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A Quarterly Journal of Indian Dance

Volume: XVI, No. 4 October - December 2016

Sahrdaya Arts Trust RNI No. APENG2001/04294 ISSN 2455-7250 Nartanam, founded by Kala Kendra, Founders , now owned and published by Sahrdaya G. M. Sarma Arts Trust, Hyderabad, is a quarterly which provides a forum for scholarly dialogue on a broad M. Nagabhushana Sarma range of topics concerning Indian dance. Its concerns are theoretical as well as performative. Chief Editor Textual studies, dance criticism, intellectual and Madhavi Puranam interpretative history of Indian dance traditions are its focus. It publishes performance reviews Patron and covers all major events in the field of dance in Edward R. Oakley and notes and comments on dance studies and performances abroad. Chief Executive The opinions expressed in the articles and the Vikas Nagrare reviews are the writers’ own and do not reflect the opinions of the editorial committee. The editors and publishers of Nartanam do their best to Advisory Board verify the information published but do not take Anuradha Jonnalagadda (Scholar, Kuchipudi dancer) responsibility for the absolute accuracy of the Avinash Pasricha (Former Photo Editor, SPAN) information. C.V. Chandrasekhar ( , ) Cover Photo: Kedar Mishra (Poet, Scholar, Critic) Top: Oggu Dolu drummers at Bonalu celebrations. Below: Gusadi, Chindu, Perini, Kuchipudi & Lambada (Padma Shri; Founder, SPIC MACAY) K. K. Gopalakrishnan (Critic, Scholar) Photo Courtesy: Department of Youth Advancement, and Leela Venkataraman (Critic, Scholar, SNA Awardee) Culture, Government of . Mallika Kandali ( dancer, Scholar) Top Photo: Pappu Venugopala Rao (Scholar, Former Associate D G, N N G Motion Pictures American Institute; Secretary, Music Academy) Photos at the bottom: Reginald Massey (Poet, FRSA & Freeman of London) NNG Motion Pictures, Avinash Pasricha and Nehru Centenary Tribal Museum, Hyderabad (Scholar, Padma Shri & SNA Awardee) Suresh K. Goel (Former Director General, ICCR) Cover, Design & Layout Shakeel Ahmed

This Special Issue of Nartanam on Dances of Telangana is supported by Department of Youth Advancement, Tourism & Culture, Government of Telangana. Annual Subscription: In India: Individual: ` 1000 Institutional: ` 2000 Past issues can be obtained from our office ` Overseas: Individual: US $ 60 Institutional: US $ 80 @ 350/- per copy for individuals ` (All Inclusive of postage) @ 500/- per copy for instiutions Note: Students in India can avail of 25% discount on (Inclusive of postage in India; Subject to availabil- individual subscriptions) ity; Please check with the office.)

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Printed and published by Madhavi Puranam on behalf of Sahrdaya Arts Trust, Hyderabad Printed at Karshak Art Printers, 40-APHB, Vidyanagar, Hyderabad-500044. (Ph:27618261) and published at Hyderabad. Editor: Madhavi Puranam NARTANAM Volume: XVI, No. 4 October-December 2016 CONTENTS Editorial/ 6 Folk Dances of Telangana VAKULABHARANAM LALITHA /19 Folk Arts N. BHAKTAVATSALA REDDY & Y. A. SUDHAKAR REDDY / 83 The Bhagavata traditions and Kuchipudi: The Telangana Connection ANUPAMA KYLASH / 103 Telanganam-Yakshaganam An extract from Andhra Vangmaya Charitram S.V. JOGA RAO / 115 : Crusader and Visionary M. NAGABHUSHANA SARMA / 127 Perini: A Virile Dance Form GUDIPUDI SRIHARI / 137 Perini Panchangas: Reconstruction by KALAKRISHNA / 143 Dakhni Culture SALMA AHMAD FAROOQUI / 153 Tribal Dances of Telangana DYAVANAPALLI SATYANARAYANA / 167 Kakatiyan Art D. VIDYANATH / 195 Surabhi in Telangana REAKAMDAR NIRUPAMA SUNETRI / 203 The Saga of Sringaramanjari MADHAVI PURANAM/ 211 An Overview of Nrtta Ratnavali YASHODA THAKORE/ 217 PERFORMANCE REVIEWS Some Significant Dance Events in the Capital / 222 LEELA VENKATARAMAN The Festival Circuit / 229 SUNIL KOTHARI Parampara Festival 2016 / 236 SREE MANI 6 Nartanam

EDITORIAL

A chance meeting with a Stone Waller in Wales, Bruce Maudsley, along with Reginald Massey, adviser to Nartanam, revealed how passion can transform work into art. Bruce’s paper on the ancient art of building stonewalls in reads like poetry. An impressively educated gentleman, Bruce embraced his calling to be close to the earth that he belonged to. He chose to build dry stone walls all his life. The Stone Waller had the oldest editions of Tagore’s works in his library. A chat with Bruce affirms my belief that culture is a composite of the myriad facets of human sensibility, education, and work which are often compartmentalized into various genres and disciplines, in vain. Often, the partitions are water-tight. The realization that one has failed to transcend these barriers in order to achieve a holistic education, marked by grace and spiritual ascent, dawns too late.

In Plato’s Republic, Socrates reflects on the importance of musical and poetic education to youth. He elaborates on how the rhythm and the mode of music penetrate deeply into the human soul infusing the idea of harmony as a universal principle even before man masters conceptual arguments for moral behaviour. The great philosopher says, aiming for “grace” should be true for all arts and crafts, even the condition of our bodies and all the things that grow. (Bychkov and Sheppard, 2010: Republic, 2-3, 2.376e-3.402a & reference 23).

I draw attention to (10-11 century AD) who stressed on the attributes of a great dramaturge – Pratibha (creative faculty, poetic imagination or creative genius), Vasana (proclivity, memory, latent impressions) and Vyutpatti (mature judgement). The Natyasastra (2BC-2AD) highlights Abhyasa (constant practice) as an important attribute for effective communication of emotions in a play.

At Purdue University, in a conversation with Mete Sozen, the renowned Professor of Earthquake Engineering, another attribute for producing great work was stressed upon. Mete remarked that one need not necessarily be a genius to achieve greatness in academia. It’s the interest or passion for one’s work that makes all the difference. It rings true of any discipline including dance. Nartanam 7

SPECIAL ISSUE ON DANCES OF TELANGANA

Passion for dance academics has taken Nartanam through sixteen years of its publication, non-stop, four issues every year. No matter, the severe manpower and financial crunch. We are pleased to bring out this issue of Nartanam, a special on the dances of Telangana, despite many challenges. To bridge the divide between the scholars of the two new states of Telangana and carved out from the former Andhra Pradesh, was a tough call.

It was quite a task segregating the forms of the entire Telugu speaking region, and assigning them to the two new states. Most of the forms are performed across both the states. The forms included in this issue span the classical, folk, and tribal dance and traditional . The two states share a big chunk of history, literature and arts. It would be interesting to look at some of the historic facts pertaining to Telangana, before we serenade our readers with fantastic academic content coupled with a visual treat. The Comprehensive History and Culture of Andhra Pradesh, Vol IV, Medieval Andhradesa AD 1000-1324, 2011 (referred hereafter as CHCAP-IV) edited by Somasundara Rao, makes for a rich source of the history of Telangana.

The Kakatiyas rose to be a dominant power in the then Andhradesa from the middle of the twelfth century and controlled central Telangana, Guntur and Prakasam districts of . emerged under them as the premier cultural and political center in place of Vengi, which lay between the Godavari and deltas and was the bone of contention through the centuries and various dynasties. (Thapar, 1976: 167-68).

It was during the period 700-1300 AD and especially under the Kakatiyas that the region ruled by them came to be known in the pan-Indian context, variously, as Andhra Tailing, Trilinga, Tilanga. The Muslim chronicles of this period refer to the Kakatiya kingdom as ‘Tiling’ and Warangal as Andhranagari. Regional identity and efflorescence in every sphere of life and the art of Andhra were shaped during this formative period. (C. Somasundara Rao, "Transition", in CHCAP-IV, 2011: 6).

Under the Kakatiyas, for the first time the upland areas of Telangana, which had hitherto formed the peripheral regions of the previous dynasties ruling the region, became the center of power. (I. , "Kakatiya Polity and Nature of the State", in CHCAP-IV, 2011: 173). From the sixth century AD inscriptions began to be composed in Telugu prose, while verse came later. The script in the 8 Nartanam

Telugu region underwent many variations from 624 -1324 AD. However, in the classical form developed in the eleventh century AD, with the script changing drastically, especially during the Kakatiya period. (C. Somasundara Rao, "Transition", CHCAP-IV, 2011: 5).

The Kakatiya period saw the emergence of the desi (indigenous) in dance; Telugu ending the domination of Prakrit and ; the casteless Andhra society based on Buddhist thought change into a Hindu Puranic order based on caste; temple emerging as the patron of religion and arts; and emergence of Saivism and , which often used singing and dancing to propagate their cults. The Kakatiyas made a place in the political history while contributing significantly to the culture of the land as cited by the many works produced in the field of literature, sculpture and dance during that period.

We present, in this issue, articles by some of the senior most scholars and also of the younger generation expounding on the various dances and related culture of Telangana. The articles on Dakhni culture and the treatise Sringaramanjari by Akbar Shah, unearthed by the great scholar V. Raghavan, add an interesting dimension. "Dakhni culture" is an eye opener to the multi-cultural and tolerant Deccan which spans today’s Telangana. The Sringaramanjari reveals the deep interest of Muslim rulers and scholars in culture and literary works. The underlying secular fabric of Deccan despite influences from many cultures and faiths is a great example of tolerance and nationalism. This is much in contrast to the pseudo definitions of the same that we often come across in today’s India.

Yakshaganas of the Telangana region, the temple dances, the widespread practice of Kuchipudi in Telangana, the myriad folk and tribal forms, the sculpture, architecture and literature – we have striven to give a panoramic view of Telangana dance. One notices that Kuchipudi, which originated in the Krishna district, was extended patronage by the Golconda nawabs.

The late guru, Nataraja Ramakrishna worked tirelessly for the dance traditions of the then Andhra which includes the present state of Telangana. His research and tireless efforts were instrumental in restoring the Taramati Baradari in Hyderabad, and the reconstruction of the temple dances and Perini. We pay our tribute to the great guru and scholar.

There are many areas which we have not been able to cover in this issue for the paucity of space. One such topic, though it finds a passing mention, is the role of folk art forms in the during the period 1946-51 and later. Nartanam 9

Folk art forms were used to propagate revolutionary ideology against poverty, injustice, social discrimination and other ills of the society. The IPTA (Indian People’s Theatre Association) inspired Praja Natya Mandali used folk art forms like Gollasuddalu, Bahurupalu, Koyadora, Burrakatha, , Pakeer Patalu, Bairagi Patalu, Dandagam, Latkorusab, Kolatam, Chuttakamudu, Vuyyala Patalu, Sarada Kathalu, and people’s songs to give voice to the aspirations of Telangana. Gadar and his style of using folk traditions are of interest, but, could not be dealt with in these pages. The Surabhi Natakam in Telangana and their struggle to keep up the tradition finds place in this issue though it could qualify as theatre. So can many other folk forms featured in this issue. Dynamic forms keep spilling over the imaginary lines of division and classification.

We acknowledge the support of the Telangana Government for this first ever compilation of Telangana art forms in an academic journal. This issue would not have materialized but for the keen interest and encouragement extended by B. V. Papa Rao, IAS (Retd.), Advisor to Government of Telangana (Policy and Institutional Development), B.Venkatesham, IAS, Secretary, Department of Youth Advancement, Tourism & Culture, Navin Mittal, IAS, Commissioner, Information and Public Relations, and Mamidi Krishna, Director (Culture), Government of Telangana. Seasoned scholars, Vakulabharanam Lalitha and Vakulabharanam Ramakrishna were a pillar of strength as was our research team of Veenamani, Katyayani Thota and P. Vardhini. Thanks are due to D. Satyanarayana, Curator of Nehru Centenary Tribal Museum, Government of Telangana, Hyderabad.

B. Ramaraju’s Telugu Janapada Geya Sahityam (1958), S. V. Joga Rao’s Andhra Yakshagana Vangmaya Charitram (1961), Mikkilineni Krishna Murthy’s Teluguvari Janapada Kalarupaalu (1992), Modali Nagabhushana Sarma’s Folk Performing Arts of Andhra Pradesh (1995) were an important source of reference. Last but not the least; in our quest to illustrate this issue, we have observed that the myriad art forms of Telanagana are inadequately archived. We request the readers to send us pictures and videos of the Telangana art forms, from their personal collection, so that we can build a small archive of the same for posterity. Let us help the government in their endeavours.

We invite our readers to enjoy this issue while they renew the subscriptions for next year. We wish them a Happy New Year.

Madhavi Puranam DANCES OF TELANGANA

Sobha Naidu Photo Courtesy: Avinash Pasricha Nartanam 15

Koya dance

Andh dancers Nartanam 19

Folk Dances of Telangana

VAKULABHARANAM LALITHA

Amongst the arts, dance is at once the most primitive and most sophisticated. There is hardly a civilization or culture wherein the awareness of human movement as a vehicle of expression of joy and sorrow is not evident. In spite of the great variations and multiplicity of themes, forms and styles, folk art and continue to be a distinct category characterized by the overwhelming quality of spontaneity. These folk artistes maintain continuity with antiquity and tradition.

The has a staggering multiplicity of races, linguistic and ethnic groups, and religious and social organizations.The origins of the forms can be traced back to pre-historic times.Tribal and folk dances of India present many intricate problems. It is impossible to establish clusters of tribal and folk dances of India on the basis of rites, rituals, propitiation of spirits, superstitions and religions, or speak only of dances of fertility cults, of rituals and of religious ceremonies. All the traditions of tribal and folk forms have coexisted and continue to coexist with traditions of architecture, sculpture, painting and the like. Here, a classification of dance traditions has been attempted under the following categories:

VAKULABHARANAM LALITHA, a renowned scholar, is a post-graduate in public Administration (), and and Literature (S. V. University); M.Phil. in Sociology (S. V. University) and Ph.D in Anthropology (Calcutta). She was a faculty member at Jawahar Bharati at Kavali, Andhra Pradesh, and at Telugu Academy, Hyderabad; and a guest faculty at the University of Hyderabad. She has published books on Public Administration, Political Science, Literature and Dance. She has contributed research papers to many journals. She is a life member of Indian History Congress and Andhra Pradesh History Congress. She is the founder member of ASMITA, a resource center for women at Hyderabad. This article has been specially written for Nartanam and is partly based on the article "Folk and Tribal Dances" by V. Lalitha published in Comprehensive History and Culture of Andhra Pradesh, Volume VIII – Contemporary History of Andhra Pradesh and Telangana AD 1956-1990s, (Ed.) V. Ramakrishna Reddy, 2016: 982-1005. Nartanam 83

Folk Arts

N. BHAKTAVATSALA REDDY Y. A. SUDHAKAR REDDY

Folk arts are not simply a form of expression. Folk societies consider arts as stories of living experiences and lives as storied events. Folk art and folk narrative therefore, are inseparable. Because of its situation as emergent and in flux, folk narrative is a part of a performance event that needs to be understood according to local knowledge, terms, and contexts. Hence folk art forms in general and of Telugu speaking region in particular, is a culture specific. The following study looks at folk arts in this perspective.

History of Folk arts of the Telugu-speaking region

References in medieval literary sources in Telugu testify to the fact that folk arts have been prevalent in Telugu land for long. Some of these sources merely mention the names of the folk art forms and the others give detail including how they were performed. Some of those art forms are in existence even now. However, to know whether they exist in the same form or not, is a difficult task.

Abhilashitaartha Chintaamani written by Someswara III (1126-1139) of the refers to cradle songs, 'Gowdu Gitalu' etc. and enumerates various entertaining performances such as ‘Ankamalla Vinodam’ (wrestling), cockfight, goat fight, and ‘Moodi’ (white magic). Folk arts associated with song N. BHAKTAVATSALA REDDY is a renowned scholar of Folk Performing Arts and Professor (Retd.), Potti Sreeramulu Telugu University, Hyderabad. Y. A. SUDHAKAR REDDY is a reputed scholar and Professor, Centre for Folk Cultural Studies, University of Hyderabad, Hyderabad. This article was first published in Comprehensive History and Culture of Andhra Pradesh, Volume VIII- Contemporary History of Andhra Pradesh and Telangana AD 1956-1990s, (Ed.) V. Ramakrishna Reddy, 2016: 921-939, copyright, Andhra Pradesh History Congress and Potti Sreeramulu Telugu University. It is being reproduced here with permission from the authors and the publishers. Alekhya Punjala Photo Courtesy:98 Avinash Pasricha Nartanam Nartanam 103

The Bhagavata traditions and Kuchipudi: The Telangana Connection

ANUPAMA KYLASH In the Indian panorama, literature, music and dance are inextricably woven together. A large portion of Indian literature was meant to be recited, chanted, sung or enacted. Philologist Jesperson has concluded with considerable justification that song and speech were coeval in the beginning of the intellectual activities of mankind. He says, "Dance and song are the most natural pre linguistic activities of mankind. They are a logical herald for later, discursively expressive functions of the mind, and harbingers of Language."

The ancient theorists in India always speak of song and dance woven together with literature. This grouping is seen in all major poetical and theoretical works. In order to be able to understand the genesis, growth and development of literature, music and dance in southern India, it is essential that we understand that, modern boundaries or parameters cannot be applied to this process. If we assess the growth and development of art, culture, literature, song and dance in the Telugu land alone, we will realise that the sovereignty of the Telugu kings, dynasties and literature spanned, not just, modern Andhra or Telangana, but extended into , which is modern day , Utkal, Kalinga which falls in the modern state of , and continued right into Thanjavur which is modern . There was one common cultural ethos governing the whole of southern India, one corpus 'Bharatam', which incorporated regional textures and flavours, depending on where they came from. All song and dance traditions we see today, are therefore, glorious desi traditions.

ANUPAMA KYLASH is an accomplished exponent of Kuchipudi and . She holds a Bachelors and Masters degree in Dance, and a Doctorate in the same from the University of Hyderabad. She is the founder of Anubhav, a center for dance, music and literature in Hyderabad. Anupama is a Vishaarad in Hindustani music from the Akhil Bharatiya Gandharva Mahavidyalaya, and an 'A' grade artiste of Doordarshan. She has authored the books Nayikas in Kshetrayya Padams published by the Writers Workshop, and The Nayikas of Annamacharya - an interpretation for Dance based on her doctoral thesis. The Bhagavata traditions and Nartanam 115 Kuchipudi: The Telangana Connection

Telanganam-Yakshaganam An extract from Andhra Yakshagana Vangmaya Charitram

S.V. JOGA RAO The writing of yakshagana has been there in Telangana from the second half of eighteenth century. Dharmapuri of Seshachala Kavi, and Adhyatmaramayana of Raapaaka Srirama Kavi are known to be the earliest in Telangana, written around 1780. Dharmapuri Ramayana had been very famous throughout the Andhra region. It has six khandas (chapters), and was presented mostly as a oral performance genre, and was performed widely. But, the performance version was not necessarily in strict accordance with the text. The street on Ramayana, staged throughout the Andhra region had taken daruvus from this work. A couple of Veerasaiva yakshaganas written around 1800 are also available. They are Basavamahimamrutha Vilasamu by Kanoori Veerabhadra Kavi, and Kalyanamu by Chelvuru Sanyasi Kavi. They were quite suitable for the stage.

The earlier half of the nineteenth century seems to have produced some yakshaganas; but, they are not available. But the latter part of the century had witnessed considerable encouragement for the writers as yakshaganas were widely staged throughout. Tara Sasankam and Bheemasena Vilasamu of Ramadasa Kavi, who was patronized by Mukkara Seetarama Bhupaludu (1851- 1905), of Atmakuru estate, were very popular. Both of them had “Sabha

S. V. JOGA RAO is a renowned academic of Andhra University.This article is a translation of the chapter "Telanganam- Yakshaganam" from Andhra Yakshagana Vangmaya Charitram by S.V. Joga Rao. The book in Telugu was published in 1961 by Andhra Vishwakala Parishat, Waltair. It is based on S. V. Joga Rao’s research into Yakshaganam which was submitted as a Ph.D thesis, under the guidance of Ganti Jogi Somayaji, in 1957-58 to Andhra Vishwakala Parishat. The thesis won the first prize and Raghupati Vekataratnam Research Medal for its excellence and extensive research into Yakshaganams which is one of its kind. The book has 898 pages and is in two sections with a foreword by P. V. Rajamannar. The two sections are: Yakshaganam: Origin and Evolution (pages 1-371), and Yakshaganam poets and poems (pages1-502). Sri Katyayani Thota has translated the chaper "Yakshaganam–Telanganam" for Nartanam. Nataraja Ramakrishna : A Crusader126 and Visionary Nartanam Nartanam 137

Perini: A Virile Dance Form

GUDIPUDI SRIHARI During the 10th and 11th centuries, the Veera Saiva cult was born on the outskirts of the then Andhra and its scriptures were originally written in Telugu. This cult spread deep into the Telugu land and found patronage at the hands of powerful rulers. Soon the Veera Saiva cult began influencing literature and the arts. The language of the people asserted itself and there arose a class of poets and artists who gave expression to the desi style and used only pure Telugu words and indigenous metres in their songs and poems. This movement was backed by the Veera Saiva faith. But Nannechoda, the first Sivakavi attempted at combining both the marga and desi styles in his works. So did some exponents of dance and music who also followed the Saivagamasastras like the Sivakavis, basing their works on various phases of Siva pooja in temples, and thus different dancing techniques developed. Veera Saiva cult being primarily emotional, the literature, arts and dance forms reflected this aspect.

The Kakatiyas, who ruled the Telugu land with Orugallu (the present Warangal) as their capital, were Saivites. Pasupati (extreme Saivism) of the Veera Saiva cult gained momentum during their regime. Pasupatis, Mahesas, Veeras and Mailaradevas belong to this extremist cult and danced six times a day during the rituals. This led to the popularization of the dances dedicated to Lord Siva. Worship

According to some research works by Mallampalli Somesekhara Sarma and others on the Kakatiyas, the Pasupatis worshipped Siva with dance and music

GUDIPUDI SRIHARI is a senior journalist and has been, for long, the Cultural Correspondent of The Hindu. His popular reviews in the area of Telugu , Dance and Music are widely read. This article was first published in Pallavi- Vol. No. 9 - Issue No. 6 - March 15-31, 1985 and subsequently reproduced in Nartanam Vol VI, no.4. Nartanam 143

Perini Panchangas: Reconstruction by Nataraja Ramakrishna

KALAKRISHNA

The dance form Perini has its own recognition and reputation among several dance forms of India. This dance form has a performing method which consists of Gargharamu, Vishamamu, Bhavanashrayamu, Kaivaramu, and Geetamu – all performed in a collective and synchronized process either by a lone artist or by a group of artists. Though books mandate that the Perini dance is to be performed only by male artists, there are evidences which inform that there were female performers as well. The origins of the Perini dance form have not been found clearly. Nandikeshwara’s Bharatarnavam is an important text that refers to Perini. According to experts this text is of 3rd or 4th century B.C.

It is not clear whether this dance form was in vogue by the time of . He has not mentioned Perini in his text. Not only that; no other commentator of Bharata has discussed about Perini. This is not a traditional art form as was prevalent in those times with multi character based stage performances. This might be one of the reasons for not mentioning Perini which was danced by a singular performer. We can conclude from the available textual references of later period that this art form had changed and transformed enormously to be popularized with the present name as Perini. This transformation might have taken place between 3rd century and 13th century A.D. After Bharata’s epic contribution, Nandikeshwara’s Bharatarnavam can be credited as an important and influential text on Indian dance forms. It consists of a graphical explanation about the Perini dance form. Characteristic features of Perini, costumes, music instruments,

KALAKRISHNA is a renowned Kuchipudi and exponent, who is well-known for his female roles, Satyabhama in particular. A disciple of guru Nataraja Ramakrishna, Kalakrishna learnt the nuances of Andhra Natyam and Perini from his mentor. Also, a known scholar, he is a guest faculty at the department of dance, University of Hyderabad. He has travelled widely for performances, seminars and lecture demonstrations and is a recipient of many honours and awards including the award. Perini Panchangas: Nartanam Reconstruction by Nataraja Ramakrishna 151

Girl standing in a veranda wearing a Pochampally saree, 1895, a painting by Hermann Linde Nartanam 153

Dakhni Culture

SALMA AHMAD FAROOQUI

The Deccan emerged as a historical entity with the evolution of political power that was an amalgamation of different streams from Persia, Turkistan, Arabia, north India and the region itself. From the fourteenth to the twentieth centuries, stretching physically to cover , Karnataka, Andhra Pradesh, and a part of and states of today’s India, the Deccan largely incorporated foreign elements as well as retained its native traditions thereby giving birth to systems which nurtured an outlook far ahead of their times. As a result, the region gained a distinctive identity in terms of the establishment of the unique Dakhni culture that impacted music, literature, art and architecture. Centuries ago, medieval Deccan was host to societies representing multiple cultures spread across time and space that retained their individual identities owing to the policies of the sultanates and kingdoms of those times.

Incorporation of Persian models of statecraft, theories of kingship, character of administrative institutions, ideals of government, new traits in art, architecture, literature and religion, support for the local languages, active promotion of

SALMA AHMED FAROOQUI is the Professor-cum-Director, H.K. Sherwani Centre for Deccan Studies at the Maulana Azad National University, Hyderabad (MANUU). She has published several books and has presented many research papers at national and international seminars. She was a SUSI-Fulbright scholar in 2010. This article was first published in Comprehensive History and Culture of Andhra Pradesh, Volume V- Late Medieval Andhra Pradesh AD 1324-1724, (Ed.) R. Reddy, 2014: 586-594), copy- right, Andhra Pradesh History Congress and Potti Sreeramulu Telugu University. This article is being reproduced here with permission from the authors and the publishers.

Andhra Pradesh in this article includes both the new states of Telangana and Andhra Pradesh.- Ed. 166 Nartanam

A Gusadi dancer

Pardhan dance Nartanam 167

Tribal Dances of Telangana

DYAVANAPALLI SATYANARAYANA Telangana is the only major region in the entire south of India with highest tribal population. As per the Andhra Pradesh Reorganization Act of 2014 there are 32 tribal groups living in the state of Telangana constituting 9.08 % of its total population. The total tribal population of the state as per 2011 Census is 31,77,940. The demographic figures of the major tribes among the 32 tribal groups of the state are as follows:

Demographic Statement of the major tribes of Telangana

Sl. Name of the Traditional Population Literacy % No. traditional tribe habitats (2011 Census) (2011 Census) 1 Andh North of 12,882 54.42 2 Chenchu North of 16,912 40.64 3 Gond including North and south of Naikpod Godavari river 2,97,846 49.30 4 Kolam North of Godavari river 44,805 39.02 5 Kondareddi Along Godavari in Kottagudem Bhadradri district 16,270 55.11 6 Koya North and south of Godavari river 3,81,354 53.66 7 Throughout the State (plain areas) 20,44,039 49.01 8 Pardhan North of Godavari river 24,776 66.20 9 Thoti North of Godavari river 4,811 62.74 10 Yerukala Throughout the State (plain areas) 1,44,128 55.14 Total (incl. generic tribes) 31,77,940 49.79

DYAVANAPALLI SATYANARAYANA hails from the remote hamlet of Cheggam, Velgatur mandal of Jagityala district of Telangana. A Ph.D, he is currently the Curator of Nehru Centenary Tribal Museum, Government of Telangana, Hyderabad. He has written two dozens books on Telangana History, Culture, Tourism and Tribes. He has won the award for Best Book of the Year thrice from 2013 to 2015. The Telugu University has awarded him the Keerti Puraskaaram 2014. Nartanam 193

Saraswathi, Warangal museum Kesava, Ghanpur

Nrittaganapathi, Ramappa temple Lotus medallion on the back of a kirita Warangal museum

Madanikas, Ramappa temple Nartanam 195

Kakatiyan Art

D. VIDYANATH

The sculptural art of the Kakatiya period forms an important phase in the art history of Andhradesa. The mighty rulers of the were the political successors of the Chalukyas in Andhra region. The Kakatiyas who emerged as the most powerful dynasty during 12-13 centuries A.D. had served as feudatories to the late Chalukyas of Kalyani. It is, therefore, natural to get an overwhelming influence of Chalukyan traditions in the architecture and sculpture of the Kakatiya period. Innumerable majestic temples were built and dedicated to Siva and during the rule of the Kakatiyas. The first important ruler of the dynasty, Kakati Rudradeva is credited with the construction of the magnificent thousand-pillar temple at Hanumakonda, near Warangal. Ganapatideva, another illustrious ruler of the dynasty extended the southern frontiers of his empire up to Kanjeevaram.

Major chunk of Kakatiya sculpture is centered in and around the city of Warangal. Rudresvaralayam at Hanumakonda popularly known as thousand-pillar temple, Swayambhu Kesavalaya situated in the center of Orugallu fort, in the grand galaxy of temples situated at Palampet popularly known as Ramappagudi, the multiple temple complex at Ghanpur in Warangal district, a unique Pancakuta temple at Ramanjapur in Warangal district, Trikuta temples at Nidigonda and Kataksapur in Warangal district, Nagulapadu, Pillalamarri, Panagallu in district, Tripurantakam in Prakasam district and other places exhibit the grandeur of Kakatiya art and architecture. The profusely carved ceilings, lintels, gateways,

D. VIDYANATH is an art historian from Warangal, Telangana. He has worked exclusively on the micro and macro level study of the art and architecture of the Kakatiya temples of Warangal district. He is a life member of Andhra Pradesh History Congress, and Indian National Trust for Art and Cultural Heritage (INTACH). He played a prominent role in the preparation of Kakatiya Dynasty (a coffee table book) by the Kakatiya Heritage Trust and also the dossier on Ramappa temple to consider it as a world heritage monument by UNESCO. He has presented papers on Kakatiya art in many seminars. Nartanam 203

Surabhi in Telangana

REAKAMDAR NIRUPAMA SUNETRI

In 135 years of modern Telugu drama history, “Surabhi” drama society has been there for 130 years, the only one in which an entire family is in the drama profession. When it was very rare to join theatre and only one or two members from Telugu families came into Telugu drama, the whole Surabhi family was into Telugu drama, and reposed complete trust in drama as their profession.

Surabhi forefathers were Maharashtrians. When the kingdom of Maharashtra was split, many of the soldiers migrated to other states. Some of the soldiers migrated to of the Andhra Pradesh region. Some of them earned their livelihood through the skills in the handicrafts and some others through puppet shows and thus settled in different parts of Rayalaseema. They were identified with the names Aare Marati or Aare Kaapulu. Their main related surnames are Vanarasa, Reakamdar, Aveti, and Sindhe. Of them the “Vanaras” family earned their living by conducting puppet shows within Rayalaseema.

In the year 1885, in the village of Surabhi, Rayachoti taluka, Kadapa district, with the support of Vanarasa Govinda Rao, they played “Keechaka Vadha” by converting the story of puppet show into drama, with the singers behind the stage and the character players on the stage; thus started the Surabhi reign. Telugu drama thus became the profession for Vanarasa families and they developed the drama for their livelihood. of Dharmavaram village, under the direction of the artist Rapthati Subbadasu learned some more Telugu dramas, and also enhanced the presentation and performance of the dramas, and started presenting the dramas.

REAKAMDAR NIRUPAMA SUNETRI belongs to the traditional Surabhi family and is a pioneer woman to have specialised in acting, lighting, make-up and costume design of Surabhi. She is a recipient of the prestigious Nandi award. She is an MA, M.Phil. and Ph.D in Theatre Arts. 210 Reakamdar Nirupama Sunetri Nartanam

Cover of the new Publication: Sringaramanjari of Saint Akbar Shah Nartanam 211

The Saga of Sringaramanjari

MADHAVI PURANAM

The Dr. V. Raghavan Centre for the Performing Arts has recenty published the second edition of Sringaramanjari by Saint Akbar Shah, originally edited for the first time by V. Raghavan and published by the Hyderabad Archaeological Department in 1951. This work was based on two manuscripts that Raghavan had discovered during the course of his research into the cultural interaction of Sanskrit and the Muslim princely patrons and saints. The preface to the first edition was by Khwaja Muhammad Ahmad, the then curator of the Museum, and director of the Hyderabad Archaeological Department. The following summary is drawn from the introduction, the preface as well as the notes and explanations provided in the latest edition.

In his later years, Raghavan discovered another manuscript of Sringaramanjari in the possession of Sampat P. Raghavachari, Principal of the Arts College, . Based on the third manuscript of Sringaramanjari, Raghavan edited a fresh version of the text, enlarging it with new readings and collations and revised it with additional notes. His thorough methodology, the accuracy of detail, his deep research and comparative analysis, makes this current edition an expansive text covering the rhetoric of love. It has an English introduction, notes, indexes and plates, making it a valuable source of information to scholars and students of Aesthetics, and Performing Arts. The detailed description of the classification of the Nayika - Nayaka varieties and their salient features are useful to dancers and aestheticians.

MADHAVI PURANAM is the Chief Editor of Nartanam. A trained Kuchipudi dancer, she has postgraduate degrees in Business Administration, and Performing Arts. She is a recipient of the Senior Research Fellowship and the Tagore Scholarship, both awarded by the Ministry of Culture, Government of India. Her book, An Indian Analysis of Aesthetics: The Dance, the Dancer and the Spectator with a foreword by Vatsyayan, was published in 2015 by Abhinav Publications, New . She is currently working on her second book which is on Arts Management in India. Nartanam 217

An Overview of Nrtta Ratnavali

YASHODA THAKORE

Commonly referred to as , the south of the central Indian mountain ranges is largely populated with people who speak Telugu, besides having various other dialects. Although definite historical references to ‘Andhra’ (as a major part of this area was called) can be seen from the Mauryan dynasty of the north from the late 4th - 2nd century BC, a perfunctory chronology of the rulers of the area could begin with the Satavahanas or Satakarni of the 1st century CE. They ruled over the entire . The Andhra Ikshvakus ruled the region along the Krishna delta during the latter half of the 2nd century AD. The Pallavas ruled from southern Andhra to further south with Kanchi as their capital from the 4th- 9th century AD. In the 11th century AD most of this area was brought under the eastern Chalukyan dynasty. became the popular faith as against Buddhism. Eventually, Telugu became the literary medium over Sanskrit and Prakrit. During the 12th and the 13th centuries, the Kakatiya dynasty emerged as the largest state, bringing the entire Telugu speaking area and beyond under one umbrella. This dynasty was the centre of activity involving the present study.

After the Satavahanas it was the Kakatiyas who consolidated Telugu speaking areas politically, geographically, socially and culturally under one large glorious reign. The fourth verse in the Thousand Pillar Mantapa inscription, 1162 says that the Kakatiya kingdom spanned from the Bay of in the east, Srisailam in

YASHODA THAKORE is an accomplished dancer of both Kuchipudi and Nrityam (courtesan repertoire) and reinforces her dance with an understanding and practice of . In association with Pappu Venugopala Rao, she has translated the 13th century Sanskrit treatise on dance, Nrtta Ratnavali, into English, which was published in 2013. Her critical edition of Nrtta Ratnavali has been approved for publication by Indira Gandhi National Centre for the Arts. She has also authored the book Kaivalya- Joy in Yoga and Dance which was published in 2014. Yashoda performs widely in India and abroad. 222 Nartanam

PERFORMANCE REVIEWS

Some Significant Dance Events in the Capital

LEELA VENKATARAMAN

Having been out of the capital most of the last three months due to unavoidable reasons, I was able to take in only the occasional programme when in town – in the process missing almost the whole of DIAF (The Delhi International Festival) too. One unusual day in town, wandering into the Stein auditorium of Habitat Centre, I was agreeably surprised to be treated to a modern performance in the first half of what was a DIAF event, the participating group being Kolkata’s Rhythmosaic, with Mithun Sengupta’s work centred round the loneliness of the transgender people. Having earlier witnessed Sengupta’s production on Swan Lake, I was impressed by the manner in which Kathak, Jazz and Classical Ballet together seemed to provide a vocabulary wherein the movement logic made for a harmonious coming together, when harnessed by an intelligent choreographer. Music by Bishari too in its clever blend of Indian melodies and western electronic instruments was fully supportive, and even for people who could not understand the minute aspects of the work, the theme regarding the mental/ physical dichotomy of persons trapped in bodies wherein male/female were blended in a way society could not come to terms with, came out strongly from the presentation.

The second half presented Sufi Kathak (why the Sufi influence has to be treated as a special ingredient beats one) by Astha Dikshit. Tall, very personable, with good movement profile and very graceful, this disciple of Malti Shyam (after initial training in the Jaipur gharana) who has the makings of a talented dancer with bhav also expressed in her performance, sadly, failed to rise above becoming prey to the hackneyed idea of Sufi Kathak – connoted by eternal swirls and chakkars with the dancer draped in the most rich and gorgeously tailored costumes. Surely, the dance needed more of depth in terms of technique and footwork (which seemed slightly timid at times). The composition in Behag was beset by such loud instrumentation that not a word of the sahitya could be heard, and the ghazal in Nartanam Some Significant Dance Events in the Capital 223

Charukesi was not any better. Both in terms of nritta and abhinaya, Astha who has the right foundations, needs more hard work, training and riyazz, if her art is to rise above the ordinary. Costumes are not the end. One has to have the passion and conviction to rise above self and lose oneself in what one is trying to say through the dance.

TWENTY-FIVE YEARS WITH A DIFFERENCE

Dance institutions celebrating 25 years of teaching are a dime a dozen to-day, and one understands that the twenty-fifth anniversary for any institution is a landmark event. Pursuing a career in dance, the constant pinpricks and obstacles practitioners have to contend with over a quarter of a century is in itself an achievement. For Bharatanatyam dancer , given her wide credentials of involvement in television, film, theatre, dance education and what have you, not to speak of strong support provided by the family, the anniversary of Natya Vriksha, her dance school, became an occasion for an ambitious projection – both solo and group. The event was inspired by the research and intellectual inputs of Jain scholar /author Sudhamahi Reghunathan, centred on Jain philosophy that every aspect of life political, cultural, social and economic projects multiple realities – all echoing the same universal truth (Anekanta) – and that no matter how varied, each version is as true as another. Just as the ultimate truth can have form or be formless, so too conflicts (dwanda) imagined in so called opposites may be opposite reflections of the same reality or truth – seen in different religions echoing the same reality. Using metaphor enabling visual images for what is an abstract theme, Geeta’s dance visualisation rested on a strong musical foundation provided by the duo K. Venkateshwaran and S. Vasudevan, with the rhythmic inputs provided by Karaikudi S. Sivakumar, Lalgudi R. Sriganesh and Geeta herself.

Variations of tisra alarippu emphasising the same rhythmic truth, contrasts of rhythm and silence underlining the same harmonious whole, music with Grihabheda demonstrating how a shift in a note can change the entire raga melody quality in music, and Muttuswamy Dikshitar’s Keertanam in Tarangini “maye twam yahi maam paahi” (wherein the devotee begs that he be rescued from ignorance through mirage and illusion obfuscating the truth) were all provocation for group expression– the painstakingly rehearsed group of students giving a flawless performance. The group presentation concluded with ‘Navagunjara’ wherein Arjuna confronted by a strange beast, each part of the body resembling one animal, finally realises that this is Vishnu showing himself as one truth incorporating parts of so many forms. Sandhya Raman’s costumes and the sound track where , kanjeera and morsing with the multi-percussion pad, constituted rhythm , with the voices of 224 Yashoda Thakore Nartanam both music composers along with Radhika Kathal, with flute, veena and violin for instrumentation comprised fine support for the dance.

Group projections showed how apparent differences express the same truth like one line of the Pada “Krishna nee begane Baro” interpreted in different ways– spoken by mother to child (vatsalya), addressed by nayika to her beloved in sringar tones or as the devotee to his God in pure . The Rig Vedic words “Ëkam Sat Viprah Bahuda Vadanti” that truth is but one though wise men see it in different forms, became the refrain for a varnam like presentation by Geeta in her solo – rain water, river, sea or ocean are but different dimensions of the same truth. The really impressive solo number was – underlining how each part is but the whole - we see partial truth and fail to realise its entirety- demonstrated in Ravana’s enchantment on seeing – each part of her so perfect that the eyes remain riveted to that one part. The idea of Ravana was well conveyed in the abhinaya. Adding to the presentation were the introductory remarks on Anekanta by the scholar Sudhamahi herself. Altogether a good way of demonstrating how institutions can go beyond just margam presentations, showing how new work calls for various disciplines coming together like research, poetry, music with rhythmic compositions and above all brutally long hours of rehearsal for perfection.

IMPRESSIVE BHARATANATYAM AND KATHAK AT GANDHARVA MAHAVIDYALAYA

Sannidhi the performance space in Gandharva Mahavidyalaya assures any performer a discerning audience, which inspires the best from the artist too. The first day’s programme in what was a two-day event, was by articulate Bharatanatyam dancer Ragini Chander Sekhar, a awardee adept in Carnatic vocal and Bharatanatyam, with the dancer also an efficient compere for her own programmes. The curtain raiser presented a tricky Pushpanjali in Nalinakanti composed by Vidwan Rajkumar Bharati, where the 5, 4 combination was with laghu in khandanadai ( arithmetic of multiples of five) and dhrutam in chaturasra nadai, the rhythmic combinations composed by K.Shivkumar, prompting an impeccable rendition in the dancer’s performance, the forceful nattuvangam of S. Shankar adding to the strength of rhythmic conviction.

Lalgudi Jayaraman’s varnam in Charukesi “Ïnnum en manam teriyaadavarpol....” found in the dancer’s presentation expertise which could match up to Sudha Raghuraman’s embellished singing. The teermanam interludes set by Karaikudi K. Shivkumar were also immaculately rendered. With her all round talent giving Ragini the creative space for trying out ideas freely, this critic felt at Nartanam Some Significant Dance Events in the Capital 225 times that the overdose of sancharis woven round some musical statements like the reference to Krishna’s “Naatakamellaam” (trickery) could have been limited– for sometimes less is more when it comes to driving home a point. But regarding the proficiency surrounding the varnam’s nritta and , there could be no two opinions.

The abhinaya part of the recital was of particularly high quality beginning with a Pad in Rageshri, the music and dance composition by Jamuna Krishnan giving the poetry the right mood. Separated from his beloved wife Sita who has been abducted, in his agitated frame of mind enquires of every creature in the forest whether any entity can provide some inkling to the whereabouts of his wife. Generally classical dance is not studded with too many examples of the feelings of separation of a nayaka being conveyed through lyrics. Ragini’s interpretation carried both male dignity of aristocratic Rama, alongside his unspeakable anguish.

The next abhinaya item set to raga by Jamuna Krishnan was based on verses of – very unusually in the sringar tone with the poet imagining his search for the absolute as one between the beloved and the lover. Here one saw the micro/macro philosophy wherein the individual atma yearns to become merged with the cosmic identity. Again the abstract conveyed through sringar was very sensitively treated by the dancer. Kabir here maintains that should he find this moment of union, he would gladly give up this worldly existence. And Sudha sang with great feel for the mood. Concluding the recital was a Tillana in Kedaram and Adi talam. A feature of the recital was the restrained mridangam percussion provided by M. V. Chandersekhar.

The next evening projection featuring Kathak dancer Malti Shyam indicated some important truths. One that it is within thoroughly mastered classical dance of any form that the dedicated practitioner finds new features being revealed like the closed petals of a flower slowly opening out to show its inside. The second feature for me which was very evident is that teaching is perhaps the best way of learning. In Malti’s case years of instructing students at Delhi’s Kathak Kendra has, over the years, sharpened her own sense of aesthetics, providing her art with a new dimension. Starting with the Dagar bandhu composition in Malkauns “Poojan chali Mahadev..... poojan chali Mahadev”, the dancer showed the blend of devotion and sensuality – Parvati in all her homage to revealing very understated womanly grace and beauty in the gait of Parvati the ‘Çhandrabadani’ and ‘mriganayani.’ In the teental nritta beginning with the improvisational variations in vilambit laya, followed a very innovatively different Thaat, Amad and Paran Aamad. How within the strict grammatical contours, so much of originality could 226 Yashoda Thakore Nartanam be shown was amazing. The ‘Sam ki choot’ and Parmelu in the Madhya laya brought out the dancer’s perfect grasp over laya. One Parmelu intra-form shown through an expressional Kamadev episode in two tones of and was special. But for me the tihai-s, particularly in the drut laya, and gat nikas, showing ghoongat ki gat with all its sensitivity as also the Lari part with the tablist accompanying were excellent. “Ab na bol mose Shyam” (Do not speak to me), says the annoyed nayika to Krishna peeved with his teasing. Malti’s abhinaya had subtlety in conviction.

UNIQUE COLLABORATIVE THEATRE/CLASSICAL DANCES EFFORT

In what could be described as a new appraisal of linking classical dances to the common man’s every-day world, the stylised language of classical dance, and living colloquial language of contemporary theatre joined hands in a work titled Anamika sponsored by Toyota Kirloskar and the Habitat Centre, staged at Stein auditorium. The purist was at first shocked at the idea of the female character in work-a-day get-up engage in soliloquies, sauntering amidst costumed, performing /Bharatanatyam and Kathak dancers decked in all their stylised regalia. But the woman-centric treatment was to reveal how it is the ordinary woman’s living emotions and reactions that classical dances interpret – the stylised presentation based on a poetic text, seeming to make it unintelligible to the common man.

Ultimately life is a search for all – for that ultimate state of being called love – felt by the mother for her child, by the woman for her lover, by the devotee for her God. The idea and general direction of Odissi dancer Meghna Das (whose mother, her teacher was trained by Guru ) brought together other talented colleagues in Bharatanatyam performer Preethi Bhardwaj, a disciple of Bhanumati, Kathak dancer Pooja Pant, a disciple of Rajashree Shirke, and theatre person Lekha Naidu. Drinking from that stream of flowing love, one is never satisfied. As a mother, Devaki the biological mother of baby Krishna, has to give away her child – and a foster mother Yashoda has all the joys of bringing up little Krishna watching his lovable pranks and escapades. Will the grown up Krishna recognise Devaki as his mother? Kulashekhara Alwar’s Devakiyin Pulambal saw Bharatanatyam dancer Preethi Bharadwaj shifting from Yashoda to Devaki, bemoaning the loss of all the joys of motherhood. She has a mobile face for varying expressions. Is it in the nature of motherly love not to let go – to be obsessive? wonders Anamika. Nartanam Some Significant Dance Events in the Capital 227

Recapturing the little intimacies shared with her lover, Anamika looks back on the time, when, in the middle of the night, the lover insists on a tryst with his beloved, and gets intimate. But that magic may not be forever. It is a moment of ecstasy – she could be let down by the same person. What makes her go back to the same love – where is the self-respect one prides oneself on? Echoing the sentiments of shared passion and wanting more of it is Radha as abhisarika, in Jayadeva’s “Keshi mathanamudaram”, where in the “Prathama Samagam” segment, she confides in her sakhi, reliving the initial moments of her first intimacy with Krishna. To taped music with the vocalist rendering the melody of Bhuvaneswar Misra’s melodic composition, Meghna's Odissi had all the sensuous feel of Radha yearning for her beloved Krishna to be fetched to her.

Let down by all those who claimed the greatest love for her was , with none to rescue her, as the treacherous Dushasana tried to disrobe her. Pooja Pant’s enactment of the entire scene in the seated ‘baithak’ Kathak position (her guru’s choreography) showed a strong ability for abhinaya – which in the seated form with only the torso used for communication requires the capacity to hold the audience when restricted to just one position on stage.

What is the state of Woman to-day? With men, police, judiciary indifferent to her discomfiture, where is the freedom for women that we tout? Ultimately “Ay se Ram hai dukh haran”, the in Vadhams seems the only answer. But the search for one’s love in whatever form continues. How does one describe this passion, which ultimately cannot be captured in words, for it is like a bird that has flown away? And yet it is round this love in so many forms that classical dances are inspired by. The concluding scene with all the dancers performing to the Mohanam lilt of “Swagatam Krishna”, Oothukadu Venkata Subbaiyer’s lyric, raising a toast of welcome to Krishna – demonstrating that eternal search which is man’s destiny. The three dancers combined very well.

POETRY OF NEEDS MATURE NAYIKA-S

If the mood of sringar demands uninhibited dancers for demonstration, no shrinking damsel surely can do justice through abhinaya to Vidyapati’s poetry, with its bold treatment on the theme of the love of Radha and Krishna. Shovana Narayan’s choice of senior dancers in her Ashta Nayika treatment based on the poetry of Vidyapati, for her annual Lalit Arpan festival, had merit in it.

As organiser, Shovana Narayan led the charge herself as vasakasajja, Vidyapati’s poetry describes as drawn to Krishna and ready for love – with sandal-pasted body as shield, sharp eyes and eyebrows as darting arrows and bow, earrings as disc and swinging gait as that of a majestic elephant, awaiting a 228 Yashoda Thakore Nartanam meeting with the loved one. Shovana, with Jwala Prasad’s powerful vocal chords providing the music, also used Kathak footwork virtuosity as a metaphor to express moods of waiting and fulfilment.

As the virahotkanthita, ’s elegance portrayed the nayika waiting in vain during sawan masa, with nature all round full of bloom, while her heart remained in gloom. Unable to bear the arrows of Manmatha, she asks him, in Vidyapati’s famous words, “Kathan bedan Mohe”— as to why he is thwarting her thus, for she is not Shiva, his enemy but Radha – and she sets out to contrast how different they are in get-up and appearance.

Swaadeheenapatika Radha, as enacted by Kuchipudi dancer Vanashree Rao with Jaya Rama Rao as Krishna, remained unclear in the abhinaya. And the couple later on switching to a presentation of “Bho Shambho” in Revati dedicated to Shiva was neither here nor there. Announced as Kalahantarita, Geeta Chandran’s very well assembled segment was really Khandita, first building up to a context of merry making at Brindavan followed by Krishna appearing at the doorstep with all the tell-tale marks of dalliance with other women. Music by Venkateshwaran was full of emotive throb. Again repeating the khandita portrayal was Patibha Prahlad’s convincing abhinaya, with Sudha Raghuraman’s very dramatic singing support.

Perhaps the most creative was Singhajit Singh’s portrayal, playing several roles from Krishna to others complementing Charu Sija Mathur’s Vipralabdha nayika. Enhancing rhythm and mood to the music by playing the khartal, becoming poet Vidyapati re-assuring Radha that Krishna will return to Brindavan, playing charioteer, arriving to take Krishna to Mathura, even posing as the tree under whose shade Krishna frolics with the Gopis, he provided the frame to set off the vipralabdha’s condition. Quick moving, in a fleeting glimpse with Krishna slowly freeing himself of Radha’s grip on his hand, the separation pain of anguished Radha bidding farewell to Krishna summoned to Mathura, was conveyed. And to preserve the Manipuri identity was the music on tape, sung in typical Manipuri style. Altogether a very original portrayal!

Imagining herself as the bird soaring in the skies to join her absent beloved away on work, was Mohiniattam dancer Bharati as Proshitabhartrika nayika– her imagining that she has met her loved one and the union after a long absence was conveyed with fine grace and feeling in an evocative sambhoga sringar bit rendered to music in the sopanam style. Radha as abhisarika nayika was enacted by Odissi dancer . The abhisarika images of the Ashtapadi “Keshi Mathanam Udaram” as composed by late Guru Kelucharan Nartanam The Festival Circuit 229

Mohapatra seemed one too many in the presentation. More of the dancer’s own creativity was needed. Vidyapati’s poetry here has Radha begging the Moon not to shine at night, so that the cloak of darkness helps her to steal in the middle of the night away from prying eyes for a tryst with Krishna.

The fact that so many senior dancers were featured in the event ensured a good audience, particularly on the first day when several persons were turned away due to there being no more space in the auditorium! Not very often this happens in the case of a classical dance programme

The Festival Circuit

SUNIL KOTHARI

On 16 August, the death anniversary of Protima Gauri (Bedi), Nrityagram paid homage by organizing a dance festival to share with the public in Bengaluru, the various activities and training programmes at Nrityagram near Hessaraghatta, some 30 km away from Bengaluru. Over the years at Nrityagram, Surupa Sen has been choreographing several dance works, with single minded devotion and dedication. Surupa Sen, Bijayini Satpathy and Pavithra Reddy have won acclaim the world over for their performances as classical Odissi dancers from Nrityagram.

Surupa and Bijayini have evolved, what we can now call, the Nrityagram bani, style of Odissi. Trained by the legendary Guru , Surupa along with Bijayini (originally trained by Guru ), and Pavithra took further training in Natyasastra studies, in theory and karana movements under . They had already received training in Yoga and martial arts like ’s . These inputs of Yoga, Kalaripayattu, Natyasastra studies, and also medical guidance, with regular visits, by a well known doctor from , have helped them in evolving their own bani, style. Regular Yoga practice and other physical exercises creating an awareness of body fitness have helped the dancers at Nrityagram to maintain the figure and build up stamina. These exercises have been a daily routine over the past 20 years and more.

They have introduced utplavanas, jumps, extended movements of arms, created solid basic positions of chauka, tribhanga, bhramaris and one notices the saushthava, the erect standing, correct position of the body, the strength, along with grace. Both the tandava and the lasya elements find equal importance in their training. One can see, in the sculptural quality of dance, the sensuousness is proportionate and balanced. 230 Sunil Kothari Nartanam

When choreographing new works, Sarupa undertakes a detailed study of the text, be it Odiya or Sanskrit, with the help Bijayini, scholars and musicians. Meticulous care is taken of the words used, their multiple meanings, and nuances, how they are articulated with music, rhythm, and time cycle; how they are expressed on face and how the body has to be in perfect sync, creating beauty within . It is further heightened by well chosen costumes, designs, silver ornaments and excellent lighting by the ace light designer Lynne Fernandez, who multi-tasks in terms of organization, looking at the nitty gritty and running the institution, leaving the dancers to concentrate on practice and polishing their dance. As an institution Nrityagram has achieved a benchmark as it insists on excellence. Be it recitation of the Natyasastra shlokas, with viniyogas, or practice of the charis, the sthanakas, and related Natyasastra aspects, the attention paid to detail is admirable. And the final product is there for all to see.

For the annual event, four major works were presented at Sophia School’s auditorium which has a large stage. For the past ten years, Surupa has been taking classes twice a week there, teaching dancers from Bengaluru city. Nrityagram has been imparting training free to village children on every Sunday. To showcase their group work the prayer Namami Vighnaraja, in praise of lord Ganapati was selected for the children. Divided into three groups, the group in the centre showed the Lord astride his vehicle. The multiple arms imagery was captivating. On either side the devotees were praying in a row. With text Kalpavirkshatala sthitam, seated under the wish fulfilling tree, the dancers in cluster turned in to the tree and with recitation of Uma putra, son of mother Uma, and the epithet Mahakaya, the few dancers grew in size, and the others seated on floor showed Ganapati’s trunk and also eka danta, one tooth.

Kirtan, a group composition choreographed by Surupa featured six major dancers, who have been resident at Nrityagram and the remaining 12 from the city; with a total of 18 dancers, there was a continuous flow of movements. Akshati, a brilliant young dancer, with her immense energy entered the stage with jumps and executed, one after another, bhramaris and chauka. It was followed by other two dancers. With their entries the audience was already under the spell. The mardala articulated the ukutas, dancers enacted playing pakhavaj with ecstasy, their faces wearing a feeling of devotion, swaying with arms addressing Lord . The background entry of dancers holding their chauka position created an array of several icons of Jagannath.

The piece de resistance was the choreographic work Sri. With Ayi Giri Nandini prayer, the Goddess who destroyed the demon Mahishasura was brought out by Surupa in a combat, the demon on floor surrounded by not one but three goddesses Nartanam The Festival Circuit 231 with trishul in their hands, one leg raised to trample his raised head. The finale with Bijayini and Pavithra incorporating Ya sarva bhuteshu prayer found a felicitous expression in their dancing. To praise the high quality of dancing will be like gilding a lily. The images looked like when one tilts a little the kaleidoscope and sees an array of images. It is a special gift. It is visual poetry. It spoke volumes for Surupa’s internalising the art. The light designer Lynne coloured them in gentle hues and the way the images slowly faded away looked just magical.

Sangam Festival

Ileana Citaristi, the celebrated Italian Odissi dancer and choreographer is known for exploring new themes in Odissi, the latest being Akshara, which she choreographed for her 12th annual Sangam festival and presented it in September at the Ravindra Natya Mandap in . The noted poet Devdas Chhotray, former Vice Chancellor of Ravenshaw University who has scripted Kaal, and Karuna, a homage to Mother Teresa for Ileana has collaborated with her. Laxmikant Palit the renowned musician of Odisha has set the music appropriate to the theme. Ileana has also collaborated with the sand artist Sudarshan Pattanaik. The sand animation lends an extra dimension to enhance the concept with imagination.

It was not easy for Ileana to learn Odissi alphabet and language but she managed it over the years and with the knowledge of both the script and spoken language today she is well qualified to explore such an unusual theme like Akshara. This is also the year of recognition of Odiya as a classical language. Taking that into account her intervention has been timely. The motif has been round/circles. The poet says: ‘Wearing round earrings, holding chalk in hands, we are going to study. Listen to the words, bring small pieces of lime stones and draw three circles on Earth. Those three circles are our world. They are our , Vishnu, Maheshwara and from those three circles all the letters will be born, which will never die, they are like our Gods."

But how does a child understand it? The child searches for shapes in nature, the child sees the sky as bow, the Earth as a circle, the Sun or planets look like round earrings. The projection of sand animation shows drawings; round eyes of Lord Jagannath, Subhadra, Balaram, of , circles of sleeping snakes, duck eggs which Ileana choreographed in movements. From this, the game starts about how children draw circles to learn alphabets. The Odiya script is all round to begin with. And one learns to draw perfect circles. Then the magic starts. Because the world of letters have a lot of fun; some of them are hiding inside, some are going hand in hand and sometimes it looks as if nobody belongs to anybody. For 232 Sunil Kothari Nartanam example, A stands for aja meaning grandfather, AA for aai meaning grandmother, OU meaning ouravata, the elephant of who is coming running. Finally when all the words have flown away remains Ksha which stands for kshama, forgiveness. The poet says representing words: ‘We are letters to our good friends, so do not get angry with us, we are only letters and we are Earth signatures. Letters which emerged from Zero are signs which never decay, they are like our Gods, the letters.’

On the occasion of Mother Teresa receiving Sainthood, Ileana paid homage to Mother and presented Karuna, her choreography which conveys the and essence of the life of Mother. In the final sequence she shows dancers carrying sarees with borders typical of three lines which the sisters wear. Dancers do not cover their heads. It is suggestive. They walk holding sarees towards the backdrop and with exquisite lighting it looks very symbolic. In the audience were present the sisters, followers of Mother Teresa. It was an apt tribute.

Ileana attempts in Sangam, a confluence of dance. Besides Odissi, she presents dance troupes from other states and of different dance forms. She had invited from Pune, Bharatanataym guru, dancer, choreographer Swati Daithankar with her Nupurnaad troupe to present an audio visual presentation on the teachings of . The script and choreography in Bharatanatyam was by Swati Daithankar and music by Dhananjay Daithankar. It was titled Tejonidhi. Swati had undertaken this project under Swami Vivekananda Kendra, Kanyakumari and was supported by projection of visuals of Kanyakumari, the nature, and the ocean to convey the message of Swami Vivekananda. There were references to his visit to Chicago, religious conference and holding high standards of religion. The technique of Bharatanatyam was employed for prayer to the goddess. It partly looked like a school production.

Sapphire Creations 8th edition of InterFace 2016

The 8th edition of the International Dance Biennale InterFace 2016 was staged in Delhi at Habitat Centre, followed by its performances in Kolkata at auditorium and Kala Mandir for three days in September in Kolkata. InterFace is eastern India’s first and only festival for contemporary expressions in the alternative arts. It covers dance, music, installations, paintings, fashion, theatre and cinema. This was the 25th year of Sapphire Creations established by Sudarashan Chakravorty, artistic director, dancer, choreographer and director of InterFace along with co-director and director of Artsforward Paramita Saha. Nartanam The Festival Circuit 233

Sudarshan Chakravorty, with his tenacity over the years has won international recognition, since he has been mastering his modern dance technique continuously with a dedicated band of young dancers. His tours abroad have given confidence to him and to his company. He has over the years started hosting international contemporary dance companies. Besides presenting them he arranges workshops by the visiting companies and choreographers, exposing the young dancers to diverse techniques. In the process he has evolved his own technique. It has been a Herculean task but he has striven to develop further and has encouraged his company to create their own contemporary works.

He showcased some of these works besides presenting two companies from abroad: From Malaysia, Damansara Performing Arts Center’s company and from USA, Khambatta Dance Company, Seattle. From India, Geeta Chandran presented Gandhi: Warp and Weft.

Damansara dancers’ work After Dark dealt with life experiences and childhood memories. The choreographer used straw mats and kerosene lights as sources of inspiration, playing with mats and dancers, on the theme of dreams and dreaming. The dancers hide, wrap and weave in and out of mats to create a dramatic and illusory scenario of being covered and uncovered, being seen and disappearing/unseen. The idea of conquering fear was conveyed successfully. The young dancers were versatile and JS Wong, the director, was nominated for the best choreography for his work.

Sapphire creations presented Ekonama-The Beginning at the End, choreographed by Sudarshan Chakravorty. It is a critique of the rapid depletion of natural resources and the impending doom of a deadly end to the beautiful world. It was a brilliant juxtaposition with contemporary dance movements. However, the work needs to be edited as it is too long.

Khambatta dance Company, with the name Khambatta having origins in Parsi community, wa seen at the festival. Cyrus Khambatta is of Parsi origin but has been in USA since birth and had never visited India before. As a choreographer, he has a list of various awards and his credentials are impressive with the company performing in major international festivals in USA and Europe. The dancers were well trained with supple, energetic bodies. The theme explored the neurotic impulses that lurk as people attempt to defend their coveted identities against the reality of fate. The work though abstract in nature looked at ways of searching for truth and the fear of betrayal. 234 Sunil Kothari Nartanam

Sapphire Creations presented new choreographies. Among young choreographers, Saurabh Sureka explored in his work From Imbalance to Balance, at times solo, then duet and one dancer dancing alone near a chair. The prop of the chair was used cleverly for the theme though like all contemporary works the theme remained abstract. Other works were Cross-Mix Ally by Subhajit Khush Das and Situations by Koushik Das.

At Nandan-3, gave a comprehensive lecture tracing the origins and developments of contemporary dance from onwards to major contemporary choreographers including the young choreographers who have been charting their own path, with diverse themes, expressions and body languages. Next year in June 2017, Marg Foundation is bringing out an issue on Contemporary Dance co-edited by Ketu Katrak of Irvine University, California. Within the past decade and half many new choreographers have emerged and their work needs to be recorded.

Parikrama Dance Festival 2016

Pune based SNA Awardee Sucheta Chapekar is a senior disciple of Acharya Parvati Kumar and Kitappa. Her contribution to Bharatanatyam is her unique work Nritya Ganga, a perfect blending of Bharatanatyam and Hindustani classical music which she accomplished in 1982. Her institution Kalavardhini, established 28 years ago in Pune, has now more than 35 centres all over Maharashtra.

The Parikrama Festival held in October in Pune included Trivenee, a Bharatanatyam performance by Sucheta’s daughter Arundhati, and two disciples Rama and Yashoda, centred around Brahma in Brahma alarippu conceived as a trio number, refreshingly novel and imaginative. They are accomplished dancers. The three nayikas to the ashtapadis of Gita Govinda, viz., virahotkanthita, khandita and swadhinbhartrika, they performed joyously and with elan, a tillana in Dwijavanti, choreographed by Rama Vaidyanathan; looking alike the three of them had perfect co-ordination.

Shweta Prachande, disciple of Sucheta Chapekar and currently taking further training under Priyadarshini Govind in Chennai gave a compact and enjoyable Bharatanatyam recital. Right from the alarippu to tillana, including a varnam and a javali, she essayed her recital in a flawless manner. In the varnam of Muttaya Bhagavatar’s Maathey Malayadhwaja in Kamas, Adi tala, the nritta passages were noteworthy for its finish, utplavanas, jumps and landing pat on the sam, and arresting teermanams were artistic. Nartanam The Festival Circuit 235

Shama Bhate’s Nadroop troupe presented Krishna-the liberator in Kathak. It had a distinct stamp of Shama Bhate's choreography with salient features of Kathak, including kavits, bols, and sparkling nritta. Krishna’s role as a liberator was conceived as the vanquisher of Kaliya serpent, who saved gopis, gopas, birds, and animals. Also, when Indra got angry and sent rain to submerge Gokul, Krishna lifted mount Govardhan and saved all. Makhan Chori, Kansa Vadh, Gopikavatsra haran episodes conveyed in many ways Krishna as a liberator. He was presented with the interpretation of one who metaphorically saves human beings from chaos.

Ileana Citaristi’s solo of Ekalavya was performed with sensitivity. It is a heart rending story and becomes a metaphor of contemporary issue of atrocities committed on communities in present times. The musicians from Odisha lent her able support.

Sucheta Chapekar’s performance of Nritya Ganga revived old memories and nostalgia. She is in perfect shape and physical form at an advanced age and performed with zest and verve to the Hindustani music with excellent accompanists in Hrishikesh Badwe (vocalist), Govind Bhilare (pakhavaj), Ashay Kulkarni (tabla) and Abhishek Sankar as Samavadini. Sucheta rose to great artistic heights revealing her deep understanding of Bharatanatyam form and Hindustani music, use of the bols, parans, some like kavits in Kathak and dovetailing them perfectly.

Her rendering abhinaya to the natya sangeet from the Marathi musical play Soubhadra won her rounds of applause as the theme was familiar to the music loving Maharashtrian audience. The finale with Surdasa’s Nirguna bhajan in Bhairavi had devotional content. She received a standing ovation from the audience, an indication of her popularity among Pune audience. The sattvika element in her recital was evident. In the morning session on Sunday, a large number of her students gathered together to learn about Sattriya dances of . Mumbai based Sattriya dancer Prateesha Suresh explained the salient features of Sattriya dance which was received with considerable enthusiasm. 236 Sree Veena Mani Nartanam

Parampara Festival 2016

SREE VEENA MANI

The Parampara series organised by Natya Taragini was the perfect way to welcome the festive season. The Parampara festival of dance and music 2016 had artistes from a number of genres and began with a Kuchipudi opera by the organisers of the festival, Natya Tarangini. They performed a Telugu adaption of the Bhagvataajjukeyam.The story revolves around the four lead characters Vasantasena, , Parivraajaka who is a guru and Yama.

The opera began with Vasanthasena's pravesa daruvu played by Yamini Reddy. Shandilya is the fickle-minded and playful probationary monk learning under the tutelage of Parivraajaka. Shandilya, played by Bhavana Reddy, falls for Vasantasena, the courtesan. One day Vasanthasena is bit by a snake that claims her life. Shandilya pleads with his guru to bring Vasanthasena back to life. While he succeeds in doing so, her soul goes into Parivrajaka. Parivrajaka starts acting like Vasanthasena, and she in turn starts behaving like Parivrajaka. The play sees a number of comic sequences as a result of this. Finally, Yama sorts out the matter.

The Hyderabad Brothers Raghavchari and Seshachari marked a warm welcome to . They rendered a number of medieval marvels dedicated to Devi and Lord Rama – two cults that Navaratri is associated with. The Hyderabad Brothers left the audience wanting more.

Day two began with a Manipuri performance by the students of Wangkhem Lokendrajit singh. They presented an item based on Krishna's leelas. There were sequences of the Kaliya Mardhanam and other famous episodes related to Krishna. The presentation included the viraha experienced by the gopis in Krishna's absence. This was followed by a Hindustani flute recital by Ronu Majumdar.

Day three began with the group's contemporary dance performance. Though contemporary, the group showed traces of Bharatanatyam and Kalariyapattu. They performed the Shiva Tandavam in contemporary style. The team also presented a Shiva- concept on stage. The Samudra group's presentation was powerful, acrobatic, and fleet-footed. The presentation suggested that Shakti lies within Shiva, instead of being a separate entity.

The last performance of the festival of dance and music was Kaushiki Chakraborty's Hindustani classical recital. Kaushiki was accompanied by Sandip Ghosh on the tabla and Paromita Mukherji on the harmonium. On the whole a delightful festival. Nartanam Parampara Festival 2016 237

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