to an eminent scientist Greatness and her pedigree but all that is only a small part of Text: Ashish Mohan Khokar, senior critic, a quintessentially good person, who remains a scholar and historian who has authored over 45 pleasant memory of India's refined culture and books on arts and . He was recently high aesthetics. appointed Project Advisor, IGNCA, Delhi. Mrinalini Amma's claim to initial fame was her n today's scheme of things, to remain good, immediate family, each one distinguished and great and gracious is not easy. When someone doing something meaningful with their lives. Father Idoes that naturally and without even knowing Subbarama Swaminathan and mother Ammu they are doing it, then such a person must be Swaminadhan brought her up with strict discipline. called Mrinalini Amma Sarabhai. Sister Lakshmi Sehgal piloted Netaji Bose's INA and an aunt, Anusuya, helped create the first textile From being a dance diva to a pioneering weavers association in 1939. institution-builder to creating dance works of lasting value and bringing up two children who Mrinalini reminds us of history and she is replete have made a mark and grandchildren who are with it. Being sent to Kalakshetra to learn from its

Mrinalini with daughter - 1980

P 27 | JUNEDECEMBER 2018 2017 exponent of Tiruvallur Gyanam background, so could show its intricacies too. Her lasting involvement then was in a production called The Light of Asia. Sent next to Santiniketan to imbibe its eclectic spirit (dance was a mish- mash of styles which latter-day writers have tried to justify as Tagore style but it can hardly be called that. Bengal has no classical style of its own so Tagore adapted and adopted the best from all prevailing styles and got gurus from different parts of India and they taught whatever they knew. Kathakali and Manipuri became the staple with some and Bharatanatyam thrown in. Odissi was not known, established or treated as a classical form then so there was never any Odissi input). Here she participated in two memorable productions Chandalika and Shyama.

Santiniketan over, she went to New York to first master Guru Vidwan Muthukumara Pillai (who study at the American Academy of Dramatic taught and MK Saroja. Those years Arts and this was a turning point as before remained bedrock for her foundation in dance reaching Big Apple, she passed through because although after that a succession of gurus came, this guru provided her with a solid base for her art to grow. She was also at her most absorbent and observant phase.

Kalakshetra itself was an experiment. Rukmini Devi had been asked out of Theosophical Society because they did not want to do anything with dance and almost on the rebound; she bought handkerchief sized plots and combined them to form what today we know as Kalakshetra. There was much more land but some unscrupulous fellows misled Athai into selling it later and making colonies around the institution, almost choking its access roads!

At Kalakshetra, Mrinalini's real grounding came from Guru Muthukumara Pillai in the dance form that came from ancient Tillai itself and it was taught in the easiest and demanding manner. Easy because the guru was Mrinalini Sarabhai and Pandit Nehru himself a dancer and able to stand and show movements for nritta and an excellent abhinaya P 28 | JUNEDECEMBER 2018 2017 bank in 1917 and in 1949, the Sarabhais set-up Mrinalini and Mallika Sarabhai Darpana equating Darpana with the city and the Mahatma. This is its significance.

More so, because Ahmedabad had little or no dance training (before Mrinalini backed by set-up her institution), except perhaps festive and folk forms the dandiya and , she invited her first guru, Vidwan Muthukumara Pillai to come and teach and he did. She later invited CR Acharyulu, a Kuchipudi guru and Chatuni Panicker for Kathakali. Later, she supported puppetry and hosted Meher Contractor ('s teacher) and thus slowly Darpana grew, helped by the Sarabhai family.

At Darpana's initiative Ahmedabad's first Kathakali appreciation club, Kathakali Darshan, came up. This was necessary as few knew the form or had seen these green-faced (and red and yellow) Java, Bali and got a glimpse of those cultures. characters! Darpana helped create the first film After America, she came to India's garden city, appreciation society, Darshita and later a theatre where she was at Ram Gopal's studio appreciation club, Shatak too came up thanks to and danced with him and further studied under her Darpana. guru Muthukumara Pillai and additionally went to Guru Meenakshi Sundaram Pillai, as many did those days. Ellappa Pillai and Chockalingam Pillai also influenced and when gurus abound it becomes an alloy of influences. But more than dance gurus, she met her life-mate Vikram in Bangalore and she became a Sarabhai.

This is not a biographical account of Mrinalini Amma's life but how dance happened and how it helped shape her life and how she became what she is today and why she had made a difference.

Vikram hailed from Gujarat and took his bride to Ahmedabad, then a dusty, small town.

Ahmadshah had founded that city in the desert in 1393, on the banks of river Sabarmati. Mahatma Gandhi's Sabarmati ashram was founded by its

P 29 | JUNEDECEMBER 2018 2017 Mrinalini has remained a quiet, dignified and serious practitioner of the art of dance. Some influences on her may not be complementary as they lacked depth or credibility but she stayed true to her mission and art. Over seven decades, she has enriched the dance scene and left an indelible mark. She has helped Darpana flower and grow and her daughter manages the affairs now. Mrinalini made a difference just by being herself: good of heart; great of mind and gracious of the soul.

Mallika Sarabhai grew with multi-talents and dabbled in Gujarati films, Kuchipudi dance and theatre. After marriage to Bipin, she turned a co-publisher. A dynamic person and good speaker her forte remains theatre and Peter Brooks and 's Daughters remain two powerful works. Mrinalini's son Kartikkeya tried his hands at many things and finally set up a foundation to help environmental causes. Vikram Sarabhai had a close link with that field due to eminent environmentalist Dr Kamla Chowdhury.

Janavak came up in 1982 with the aim of helping revive and promote folk arts, which were mostly languishing Text: Dr then or confined to tokenism being displayed at Republic Day and other parades. The bhavai form got I spoke to her a few times. I wanted a shot-in-arm. to invite her to my school since MK Saroja, my guru Lalitha and she In 1994, Mallika helped create an open-air space, a learnt to dance under Tanjavur rather steep amphitheatre called Natarani against the Kattumannar Muthukumaran Pillai but she was not calm, gentle river as a backdrop. A kids club was well at that time. I met her daughter twice in Delhi added in 1999. Those who have come in contact with when she came for shows and invited me. No Mrinalini Amma always speak of her gentle soul, of her wonder she was a legend who established a general goodness and of her kindness. She has classical Bharatanatyam institution in Ahmedabad maintained a dignified stance during controversies and where nobody had an idea about the classical corrupt practices. She would have made an excellent dance. My guru used to tell me that Rukmani chairman of the national academy, Sangeet Natak or Arundel and Mrinalini had a lot of courage in better still, our Culture Minister. establishing their institutions.

P 30 | JUNEDECEMBER 2018 2017 P 31 | JUNEDECEMBER 2018 2017 or her, being a dancer was a gift from God but it turned out to be life Fitself purely out of passion and determination. Sheela Unnikrishnan's desire to dance goes down to the marrow and made her a splendid and marvellous artiste. Her dance is a combination of innovation and originality. Her craving passion elevated her as a choreographer, teacher and a Carnatic vocalist. As a teacher, she not only taught her students how to dance but also to live with good conduct.

P 32 | JUNEDECEMBER 2018 2017 Sheela Unnikrishnan was born at Chennai in Tamilnadu teacher to her juniors. She guided the students with on April 13, 1970, in a middle-class family. Her mother divinity and boosted their physical and mental abilities. Suguna initiated her into dance at the age of eleven. Unnikrishnan being a skilled artiste was never satisfied Her mother stood as the main pillar in her career. As with one art form and decided to learn Kuchipudi. she was studious in academics, her parents wanted Beginning from 1990, she trained under master Dr her to become a doctor by profession but destiny for 7 years. She excelled in made her choose dance as a profession. Along with learning Carnatic vocal music. Apart from dance and her two sisters, Sheela was trained in Bharatanatyam in music, she pursued MSc in Chemistry, BEd Melattur style under Natyacharya Sundaram of Perambur, the senior disciple of maestro Mangudi R Dorairaja . Sundaram was

and MFA in Bharatanatyam. She is currently pursuing her PhD in dance. She obtained a first class in the higher-grade technical examination in Bharatanatyam delighted with the work of the three sisters and titled conducted by the Government of Tamilnadu. them as Villivakkam sisters. They gave performances under the same title. After the demise of her guru, she She joined PSBB School as a teacher in 1992 and transformed herself from that of being a student to a continued to work for the next 22 years. Her experience

P 33 | JUNEDECEMBER 2018 2017 who lack facilities, at her residence. Later, thanks to her hard work and devotion towards art, she established an institute named Nrithyalaya. The gratitude and admiration towards her guru made her name the institute after guru Sundaram's institute. She was the founder and director of the institute. The main aim of the institute was to teach south Indian classical Bharatnatyam dance form in Melattur style. Apart from dance, Carnatic vocal music and spiritual classes were taught to the students.

Implementing innovative techniques in training shaped the young minds into better personalities, both in terms of art and character. She has also conducted dance workshops and Lecture-Demonstrations in India and abroad. Under her, around 200 students have been in the school inspired her to explore group training in Bharatnatyam. Today, young and aspiring choreography on different themes. Unnikrishnan wants dancers come out of Sridevi Nrithyalaya and they have to follow in the footsteps of her guru Vempati and been performing in competitions all over the world made mega dance dramas with her students. Recollecting the inspiring lines of her guru, she said that "dance form should be presented to the joy of all - even to the least knowledge in the lot and be able to convey some message; so stay honest in work, for time will be the ultimate decider to keep or remove anyone's contribution." She believes and follows these lines with reverence.

Commenting on the significance of the dance form in the cultural fabric of India, Unnikrishnan said, "Any art form is for the welfare and betterment of mankind". Talking about how the dance festivals help the artistes, she said, "Every performance chisels an artist and performing in dance festivals may bring an artist close to many artists and connoisseurs". She feels proud and humble to represent Indian classical dance abroad. She choreographed 300 solo numbers apart from thematic presentations and dance dramas in Bharatanatyam.

Taking all these as her inspirations, in 1987 Unnikrishnan began teaching art to young students

P 34 | JUNEDECEMBER 2018 2017 receiving awards and glories apart from bringing fame to the institution. Students of her academy have participated in Konark Dance Festival, Vysakhi Nrityotsav and Kala Ghoda Arts Festival, held in , , Mayavaram, Perur, Tiruvarur etc., and have become stars in popular TV shows like 'Thaka Dhimi Tha', 'Konjum Salangai' etc. Many of her disciples have won prestigious awards, scholarships and first prizes in various state level and National level competitions.

Many of her disciples won awards in Bharatanatyam including prestigious 'Bala Shree' by the Government of India and 'Ila Mayil' by the Podhigai TV. Several students received scholarships from the Department of Culture, Government of India, CCRT, Department of Culture, Government of Tamilnadu, Jawahar Bal Bhavan, Bharat Kalchar and other organisations.

P 35 | JUNEDECEMBER 2018 2017 Her excellence and hard work in training made the Vaibhavam and Brahmasmi and 23 thematic institution nationally popular. Unnikrishnan has also presentations - Shanmatham (Tamil), Shanmatham been travelling and performing with her troupe all over (Samskrutham), Bharatha Bharanyasam, Vande the world. She not only made dance as her life but Sambhum, Vaishnava Margam, Thrayee, Nava transformed lives of her students too with her spiritual Rachana Kadambam, Thrayambaka, Param - the and open-minded learning. Needless to say, she is a Ultimate, Kuralin Kural, Maalika, Sa Ra Va Na Bha beacon of light to aspiring classical artistes. Va, Leela Taranga Margam, Natakam, Sivaa and more. Some of the awards that she won include, Best Guru in Bharatanatyam - 2005 by VDS Arts, Natya Sri - 2009 by Vysakhi Nrithyotsav Committee, Acharya Kala Vipanchee - 2011 by Vipanchee, NCA Award of Excellence in Bharatanatyam - 2012 by Nungambakkam Cultural Academy, Sadhaka Sundaram - 2014 by Bharathanjali Trust, Acharya Kala Bharathi - 2015 by Bharat Kalachar and Kala Vidushi Samman - 2016 by Sunaina.

In August 2005, Unnikrishnan received an opportunity to present her first dance drama, Bala Ramayanam at the Rashtrapati Bhavan in the presence of former President of India Dr APJ Abdul Kalam and received a good applause. 'Bala Ramayanam' created a record for being the most performed show - more than 100 times and counting.

She has choreographed 16 dance dramas - Bala Ramayanam, Sri Karnamrutham, Nandhanar Charithram, Parvathi Parinayam, Shadaksharam, Dasavathram, Janani Jagath Karani, Ravaneswaran, Sri Krishna Vaibhavam, Sivamayam, Varudamellam

P 36 | JUNEDECEMBER 2018 2017 rtistes from Kush Kushari and Group performing an acrobatic Bharatanatyam Asequence during the Jathis-Tenali National Dance Festival held at Tenali in Andhra Pradesh on May 5 & 6, 2018. The festival was organised by Natraj Music and Dance Academy.

P 37 | JUNEDECEMBER 2018 2017 he survival of a written work largely depends on the vision and 'Mother', a novel written by Maxim imagination of the writer. Withstanding the test of time requires Gorky, a popular Russian and Soviet Tuniversal appeal and honesty. As Ezra Pound said, "Great writer. The novel, which was published literature is simply language charged with meaning to the utmost in two volumes during 1906-1907 has possible degree." Generations may change but the reception of a been translated into most of the major good literary work by the readers would continue. The influence of the languages and left a mark in the hearts work would be etched in the hearts of the readers in some or the other of readers. Recently, a Kolkata-based form. Would severing of an umbilical cord change the relationship theatre group Souvik Sanskritik between a mother and child? Such is the relationship of readers with Chakra presented the Bengali version in association with Jana Sahiti, a cultural organisation and garnered applause. The 100-year old plot in the play Mother got the audience glued to their seats. The play expounds the theory - "The same world that treats someone as a coward when he/she is afraid would treat him/her as a warrior when he/she rebels." In the play, Gautam Mukherjee, a septuagenarian played the role of the Mother, who continues to remain as one of the most historical characters in the world literature.

P 38 | JUNEDECEMBER 2018 2017 Gorky's life itself was his experimental laboratory. His for the success of the novel could be the universality. It diversity and vision as one of the eminent writers come is a story in every family. The novel withstood the test from his state of struggle right from his childhood. The of time because it represented the struggles of hardships that he went through in life moulded him into common man. Setting aside the traditional thinking, the a writer. Among both writers and readers, his works mother's character emboldens by filling her heart with have erased the boundaries between the upper class modern thinking of growth. The mother's character and lower class. teaches how to grow in the path of revolution. The play based on the novel assures and stands as a guiding He became an orphan at the age of eleven. He was path for the next generation. The character teaches brought up by his grandmother and ran away from how to widen ones heart to get into a revolution. The home at the age of twelve. He started working as a novel is plain and straightforward, but punctuated by press reporter but he could not sustain it and travelled strong revolutionary thought and feeling with a radiant on foot across the Russian Empire, changing jobs and revolutionary optimism. The working class under the accumulating impressions that he later used in his iron feet of capitalists did not remain slaves but rather writing. The Lower Depths, Twenty-six Men and a Girl, learnt to renew themselves through a radiant utopian The Song of the Stormy Petrel, My Childhood, The vision and the animating and liberating spirit of Mother, Summerfolk and Children of the Sun are some freedom. Tsarist Russia had a world of difference of his popular works. Nobody can fill the condition of between the poor and the rich. The system supported being motherless. His work, Mother, introduced the wealthy. The play with honesty highlighted the brutal Socialist Realism to the world of literature and healed reality and class irreconcilability. The working class had him from the condition of being motherless. Through the character of Pavel, the novel showcased how the world could be influenced with mother by his side. Gorky was personally connected to the novel as it is based on real-life events.

Mother is the centre of the family system. She is the Pivot of the Chariot called family. She could influence the society and change the course of history. Gorky's creation, Pelageya Nilovna would remain as an inspirational mother character in the history. The reason

P 39 | JUNEDECEMBER 2018 2017 no rights, freedom, laws, May Day celebration was a crime and holding a red flag was an offence with imprisonment. The 2-hour play reflecting the reality of life was staged in Bengali with advanced technical values and the audience encouraged it.

Looking into the plot, Gorky portrays the life of a woman who works in a Russian factory doing hard manual labour and combating poverty and hunger, among other hardships. Pelageya Nilovna Vlasova is the real protagonist; her husband, a heavy drunkard, Stepanovich. She read books and overcame her physically assaults her and leaves all the responsibility political ignorance to participate in the revolution. for raising their son, Pavel Vlasov, to her, but During the screenplay, the artistes of Souvik Sanskritik unexpectedly dies. Nilovna comes across as a strong Chakra did a commendable job and made it look real character taking care of the house in spite of abuse and immersive.

and poverty. After the death of her husband, Pavel, the Rejuvenating the factory workers, Pavel spreads the son, gets a job in the same factory where his father communist revolution through pamphlets and wall worked. Just when things finally start to look better, posters. He becomes the centre of the trade union. Pavel noticeably begins to emulate his father in his Nilovna feels good seeing her son and his friends being responsible unlike other youngsters of their age who are into drinking and gambling. She likes the utterance of the word 'comrade' to address each other during their conversations and treats his son's friends as her own children. When the revolution reaches a point, while celebrating the May Day, Pavel was labelled an anti-national and put behind the bars. The factory ownership doesn't realise that they have added fuel to the fire. In his absence, Nilovna, stands up for justice and takes up the revolutionary route. She takes up the drunkenness. This leaves the mother devastated. All of responsibility of distributing pamphlets to the workers. a sudden, she notices his interest in discussing factory Upon releasing from the jail, Pavel becomes close to problems with his friends. She makes him develop Sashenka, a co-worker with similar ideologies. While he responsibility towards solving problems in the factory. was in the jail, retaliating to the unruly behaviour of an He begins to transforms and gets involved in officer, Sashenka sits for an eight-day fast demanding revolutionary activities. He starts developing as an individual by reading and frequently brings books to his house. Being illiterate and having no political interest, Nilovna was concerned about her son's activities. However, she wants to help him. Listening to all the conversations happening in the house, she evolves and develops wisdom. Moved by her maternal feelings though uneducated, she learns to read with the help of Pavel's close friend, Andrey

P 40 | JUNEDECEMBER 2018 2017 an apology and gets it. Such was her character. Pavel, over time, grows into a highly regarded revolutionary. He puts his life on the line and fights for the rights of the workers. During the May Day celebrations, he was once again arrested and produced in the court. While presenting his argument in the judiciary, he says that the fight would not stop and everybody should come out of slavery. He stuns the audience and makes a strong case by saying that workers are in physical bondage and calls capitalists, slaves with psychological bondage. The knowledge on Socialism son, Nilovna stood steadfast with beaming self- that he acquired by reading books made him display confidence and made it into the history books as the strong leadership traits in the court. Nilovna, comes first woman socialist. across as a strong woman and displays courage. She Gorky's Mother is a story of a downtrodden woman collects and distributes pamphlets from the printers. being captivated and transformed by the life-giving She is not afraid of surveillance and blood. Her practice of revolutionary movement. She is confidence is not shaken even in the death of her son, empowered by the passion of her son and his Pavel. Gathering, revived people under the red flag she comrades, and she too becomes a valuable comrade marches forward. Even after losing her husband and in the struggle.

About the Writer: frequently changed jobs and roamed across the Russian Empire; these Alexei Maximovich Peshkov experiences later influenced his writing. In primarily known as Maxim Gorky 1905, after the defeat of Russian’s first was born in the city of Nizhny revolution, Gorky tried to raise the spirit of Novgorod on the banks of the the proletarian movement by conveying Volga on March 16, 1868. He was the political agenda among the readers the foremost among Russian and through his work. He wrote the novel in the Soviet writers. He was a founder of United States in 1906 while on exile. It was the socialist realism literary method published in English in two parts during and a political activist. As a 1906-1907. It was banned in Russia for a long journalist working for provincial newspapers, he period. Considered one of the most influential wrote under the pseudonym ‘Gorky’, the name in novels of the century worldwide, in 1926, it was Russian means bitter. He became an orphan at the made into a silent film under Vsevolod Pudovkin’s age of eleven and lived with his grandparents. direction with the same name. Later, it was adapted From his grandparents, Gorky learned first-hand into two more films Mark Donskoy’s Mother about the brutality, poverty, and simplicity of rural (1955) and Gleb Panfilov’s Mother (1990). The Russian life. His grandmother taught him to novel was dramatised into a play by German forgive and be patient. She also passed on to him playwright Bertolt Brecht in 1932. He returned to her almost religious fondness for literature and her USSR on Joseph Stalin’s personal invitation in deep for those less fortunate. 1932 and died there in June 1936. Around fifteen years before success as a writer, he

P 41 | JUNEDECEMBER 2018 2017 P 42 | JUNEDECEMBER 2018 2017 haik Nadiya fought against all odds to "I was trying to do those difficult movements and my become an accomplished Kuchipudi artiste. father Shaik Khader Basha has observed it and ask SIn a country, where secularism has always me if I want to learn dance. I said yes with a lot of been a subject of debate, the story of Nadiya once excitement," recollects Nadiya. Her father joined her in again reasserts faith in Indian constitution and the a dance institute but he was not happy with the concept of 'Unity in Diversity'. teachers. He himself became a guru to her by learning the techniques of . He read a lot of books Born on October 14, 1989, in Nellore District, Nadiya and her daily routine began to change. Her father woke began learning Kuchipudi when she was 10 years old. her up at 4 AM and took her to the River Penna. He A Telugu film titled Punnami Nagu with its snake dance made her practice in the sand and within 6 months of inspired her towards dance. She continued her the time, she was ready to perform snake dance. practice with the encouragement from her parents.

"Surprisingly, I gave my first performance at the age of 11 in Nellore," she says.

Her family faced a ban from the community for pursuing dance but her father Basha supported her passion for Indian dance. Interestingly, she even got married to a Hindu. It is rare to see a Muslim artiste learning Kuchipudi but she proved that is not a hindrance to pursue one's passion. Wherever she performed, audiences have expressed surprise when they learnt about her religion.

Her father was her first guru and her mother took care of her makeup, costumes and all

P 43 | JUNEDECEMBER 2018 2017 the other elements. She says that people of Nellore and put in efforts and made the family strong. To have been encouraging and wants to thank each support her he read the , Bharatham, and every person. Among the people of Nellore, , Devi Bhagavatam and other JS Reddy, Adala Prabhakar Reddy, Ratnam, historical stories. He gave her ideas on how to Hazarath Babu and Amaravathi Krishna Reddy do and what to do and she imbibed them into were some prominent personalities that her performances. She recorded and she says have helped her. She is also choreographed pieces on her own. grateful to all those who have been According to her, Kuchipudi, even supporting her in the field of Dance today, still does not enjoy the Her teachers Vedantam reputation that it deserves. "I Purnachandra Rao, am very sorry to say that I Mudhapaka Venkat am not satisfied and KV with the reputation Satyanarayana of Kuchipudi. The art played a major role in form is a perfect platform to moulding her into a professional showcase any story including artiste. Kuchipudi is the the religious aspects but many traditional art form of Andhra people even now do not know what Pradesh that originated in the village of Kuchipudi near is Kuchipudi?" she laments. Vijayawada. The founder of the art form was She completed a certificate course in Bharatanatyam Siddhendra and when she began pursuing the art but she only performs Kuchipudi because she intends form, her relatives were totally negative about the idea to promote Kuchipudi, the traditional dance of her and turned against her family. Her father did not give in

Nadiya with Prime Minister Narendra Modi

P 44 | JUNEDECEMBER 2018 2017 motherland Andhra Pradesh. She always feels that Nadiya with LK Advani dance is a god's gift to her. She looks up to renowned Odissi artiste Sujata Mohapatra and her dad for inspiration and treats them as her role models. Apart from dance, she is passionate about serving people who are in need. So far, she has been taking a little amount from her performance remuneration to help people in need.

Speaking about her daily routine she says that two hours of yoga and dance practice every day is a must. She doesn't follow a particular diet and prefers more fruits and vegetables to non-vegetarian food. Green opines that classical art forms help in creating tea is her favourite. She loves pets and in her free time, awareness among the audience on various aspects she likes playing with her kittens at home. like saving water, women harassment and others.

The most challenging part in her life was when she Nadiya has some special skills and she is a unique joined in a company after completing her Engineering artist with skills in Yoga, Skating, Singing, and Painting. in Information Technology. She had a tough task to She has won 3 Gold Medals at the state level in Yoga; 3 manage both job and dance. "I had to choose one, it Bronze Medals at the national level in Yoga and two was a tough task to manage both, and without any Silver Medals at the state level in Skating. other doubt, I quit the job. It was a challenging moment She has received Natyamayuri Award at age of twelve in my life," she says. from Padmavathi University of , Natya In 2015, she got a call from the Venkaiah Naidu's Shiromani Award from UNESCO Club of Palnadu, house, the current Vice President of India asking her to Guntur; Savitribai Phule Award, Nellore and perform at Delhi in the presence of Narendra Modi, Puraskar from Government of Andhra Pradesh Prime Minister of India. It was a proud and challenging through the hands of Chief Minister Chandrababu moment for her. She showcased the talent and Naidu. Some of the main events that she performed received appreciation from the Prime Minister. "Even include Nandi Awards festival in and today, I proudly say that Venkaiah Naidu garu and his Republic Day Celebrations at Raj Bhavan, Chennai in daughter Deepa Venkat garu gave me a special the presence of honourable guests Banwarilal Purohit, platform," she adds. Recently, Grandhi Mallikarjuna Governor of , Palani Swamy, Chief Minister Rao of GMR Group announced to donate some funds of Tamil Nadu, Panneerselvam, former Chief Minister of to Swarna Bharat Trust, Nellore, to help the poor in Tamil Nadu. learning the art form. It is her next challenge. She says that dance festivals help artists in reaching According to her, fusion, 100% affects the purity of greater heights. They help in giving an exposure both in tradition because nowadays people on YouTube have India and abroad. "It's very interesting wherever I been killing the purity of the classical art form by performed abroad, people enjoyed a lot and said dancing to English songs instead of traditional classical once more. I received standing applause and some music. people after my performance even come to the green room, hug me and cry. It shows how interested people She believes that if you carry talent and self-respect are in Germany, USA, and others. "I see myself with you and put in hard work, you are bound to reach as an Indian Ambassador for Kuchipudi," she great heights irrespective of the profession. She concludes.

P 45 | JUNEDECEMBER 2018 2017 Jathis-Tenali 2018: An Entrancing Classical Dance Festival Text and Pics: Paul Nicodemus he beauty of Indian classical dance was on full display at the recent dance festival. Jathis-Tenali, TNational Dance Festival 2018 was organised by Nataraj Music and Dance Academy, an ISO 90001:2008 certified organisation with UNESCO's International Dance Council membership in association with Andhra Pradesh Creativity and Culture Commission at Tenali Ramakrishna Kavi, AC Auditorium in Tenali, Andhra Pradesh on May 5 & 6. Talented and skilled classical dancers from across the country gave a memorable treat to the audience at Tenali with their brilliant performances.

M Shyam Prasad, chairman, Mahendra Dall Mill and Double Horse Urad Dal acted as the chairman of the festival supported by patrons DL Kantha Rao, chairman, Kakatiya Bank, PV Rambabu, President, Tenali Rice Mill Association. Under the guidance of BR Vikram Kumar, chairman of Nataraj Music and Dance

Alapati Rajendra Prasad, MLA Tenali Academy, A Bhaskar from Tenali coordinated the one of its kind festival at Tenali. Well-known lighting designer, Sai Venkatesh from Bengaluru gave the audience a taste of effective lighting in performing arts. Jathis National Excellence Award 2018 was presented to Gopal M, Festival Director of Pariniti National Dance Festival from Shimoga in Karnataka. During the festival, distinguished guests felicitated artistes A Divya Sri, Kush Kushari and Group, Dr P Sai Jyothi, S Geeta Lamp Lighting Ceremony

P 46 | JUNEDECEMBER 2018 2017 NEWS

Kush Kushari and Group perfroming Bharatanatyam Kuchipudi danseuse Narayan, Anurekha Ghosh and Group, Prudhvi Jana, Geeta Narayan Anusua Roy, Baisali Basu Sarkar, Prativa Panda and Group, Arpita Sen Lahari and B Tejasri. On day one, guests, Alapati Rajendra Prasad, Member of Legislative Assembly, Tenali, A Jayalakshmi, ZPTC, Tenali, K Sakuntala, Commissioner, Tenali Municipality, Pendyala Venkata Rao, Chairman, Tenali Municipality and on day two, Sudagani Shankar Narayan, IRS, Additional Commissioner of Income Tax, Keeping up with the academy's tradition of Visakhapatnam and Meaka Seshu, former MLC encouraging local talent, A Divya Sri, a young girl from graced the occasion and blessed the artistes. Tenali performed Kuchipudi to Dr Vempati Chinna

Meaka Seshu Babu, Former MLC, DL Kantha Rao, chairman of Kakatiya Bank, M Shyam Prasad, Founder & CMD of Tenal’s Double Horse Urdu Dall and Chairman Jathis Tenali National Dance festival, Daughter of M Syam Prasad,Ravishankar Narayan,IRS, Addl. Commissioner of Income Tax, Visakhapatnam and BR Vikram Kumar, Dance festival Director P 47 | JUNEDECEMBER 2018 2017 Satyam's Ananda Thandavam and delighted the Prativa Pandey’s Odissi Dance audience. Prativa Panda and Group from displayed the beauty of the structurally magnificent Odissi. With perfect sync, they moved on the stage like poetry. Prativa Panda is also a well known film actress in Odisha Later, Dr P Sai Jyothi from Visakhapatnam performed a Kuchipudi piece Krishna Vadha Chalanam with brilliance. She is one of those rare individuals who completed her PhD in Kuchipudi from Andhra University. Manipuri dancer Baisali Basu Sarkar from Kolkata performed Avisaare Chalaye showcasing the romance between Radha and Krishna. The next performance that followed could be dubbed as the best performance of the evening with Kush Kushari and Group's innovative and creative Bharatanatyam piece Prakruti Pursh. The Kolkata based group took Bharatanatyam to a different level with their Bharathanatyam by Kush Kushari & Group acrobatic and flexible moves. It was a sensuous and entertaining performance and garnered a great deal of appreciation and applause from the packed auditorium. Day two began with the Bharatanatyam solo Siva Kruthi by Prudhvi Jana from Shimoga. Her performance ascertained that classical dance is in safe hands with next generation of artistes like Jana doing exceptionally well. Later, highly

Kathak performance by Anurekha Gosh & Group

P 48 | JUNEDECEMBER 2018 2017 Manipuri danseuse Kuchipudi danseuse Bharathanatyam danseuse Kuchipudi danseuse Anusua Roy JVS Sudha Arpita Sen Lahiri B Tejasri

regarded Kathak artiste Anurekha Ghosh with her perfectly portraying the Karnas. Her sublime postures group exuded brilliance with 'The Cosmic dance of and poise must be appreciated. Kuchipudi dancer, Lord Siva' written and choreographed by Pt. Birju JVS Sudha from Visakhapatnam came up with a Maharaj. The group also performed Tarana and Hum sensuous and power packed performance. She did Safar. The surprise element came in when they the piece Valapula Solapula choreographed by KV performed their fusion work Kathak to folk Lakshmi with subtle abhinaya. Bathina Tejasri, another beats. It was an intense and high-octane piece youngster with amazing talent and skill from thoroughly enjoyed by the audience. Kuchipudi artiste Visakhapatnam performed to Kuchipudi to Geeta Narayan from Visakhapatnam with her Annamacharya Kriti, Chudaramma Sathulara much to performance Vachenu Alamelumanga in the the delight of the audience. The two-day festival choreography of KV Lakshmi won hearts in the arena. received undulating reception from the locals who have Her inspiration journey of becoming a Kuchipudi historically been lovers of art and culture. dancer in spite of starting late in life struck a chord with During the festival, BR Vikram Kumar recollected his the audience you were thoroughly captivated. Anusua efforts to include Kuchipudi in the curriculum in Andhra Roy from Mumbai did Manipuri items Manglacharan Pradesh and expressed happiness at the State and with fluid movements. Arpita Sen Government's decision to employ 50 Kuchipudi Lahari from West Bengal performed a swift teachers through DSC (District Selection Committee). Bharatanatyam piece and showed great energy while

Kuchipudi danseuse Bharathanatyam danseuse Manipuri danseuse Kuchipudi danseuse Dr Sai Jyothi P Pruthvi Jana Baisali A Divya Sri

P 49 | JUNEDECEMBER 2018 2017 Sambhavana- Celebrating New Directions In Indian Dance Text: Nita Vidyarthi, Cultural Critic, Kolkata, Pics: Sapphire

apphire Creations is Eastern India's first India is not one nation but a multinational. He spoke of experimental dance company striving to body and freedom with reference to 's Sdevelop an organic, radical, dynamic and work, especially his film which was partly alternative idiom of movement. With a forte for screened for reference to theme and creativity of innovation, the ensemble is fresh, young and exudes a movements. "Body and freedom is very important" ready awareness of contemporary global concerns. and in the debate comes the primitive body and the Sapphire Creations Dance Company, Kolkata has tabooed body. Also "what are we really addressing made its stunning present known by performing and what directions are to be taken". While looking internationally and marked the completion of its 25th back at the important parameters of Uday Shankar's anniversary year with a two-day meet 'Samabhavana' work he mentioned, "humour is completely lacking in at the ICCR, Kolkata, to debate and dissent on the past, present and future of Indian . Artistic Director Sudarshan Chakravorty with co-director Paramita Saha aspired to bring dancers, choreographers, scholars, critics and researchers on one platform to talk, demonstrate and showcase the developments, directions and possibilities in Indian dance and what it is to be a contemporary dancer. The event had back-to-back sessions segmented as Provocation with exploration, Negotiation, Proposition and Transformation. Provocations traced the journey of new directions in Indian Dance in the last millennium while heading for the future, defining Indian dance and how the world perceives it. The opening provocation entitled "From Uday Shankar to Contemporary interdisciplinarity in Indian Dance", by Sadanand Menon was elaborate and enriching. He felt the need to look hard at what we are as dancemakers, how we look at other dances/dancers and vice versa and how the performing at Samabhavana body tries to negotiate while creating a dance. To him,

P 50 | | MAYJUNEDECEMBER 20182018 2017 NEWS exercise. She talked of heterotopic, perfect, pure, authentic dancing bodies and referred to "Bai and Khemta of Bengal". Exploration of "How we present and represent" guided by Ranjana Dave looked at the politics of representation of dance ecology. What does the art world want to see, "Indian Contemporary dance or Contemporary dance from India? Madhuri Upadhya spoke of the economics of dance purely in terms of sustainability and mentioned, "We are a community and not an industry". To Leela Venkataraman "dance doesn't Daksha Seth have to be pretty all the time and contemporary is only a matter of attitude". She described the Pallavi created today's contemporary dance". At one point he by Surendra Jena inspired by the Chausath Yoginis of commented, "Uncertainty should be the hallmark of Odisha. Vanessa Mirza talked about her training and contemporary dance forms". Paramita Saha about herself in Sapphire and how as an Vikram Iyengar, dancer and researcher guided arts manager she can bring in more work - "I could do exploration of "How are we different yet the same". anything, my base is my body. I say better through Krishna Devanandan had 6 volunteers to experience dance". the effect on their bodies by walking along horizontal It was delightful going on a roller-coaster ride with the lines and diagonals, of breathing, visualisation and interesting lecture and demonstration later, entering the empty space in between. The viewers (Negotiations) by Terence Lewis (assisted by his according to her "should be sensitive too to this act". student Ravi). The non-stop unfurling of his journey by The observations and her inferences of "What it means knowing "certain things organically, intuitively and being to be in different spaces" were not quite comprehended. Mitul, a competent Kathak dancer gave a beautiful demonstration with Prassana Saikia and the seasoned Classical Jazz dancer Ronnie Shambit Ghosh about how they juxtaposed Kathak and Jazz to create a new form where the upper body has distinct Kathak identity while the lower one is Jazz legwork. Bharat Sharma who commented that 'Kalpana' is like Dan Brown's film and talked about his celebrated father, Narendra Sharma's work and how he embraced new ideas and forms. Urmimala Sarkar could not have said better than mentioning " was the best contemporary dance teacher. She processed what Uday Shankar had created. She taught body awareness, the way she had imbibed it, to the next part kinesis. She taught how to be and work with others and how to create intimacy without touch". Aishika Chakravarty talked about her teacher Manjushree Chaki Sarkar and Ranjabati and Geetha Chandrans Unurth mentioned that Navanritya was a psychophysical P 51 | MAYJUNEDECEMBER 20182018 2017 Negotiation 1 by Terence Lewis at Samabhavana

a copycat" followed by a reference to his "Kamshet Project" kept the capacity audience spellbound. The demonstration of the central bodywork of how one Surjit Nongmekapam falls from vertical to horizontal with the rhythm with a shift of axis losing balance was demonstrated by Ravi, and Utpal Banerjee was about their journey. The a student of Terence followed by the same act with a exploration guided by Mandeep Raikhy saw graceful fall with balance and elegance aesthetically by Krishna Rao, Sudarshan Chakravarty, Daminee Benny Terence was the highlight of the whole session. A very Basu and Surjit Nongmeikapam talk about their impressive session indeed! journey and work responding to "How we resist, assert Proposition saw gratifying performances by top-brass and articulate". Daksha Sheth and son Tao Issaro dancers, Astad Deboo (excerpt from liminal, Below the turned the pages of their work and journey with edge), 'Unurth' by Geetha Chandran, 'Evoking Radha' Nandita Pal Chowdhury. Students of Aditi Mangaldas by Sharmila Biswas and 'To' by Surjit Nongmeikapam. demonstrated the relation between space and 'Yashti' by Hemabharathi Palani did not appeal. 'To', an performance. Chettur performed "Beautiful interactive piece with the audience was the most Thing 2" at the opening session of Pickle Factory popular. The provocation 'The sense of a Journey' on season 1 festival as a part and conclusion of the second day by Leela Venkataraman, Sunil Kothari 'Samabhavana'.

Performers of the first evening Surjit Nongmeikapam, Ahemabharathi P 52 | JUNEDECEMBER 2018 2017 Performers of the first evening Surjit Nongmeikapam, Ahemabharathi Palani, Astad Deboo, Geetha Chandran and Sharmila Biswas NEWS

Zohra Segal Arts Festival: Aruna Mohanty's choreographic work Nayaka Pratinayaka

Text: Dr Sunil Kothari, Cultural Critic, New Delhi

he existential philosophy: I am therefore you are. The concept took shape in the form of Aruna Mohanty TNayaka Pratinayaka by Aruna Mohanty in Odissi dance to the libretto written by Odia poet-critic Kedar Mishra. I saw it for the first time at Bangalore. It lingered long in the memory. The memories were revived again when Aruna Mohanty presented it during Zohra Segal Arts Festival at IIC in New Delhi.

Kedar Mishra took up archetypal characters from Yuga, Treta Yuga, Dwapara Yuga and Yuga. That offered Aruna enough scope to create the characters. The text was in Odiya and there were comments in English for each Nayaka and Pratinayaka. Singing and music made it dramatic when both Nayaka and Pratinayaka asserted their beings: I am therefore you are.

With red backlight creating a silhouette and a stool in front serving as throne, place, the palace as per the dictates of the story of each aeon.

In Satya Yuga, if there was demon , so was Narasimha, a half lion-half man incarnation of . The well-known story of the demon king seeking immortality and his inability to bear his son

P 53 | JUNEDECEMBER 2018 2017 Rimpa Siva throwing her ornaments, fight with Jatayu, monkeys building bridge Setu over the ocean, Rama crossing it and the duel between and Rama, Rama killing Ravana by shooting an arrow at the vessel of nectar in the stomach of Ravana and his death, the existence of Nayaka and Pratinayaka was artistically established. Aruna's impersonation as Rama and Ravana was distinct.

Dwarapa Yuga had Kamsa as Pratinayaka and his nephew Krishna, the eighth child of his sister Devaki as Nayaka. Krishna arrives and kills an elephant; Kamsa is frightened remembering the eighth child of Devaki will kill him. The attahasa, the laughter that Kamsa unable to bear, places his palms on his ears and is frightened knowing that Nayaka will annihilate him. Using light to worshipping , father challenging his son enhance the fear was dramatic. Emerging from behind to prove if his God Hari was omnipresent, and if so the throne and out of fear running hither and thither was he in the pillar? He strikes the pillar and out jumps Kamsa's character came alive. The duel between the figure of Narasimha who kills Hiranyakashipu. The Kamsa and Krishna echoed the statement: 'I am poet reiterates: I am therefore you are! The character therefore you are'. of Pratinayaka was etched well with vigour and element. In Kali Yuga, Truth stood out as Nayaka. The elements of greed, arrogance, ego, lust, violence stood out as Come Treta Yuga and the Nayaka and Pratinayaka are Pratinayaka. Gambling and greed, to amass the Lord Rama and Pratinayaka Ravana. The Odia poetry wealth, stealing and arrogance, Aruna depicted them in repeats 'I am therefore you are'. In suggestive a versatile manner. In particular, the artistic use of abhinaya encompassing major episode of Ramayana, pallavi with lusty rhythm to portray the seduction, lust Ravana in disguise as mendicant kidnaps Sita. Sita

Dadi Ishara Puppet

P 54 | JUNEDECEMBER 2018 2017 NEWS of women of easy virtue and all the coquetry was provided rhythm. Pala traditional brilliant. And the violence, killing innocent people, music was used for music of Varsha. striking terror found reflection in Aruna's abhinaya Earlier a young percussionist, Rimpa Siva on tabla proving that navarasas, were at her beck and call. But mesmerised the audience with her excellent playing. A despite these opponents, an element of the final victory born tabla player trained by her father from childhood, was of Truth. Pratinayaka and Nayaka existed - one is she had the flair to conclude the bols and various there, therefore the other is there. In Odia, 'mu achhi styles of different tabla masters including her father. boli tumi accho'. Endowed with the energy she was a complete delight. Due to a technical hitch, the English commentary was The three-day festival also had screenings of a not clearly heard. However, the entire presentation in documentary Mazhahabi Laddoo, the film Chini Kam Odissi for its innovative theme engaged one's starring Zohra, Amitabh Bachan and Taboo, directed attention. Aruna has successfully explored various by R. Balki, Chhattisgarhi folk music by Nageen themes and concepts in Odissi. Tanveer and Charan Das Chor play by 's Quite in contrast, she had presented an ashtapadi, Naya Theatre. Madhave ma kuru manini maye from Gita Govinda, set In the foyer was an exhibition of the Ohara School of to music by Subas Pani. The Sakhi admonishes Radha Ikebana and Delhi Blue Pottery Trust; Dadi for her pride and not going unto Krishna while Krishna Padmumjee's Ishara Puppet artists in their colourful resting on a bed made of lotuses was awaiting her. She costumes welcomed the audience. reminds her, "Did he not come for you in a guise of a coordinated the entire festival. It was dedicated to Joy mendicant? Why are you dejected?" asks Sakhi to Michael, the late director of Yatrik, a close associate of Radha. Sakhi makes her realise that he is divine. Aruna Zohra Segal. while dancing this aspect subtly used the various incarnations, which was an artistic ploy. Her choreography for ashtapadi depicted characters of Radha, Sakhi and Krishna. Finally, Sakhi pushes her to go to see Krishna.

In the opening number of Varsha, various images of clouds gathering in the sky compared to an elephant, the lighting like a flag, the sound of clouds like the sound of (drum), the dancing peacock, the falling of raindrops, the flowering of grass shoots, and the Indrachapa (the rainbow) evoke in nayika separated from the beloved, the desire for union with the nayaka, and when he arrives, dancing she goes with him. The varying moods were choreographed highlighting the poetry.

The musicians accompanying Aruna were Vijaykumar Barik on mardala, Surmani Ramesh Das on violin, Rupak Kumar Parida for vocal and Satpathy on the . Ramharidas had composed the music and Nageen Tanvir

P 55 | JUNEDECEMBER 2018 2017 Brilliant Bharatanatyam Recital

idushi Nandakishore brilliantly performed a Bharatanatyam solo during 'Kalamaasika', a Vmonthly cultural programme organised by Pariniti Kalakendra at Shivamaya Auditorium in Sagar, Karnataka on 13 May 2018. On the occasion, one of the guests, Arvind Raikar, member of Nagarasabha, Sagar said, "Tradition gives our art good health and good heart". SS Ramesh and Raghunandan Purohith were also present during the recital. - Gopal M, Sagar

Jathis National Excellence Award

Director of Pariniti National Dance Festival Gopal M receiving Jathis National Excellence Award for his contribution towards the promotion of Indian Dance forms, from Alapati Rajendra Prasad, MLA, Tenali during the Jathis - Tenali National Dance Festival, Organised by Nataraj Music & Dance Academy.

P 56 | JUNEDECEMBER 2018 2017 NEWS

Nivedana Festival Kabita Kar 2018. A Tribute to Devi

ivedana 2018, a dance festival directed by Bharatanatyam artiste Debasmita Ghosh, Npaid tribute to Devi Saraswati at Jogesh Mime Academy, Kolkata on April 25. Somnath Das coordinated the programme and BR Vikram Kumar of Nataraj Music and Dance Academy and Roktim Sen of Panchali Boutique supported it. The guests who graced the occasion include Polly Guha, Poushali Mukherjee, Anurekha Ghosh, Shobha Kannan Roy,

Seuli Mukherjee Chatterjee

(Bharatanatyam), Anupama Das (Kathak), Swagat Nath (Odissi), Shreya Ganguly (Kathak), Ananya Mukherjee (Odissi), Nrityanid Dance Group directed by Kabita Kar, Chaitali Roy (Bharatanatyam), Prachi Bhora (Odissi), Adrija Mukherjee (Odissi), Olivia Biswas (Kathak) and Shinjini Bose (Kathak). All the participants and the members of Nandanik Manus made the festival a grand success with their cooperation.

Tarun Bose and Prashant Arora. Rituraj Pramanik and Sucharita Roy hosted the whole programme. One of the guest performances of the evening saw Seuli Mukherjee Chatterjee, an accomplished Bharatanatyam artiste enthral the audience with her performance on Lord Krishna. Kabita Kar, a stunning Bharatanatyam performer owned the audience's' heart with her performance. Swastika Kala Kendra as a tribute gave a special guest performance to Devi Saraswati. The artistes who took part in the festival include J Ramya Iyer (Bharatanatyam), Ankur Ballal (Odissi), Preethi Ghadei (Kuchipudi), Dr Pankaj Namasudram (), Rhea Dasgupta (Odissi), Debabrata Barua (Odissi), Supratim Pal

P 57 | JUNEDECEMBER 2018 2017 Mesmerising 'Madhavam'

uruvayur Usha Ramachandran's disciples Krithika Ramachandran and Shanggari GAdrian from performed Bharatanatyam in a programme titled 'Madhavam' - the eternal bliss organised by VRC Academy of Music and Dance in collaboration with Laasya Arts Malaysia at ADA Rangamandira in Bangalore on April 14. The The two-hour recital was supported by Vid. performance enveloped and pleased the senses of the Nandakumar Unnikrishnan on vocals, Vid. Guruvayur audience with its fine details. Krithika and Shanggari Usha Dorai Dorai on nattuvangam, Vid. performed Madhavam based on Krishna's story. It Vasanthapuram Chandrashekar on mridangam, Vid. was choreographed by their guru Usha V Krishna on flute, Vid. Mysore Dayakar on violin Ramachandran. The naughtiness, smartness and and Vaidhatri on kanjira. tenets of 'Krishna' was enacted by the duo in a - Gopal M, Sagar spellbinding manner. The dalliance of Krishna along with Chakra and Shankh was enthralling.

P 58 | JUNEDECEMBER 2018 2017 P 59 | JUNEDECEMBER 2018 2017 ndian Classical Dance forms are indispensable. needed platform for enthusiastic artistes to showcase Among Indian fine arts, Classical dance forms, in their talents. particular, have a played an essential role in I Dr Tadepalli believes that research about neighbouring showcasing the rich cultural heritage, knowledge of art forms would help in improving the quality of the ancient scriptures and essence of epics as a tradition native art form. "If you observe traditional art forms - for developing discipline and passion. Kuchipudi art their rituals, growth and evolution and then know about form which originated in the village of Kuchipudi near the existing contemporary classical dance practices, Vijayawada in Andhra Pradesh holds a great the actual status track of the art form and its significance. The art form has a distinguished lineage sustainability," he says. from the village through the nineteen traditional families whose sole purpose has been to disseminate Kuchipudi religiously over two centuries.

Dr Tadepalli Satyanarayana Sarma born into a revered traditional Kuchipudi family of 'Tadepalli' at same Kuchipudi village has been meticulously following in the footsteps of his illustrious great-grandfather Natya Parameshti Tadepalli Perayya (Guru of Kuchipudi legend Vempati Chinna Satyam) to protect and propagate the art form. His altruistic intention to help upcoming artistes and aspirants to undertake research has made him establish the International Training Centre (IDRTC) in 2012. As the founder-director of the research centre, he facilitates and conducts seminars on different topics in dance and organises dance festivals providing the much-

P 60 | JUNEDECEMBER 2018 2017 He is a multifaceted Kuchipudi exponent - a performer, qualified excels with his deep involvement and academician in the ancient study of , research scholar, a natural grace bringing life to the responsible organiser, an essential propeller of the young generation character irrespective of the nature of the Kuchipudi traditional families to safeguard the Kuchipudi and size of the role. His performance Bhagavathamelam tradition, art critic and a sought-after speaker on as in Bhamakalapam and culture, tradition and heritage. Lakshamanakumara in Sasirekha Parinayam laced in wit has been Tadepalli born to Adilakshmi Durgamba and Tadepalli Subbarao, highly acclaimed by dance gurus adhering to the tradition, started his journey into dance at the age of and audience and a topic of five. His initiation into dance took place at Sri Balatripura Sundari temple discussion among peer artists. in Kuchipudi village under the able guidance of renowned Kuchipudi exponent Dr Vedantam Satyanarayana Sarma. Inspired by his guru, an expert known for essaying Satyabhama in Bhamakalapam and female personification, Tadepalli went through rigorous training and learned the nuances and intricacies of portraying female personification roles and earned rich acclaims right from his first performance as Satyabhama in the temple premises at Kuchipudi. Later he continued to perform female roles as Chitralekha in Usha Parinayam, Leelavathi in Bhakta Prahlada, Rathi Devi in Parvathi Kalyanam, Mathanga Kanya in Harishchandra and Mahalakshmi in Ksheerasagaramadhanam.

He continued his training under the guidance of Dr Chinta Ramanatham, the first doctorate holder in Kuchipudi, learning the nuances of solo performance and Nritya Rupakam with a highly methodological approach. His aptitude to expand knowledge and in- depth study of the art form (Kalapam, Yakshaganam, Rupakams, solo tradition) both academically and practically made him learn from different illustrious gurus Natyacharya Vedantam Radheshyam, Dr Vedantam Ramalinga Sastry, Professor Pasumarthy Ramalinga Sastry, Dr Uma Ramarao, Dr Jonnalagadda Anuradha, Dr Vedantam Venkatachalapathy, Dr Pasumarthy Venkateswara Sarma, and Kalaratna Vempati .

He has been part of various Dance Dramas and productions while essaying a wide variety of roles like Shiva, Vishnu, Krishna, Venkateswara, , Arjuna, Anirudh, Manmadha, Dharmaraju, Brihannala, Sukra, , Lakshamanakumara and others. He is also known for portraying negative roles like Mahishasura, Narakasura, Hiranyakasipu, Kamsa, Jarasandhudu, etc., with aplomb.

Though he has learnt to perform different roles, he sticks to the portrayal of Yakshagana characters as they suite his physique and

P 61 | JUNEDECEMBER 2018 2017 Dr Tadepalli's keen interest in Kuchipudi and its tradition Dance festival, Goa, National Seminar, CID, UNESCO, drove him to undertake research on various aspects New Delhi. of the Kuchipudi art form, under the guidance of gurus Dr Tadepalli, as an art critic and contributor to the Dr Chinta Ramanatham and Dr Vedantam Ramalinga media, has been sincere and straightforward. His Sastry where he learnt in-depth about Sastras, history remarks, observations and insights were taken and uniqueness of Kuchipudi art form. He was a quick seriously as he backs his work with valid arguments. learner and learnt from various gurus and He has been contributing to popular dance magazines academicians. He became well versed with most of the and websites like Nartanam, Nartaki, Drishti, Natyakala, South Indian Classical dance forms. Pragna, Sanskriti, The Dance India and others. He has He has participated widely in various seminars and carved a niche for himself with timely wit and apt made presentations in prestigious Universities, idioms. Institutions and Academies. He is currently stringing together his Research material as a book for the benefit of Kuchipudi students and enthusiasts.

His contribution includes the study of Kuchipudi - The Dance Journey of Bhagavathulu, Evolution of South Indian Yakshagana, Kuchipudi Parampara - Analysing study of Kuchipudi Dance, Natyashastra and Kuchipudi - Applications and comparative study.

Apart from being blessed with rich Kuchipudi traditional lineage, he graduated in Sanskrit and and was awarded a Doctorate in Dance. Revered for his excellence in Yajur and Atharva Veda and being a Member of Vedavidya Parishit, TTD he provides services as a Veda pandit. He has been a member of many governments and non-government organisations like Andhra Pradesh Cultural Department and Dakshina Bharathiya Vangmaya Parishit.

He made thematic lecture demonstration and presentations at various Institutions and Festivals. Sri Venkateswara University, Tirupati, Dravida University, Kuppam, Nagarjuna University, Guntur, Potti Sriramulu University, Hyderabad, CCRT Hyderabad and New Delhi, Andhra Pradesh Bhavan, New Delhi, Samanvaya Festival, Bangalore, Kalamandalam, Kerala, Krishna Gana Sabha, Chennai, Aurobindo Ashram Pondichéry, Delhi, National School of Drama, New Delhi, National Dance Seminar, Tanjore, Keremane Shambhu Hegde Rashtriya Natyotsava, Idagunji Karnataka, International

P 62 | JUNEDECEMBER 2018 2017 As the convener of 'Bhagavathamela, Kuchipudi', Dr Tadepalli has taken it as a personal responsibility to preserve and protect the ancient tradition of Kuchipudi Yakshagana and rich cultural heritage of Kuchipudi Bhagavathulu. 'Bhagavathamela, Kuchipudi' was established by the members of traditional Kuchipudi families.

His are given more than 800 performances across the country - Tirumala Tirupathi Devasthanam (1995 to 2000, 2003 to 2005, 2012 to 2018), Central Sangeet Natak Akademi ( 2001, 2004, 2006, 2014, 2017, 2018), ICCR New Delhi (2014, 2015, 2016, 2017), CCRT Hyderabad (2012,2013, 2014, 2016), Spicmacay (North & major cities), (2010), , Chennai, Vishaka Music & Dance Festival, International Kuchipudi Dance Convention, Hyderabad (2012, 2014), foundation, Hyderabad (2013), Swarna Bharathi Trust, Nellore (Honorable Vice President Shri Venkaiah Naidu's Trust), Keremane Hyderabad (Associated with Govt of ) and Shambhu Rashtriya Natyotsava, Idagunji (2015), Natya Bharathiyam, Hyderabad. Samanvaya Festival, Bangalore, Chowdaiah Music Academy, Bangalore, Drishti Festival, Bangalore, Tadepalli is a recipient of numerous awards and Krishna Gana Sabha, Chennai, Thyagaraja Gana recognition from various quarters for his outstanding Sabha, Hyderabad. Soorya Kala Mandiram, Kakinada, services to the world of art. Samanvaya Puraskaram, Akhila Bharatha Kuchipudi Natya Mandali, Kuchipudi Rajarajeswari Kalanikethan, Bangalore, Abhinava and Siddhendra Yogi Mahotsava, Kuchipudi. Kalasagar, Balatripura Sundari Natya Kalakshetram, Natya Ratna, SSR Music and Dance Academy, Tirupati, His international sojourn includes Malaysia, , Dr Vedantam Swarnakankanam. Bangkok, Hong Kong, Bahrain and Dubai and won accolades from global audiences too. Being a talented and multifaceted personality from one of the most revered traditional families of Kuchipudi, The festivals conducted and curated by him include, Tadepalli has been a firm believer of dharma and Siddhendra Yogi Natya Kalotsav, Kuchipudi heritage abides by the traditions. He is on a passionate mission village, Natya Sampradayam, New Delhi (Associated to uphold rich Kuchipudi tradition for the future with ICCR, SNA and AP Bhavan), Yuva Tarang, generations. Truly a guardian of Kuchipudi Hyderabad (Associated with Govt of Telangana), Natya Yakshaganam and Kuchipudi Bhagavathulu. The Tarang, Hyderabad (Associated with Govt of Dance India believes that the young and dynamic Telangana), Lalitha Padanyasam, Hyderabad exponent and researcher of Kuchipudi would reach (Associated with Govt of Telangana), Natya Anisam great heights in the days to come. (Associated with Govt of AP) Vempati Nartanam,

P 63 | JUNEDECEMBER 2018 2017 addanapudi Sulochana She established a dance academy, Samskritiki Rani was a popular Shreyaskar in 1995, and also guided the Sangeet and YIndian Telugu novelist Nritya Sikshan Bharati, a division of Bharatiya born on April 2, 1939, in Kaza Bhavan, Kolkata. Rani performed across India and village in . Her outside performing at almost all the major classical writings captured the fascination dance festivals in India. Her last public performance of an average reader, reflecting was in 2013, at 74. The Government of India honoured contemporary trends, her with a Padma Shri in 2014. She breathed her last on relationships with her signature May 7 at Kolkata. nostalgic style. She entered the literary scene and attained stardom with her pulp literature. She gained a angkhem huge following and several of her stories were adapted Lokendrajit Singh, into films and television serials. Rani, who along with her Lokendrajit Singh, women counterparts Arikepudi Kousalya Devi and Wborn on 30 January Ranganayakamma, heralded a new era in Telugu fictional 1958 at Kwakeithel Mayai Koibi literature since the 1950s. She carved her niche and Chabungbam Leikai was a brought novels to the mainstream in Telugu. Jeevana prominent Manipuri dance guru. He Tarangalu, , Secretary, and Prema graduated from Manipur University Lekhalu were some of her popular works. She passed and learnt Manipuri classical dance away at California on May 21. and Sankirtana Mridangam (Pung) from different gurus. After knowing the art form of

ani Karnaa was an Indian Manipuri classical dance and Sankirtana, he went to classical dancer born in Delhi and pursued a diploma in Choreography at R1939, in a Sindhi family at Natya Institute of Kathak and Choreography 1978-82 Hyderabad in British India under Guru Dr Maya Rao. He was one of the closest (present-day ). She was students of Rao. After the course, he got back to known for her skill in the Indian Imphal and joined as a senior artist at JNMDA. He dance form of Kathak and performed at many places in India and abroad. He has regarded by many as one of the choreographed several dance-dramas for the greatest exponents of the art production unit of JNMDA including Moirang Sha, form. In 1942, her family moved to Delhi when she was Wainupareng, Shakuntala, Hijan-Hirao, Meghnath three years old. She learnt Kathak, Odissi, Bodha and Shradhanjali. He has toured extensively Bharatanatyam and Manipuri. She learnt to dance from with the production unit of JNMDA both in India and Nrityacharya Narayan Prasad and Sundar Prasad. She abroad for performances in the Festival of India in mastered the style under Guru Hiralal Japan, Kazakhstan and South Africa, and festivals in and the Gharana style from Pandit Birju Singapore, Germany and USA, and has conducted Maharaj. Rani got married into an Odia family and workshops and lecture-demonstrations within the moved to Bhubaneswar in 1963. She learnt Odissi under Guru . Amubi Singh, country and abroad in prestigious institutions and Narendra Kumar and Lalita Shastri were other popular universities. He received Sangeet Natak Academy gurus. She is credited with integrating the traditions of Award, Manipur State Kala Academy Award, Devadasi Jaipur and Lucknow . Award, Natyasree Award and others.

P 64 | JUNEDECEMBER 2018 2017 CLASSIFIEDS

Atharva School of Fine Arts KUCHIPUDI Teacher : Mrs. Shamal Pawar C-1401, Gulraj Tower, Nehru Nagar, Nataraj Music & Dance Academy Kurla (E), Mumbai – 400024. Teacher: K V Lakshmi +91 99690 23246/ 9869272392. 50-1-50/1, ASR Nagar, Seethammadara Bharatanatyam and Classes, Visakhapatnam, Andhra Pradesh, India Website-www.atharvaschool.com, Contact No: + 91-9553222969 [email protected] Andaals fine arts Teacher : Madhuri Prathap A 804 Suprabhat chs Opp ushanagar, BHARATANATYAM Village road Bhandup, Geeta Nritya Vidyalaya West Mumbai 400078 Teacher: Girija Nair Contact No : 9892531605 'Gurukul' 32/2 Powai Chowk behind [email protected] Shastri Nagar, Saibaba Temple Mulund Colony West Mumbai - 82, Maharashtra, India KATHAK Contact No: + 91- 9867234249 Takshashila Nrityakala Mandir Teacher: Kashmira Trivedi Nritya Tapshya Kathak Dance Academy A - 405, Asawari Co. Op. Hos. Soc. Teacher: Chetan Saraiya. MA, Kathak. Pokhran Road No - 1, Varkat Nagar, Vasai Nallasopara, Kandival. Grand Road Thane (W) - 400606, Maharashtra, India Pune, Maharashtra, India Contact No: + 91- 9820649671 Contact No: +91-9821138190 Sri Krishna Kala Mandir Nritya Darpanan Foundation Teacher : Gayathri Gopinath Teacher : Paullumi B Mukheerjee No 5-469 .18th St Sathuvachari Phase - 2 Alap C.H.S. B woing, Plot No 173 Vellore - 632009, Tamil Nadu, India Contact No : 98945 29708 Sir Bhalchndra Road, Opp. 2nd Lane Hindu Colony, Dadar (E) Shanmukha Arts Institute of Performing Arts Mumbai - 400014 . Teacher : Kala Srinivasan Contact No. 9821583004 D-309 , Usha Nagar, Village Road Bhandup West, Mumbai- 400078 Kalanand Nritya sanstha Contact No : 98671 14223 Teacher : Bhavana Sanjiv Lele Shop No-2,3,4,5 Rosewood Building Nitya Veda Academy Prestige Residency, Dongripada Teacher : Vidya Sriram Waghbil Naka,Ghodbunder Road E - 404, Krishna bldg. Vasant Sagar Thane West, Maharashtra Complex, Thakur Village Contact No : 9223440605 Kandivli (e) 400101 Nalanda Bharatnatyam Nritya Niketan Akshata's Dance Academy Teacher : Guru K. Shobhana Shivaji housing society, Centres: Thane, Kalwa, Airoli, Ghatkopar, Behind JW Marriott, Kalyan, Dombivali Senapati Bapat Road, Contact No: + 91 9820520154 Shivajinagar, Pune- 411016. [email protected] Email id: [email protected] Contact: 9920990182

P 65 | JUNEDECEMBER 2018 2017 P 66 | JUNEDECEMBER 2018 2017 P 67 | JUNEDECEMBER 2018 2017 Registered with the Registrar of Newspapers for India under No. APENG/2016/68616. Date of Publication 5th of every month and Posted between 5th to 10th of Every month under License No. VM/219/2016-2018

P 68 | JUNEDECEMBER 2018 2017