Pulseasian music and dance

INSIDE

KuchipudiIn Focus Young Pulse Bhaktikalalayam of Florida

Education Dance Courses - Swapnasundari Roehampton Vilasani Natyam

Reviews Sonia Sabri Dance Co, Asha and Shujaat Arushi Mudgal, Alam Khan, Naina Lagaike Arati Ankalikar-Tikekar, Dr. Jyotsna Srikanth, M.S. Subbulakshmi. KaliDaredeva C

Summer 2011 - Issue 113 £7.50|$15|€9.50 Celebrating sound in print www.pulseconnects.com

kadam connecting asian dance and music communities Ravi Shankar Celebrating his tenth decade Tue 21 Jun 8pm Barbican An evening of Ragas with a living legend of world music accompanied by Tanmoy Bose tabla Ravichandra Kulur flute Parimal Sadaphal sitar

Tickets £25–£75 lso.co.uk/shankar 020 7638 8891 Promoted by London Symphony Orchestra Ltd Ravi Shankar appears by arrangement with Sulivan Sweetland Ltd

London Symphony Orchestra LSO St Luke’s

UBS Soundscapes: Eclectica The Singing Violin Thu 7 Jul 8pm

Kala Ramnath incorporates jazz, flamenco and African music with Indian classical repertoire. Her performance features a new work by Max de Wardener and LSO players.

Kala Ramnath violin Sanju Sahai tabla LSO Strings

Tickets £8–£22 LSO St Luke’s, 161 Old Street lso.co.uk/eclectica 020 7638 8891

Tickets £8 £14 £22 LSO St Luke’s, 161 Old Street lso.co.uk/eclectica 020 7638 8891 Start your Pen! Activate your TalkingPEN with Issue 113 by touching the play symbol with your PEN Contents Upfront

2 Editorial and Letters 16 Naina Lagaike 3 News Ken Hunt catches up with Asha 4 Listings Bhosle, popular music’s living legend and Shujaat Khan, son of Features the late Vilayat Khan, in London following their concert of Naina Arunima Kumar 6 Kuchipudi in Focus Lagaike at the Royal Festival Hall. 6 takes kuchipudi forward in the UK. Isabel Putinja gives a comprehensive background of 18 Enhancing Dance Careers the form and the personalities Dr. Avanthi Meduri speaks most closely associated with about the dance courses on the development of kuchipudi offer at Roehampton Univesity as we know it today. and how academic study can give an edge to career-making. 10 Swapnasundari on Vilasani Natyam Reviews Dancer, scholar and researcher Swapnasundari took a break Dance Performances from her performance career 21 Kathakbox (Sonia Sabri) to delve into the legacy of Sutra (Arushi Mudgal) Kali Chandrasegaram the Telegu court and temple 12 inspired by vaudeville and cabaret dancers. She shares her insights CD Reviews with Isabel Putinja. 22 Carnatic Jazz (Dr. Jyotsna Srikanth) 12 A Profile of Kali Surdas Bhajans Chandrasegaram (M.S. Subbulakshmi) Donald Hutera traces the journey of this Music Performances multidimensional artist from 23 ‘A Tribute to Ustad Ali Akbar a dance class in Kuala Lumpur Khan’ (Alam Khan) to becoming one of the three Serene Morning Ragas ACE/Akademi choreographic (Arati Ankalikar-Tikekar) bursary awardees. 24 In Conversation Asha and Shujaat 15 Young Pulse The late teacher, scholar and in full flow 16 The Bhaktikalalayam dance dancer Pt. Tirth Azad gave an troupe from Florida have grown interview to Abhay Shankar up within the Hare Krishna Mishra in which he explains the Cover Photo - Arunima Kumar | Photo: Simon Richardson / Aunima’s dress: Vanashree Rao, community. They tell Jahnavi concept of a badakhadi. jewellery: Rajvi Vohra, Meenakshi Gupta Harrison what moves them to This Page - Photos: 1 - Arunima Kumar | Photo: Simon Richardson, keep up their practice. 2 - Kali Chandrasegaram | Photo: Simon Richardson, 3 - Asha Bhosle & Shujaat Khan | Photo: Janio Edwards of GDM.

asian music and dance Published by Kadam Asian Dance and Music Annual subscription £30 with free delivery. c/o The Hat Factory, 65-67 Bute Street, Luton, LU1 2EY Pulse TalkingPEN is priced at £14 with free delivery. +44 (0) 1582 876 038 Cheques payable to Kadam, c/o The Hat Factory,65-67 Bute Street, Luton LU1 2EY. Editorial Team For online subscriptions and payments please visit Pulse Sanjeevini Dutta Commissioning Editor www.pulseconnects.com Summer 2011 * Issue no 113 S Ryan and J Harrison Assistants ISSN 1476-6019 Disclaimer Subscriptions & Advertising Pulse is published by Kadam Asian Dance and Music. No part Supported by [email protected] of the magazine may be reproduced in any form without the [email protected] written permission of the publisher. Copyright of the text is shared with its authors. Copyright of the photographs/ kadam connecting asian dance and music communities Contacts images reside with contributing photographers/artists. All [email protected] other rights reserved. The views/opinions expressed in Pulse Audio Content sponsored by are the authors’ and not necessarily those of the editor or Design publisher. While reasonable effort has been made to avoid Pritpal Ajimal Designer errors, no liability will be accepted for any that may have inadvertently occurred.

SUMMER 2011 — PULSE 1 UPFRONT - LETTER FROM THE EDITOR

Letter from the Editor

Dear Reader

We are very proud to present the kuchipudi style as the lead story in Pulse, for the first time. Among the styles of classical Indian dance, kuchipudi, originating in Andhra Pradesh, is overshadowed by its more powerful neighbour, bharatanatyam, centred around Tamil Nadu. Social and political forces have a play on art forms too, and the highly articulate Tamil community’s support of Dancers: Gian Luca Loddo, Kamala Devam, Kim Amundsen | Photo: Pete Schiazza Carnatic music and bharatanatyam dance has much to do with the domination of these forms. Akademi Premier Song of the City However, great artists cut through the politics and appeal straight to the heart. The late guru Kelucharan To mark the 150th anniversary of Tagore’s birth Akademi have Mahapatra, for instance, took odissi, a lesser-known brought together an eclectic artistic team in a production looking style, into an international arena, winning thousands at the poet’s work and philosophy through the eyes of twenty- of converts to the form. Similarly kuchipudi makes first-century Londoners. Bucolic Bengali landscapes from days a mark when performed by such greats as Yamini gone by are replaced by the grime, stone and metal of the inner Krishnamurthy and Swapnasundari. On our small city, in a narrative that sees three characters – executive, artist island, the recent entry of Arunima Kumar has made us and muse – disrupted from their daily routines by a journey of sit up and take notice of kuchipudi. discovery. “I have been inspired by Rabindranath Tagore for many We are hugely indebted to photographers Simon years, especially in terms of his innovation in writing. I wanted to Richardson and Avinash Pasricha, whose images are explore how his songs might be used in 2011, giving his work a new worth a thousand words. The classroom picture in perspective for contemporary audiences” – Mira Kaushik. the Kuchipudi village dance school tells more about Premiering in Southwark Playhouse’s Vaults on 5–6 August, the dynamic lines of kuchipudi than any written Song of the City has been created with the dark urban mystique of description. This is not to undermine the written word, the underground space in mind. Choreographer Ash Mukherjee but recognition of the knowledge that is stored in the brings together ballet, contemporary and bharatanatyam with a visual. ‘steampunk’ aesthetic enhanced by Arun Ghosh’s electro-beat Dancer and scholar Swapnasundari gives a score. With Tagore expert William Radice working in collaboration fascinating interview to Isabel Putinja on the release with film-maker William Huntley and dramaturge Deepan of her new book Vilasini Natyam: Bharatam of Telegu Sivaraman, Song of the City promises a sharp jolt to the senses in a Temple and Court Dancers. At the height of her multi-media exploration that brings Tagore’s themes of contrast and performance career Swapnasundari stepped out of the duality to the fore. limelight to learn with elderly temple dancers, piecing together a style which revealed itself to have a highly- developed vocabulary of 102 adavus (basic dance units). teachers have been presented Finding new contexts for classical Indian dance, Kali in an exhibition and DVD Chandrasegaram tells Donald Hutera that he is about to documenting the importance of embark on a cabaret circuit. In one sense Indian dance the arangetram to British-based has always had a dual face: sacred and sensual, danced at bharatanatyam dancers today. temple and court, to entertain the gods and mortals. So Listening to the voices of perhaps Kali is only being honest in presenting dance as the thirty-five interviewees in entertainment. If in London, come and experience it for the DVD, gurus, experienced yourself, at Battersea Barge on 10 August. performers and young dancers Our listings are burgeoning: seventy-eight unique alike emphasise the importance dance and music events. We are spoilt for choice. Enjoy of this milestone event and the the summer and throw the fizz of Indian music and reverence that surrounds it. dance into your menu! Through respect for their art British Arangetram form and teachers, the students Photo: Simon Richardson Sanjeevini express their dedication to what for some will become a career, Correction British Arangetram while others a pastime. Teachers Exhibition reflect upon the shifting meaning Pulse 111 published December 2010 contained an error in Dr. Jyoti of the arangetram and the risk Argade’s feature article, Carving a Corner for Contemporary Dance Marking the culmination of an of losing the integrity of the On page 7, in her discussion of the complexities involved in extensive heritage project, the experience through the pressure classifying Indian dance forms, in the sentence, “Though the categories British Arangetram Exhibition to produce a grand occasion. of classical, contemporary or postmodern dance in India are at best, was held at Luton’s Hat Factory However, the overall tone is useful in describing genre, and at worst, historical and arbitrary, Arts Centre in May. In a Heritage one of positivity and pride in a ‘modern’ dance in India is hardly a recent phenomenon”, the word Lottery-funded project by tradition which continues to ‘historical’ should have read ‘ahistorical’. FIPA (Foundation for Indian enrich the cultural and spiritual Performing Arts) in partnership lives of new generations of with Kadam, the experiences dancers and their audiences. and reflections of dancers and Charting the important

2 PULSE — SUMMER 2011 UPFRONT - NEWS

elements of the arangetram representation of Asian music a statement Darbar director complete list of National Portfolio from its cultural significance to has been excluded from the Arts Sandeep Virdee expressed his Organisations and their funding the training the dancer must Council’s new National Portfolio delight in the vote of confidence can be downloaded from: www. undergo and the programme of came as a surprise to many given by NPO status: “...It’s been artscouncil.org.uk/funding/ items performed, the exhibition who see the work of AMC as sheer hard work and dedication national-portfolio-funding was coupled with a collection indispensable. With unparalleled over the past six years to establish of photographs. Indian Dance experience in bringing a wide the festival as Europe’s premier through the lens of Simon range of music traditions Indian classical music festival, Richardson displays images from across Asia to audiences recognised as the largest of taken over the last decade that around the country, running an its kind outside of India. The show the vibrancy and vitality of extensive education programme funding will enable us to create South Asian dance in Britain and and developing a rich collection capacity and develop our work credit the aesthetic and humane of resources based at the Museum in partnership to reach out to approach of the photographer of Asian Music in London, it is new audiences throughout the in presenting this genre for a hard to see how the Arts Council UK. Even though we are facing modern sensibility. can justify such a body-blow to tough cutbacks in a recession, it In a celebratory launch the Asian arts sector. is the arts that give us colour in event, Artistic Directors Hi Ching Other national big hitters what is seen as a black and white (FIPA) and Sanjeevini Dutta – Akademi and Milapfest economy.” (Kadam) introduced the guests – retained a similar level of The second newcomer to to the background of the project, funding while sampad saw a the National Portfolio is Sonia Annaporna Kuppuswamy Photo: steveosbornphotography.com which was put in the wider small decrease. A large increase Sabri Company. Sonia Sabri context of national heritage by in Asian Arts Agency’s funding is a respected classical artist speaker Maggie Appleton (Head puts Bristol firmly on the map who has upped her national Thyagarajah’s of Museums – Luton Culture, in terms of South Asian arts presence by successful tours Committee member – Heritage provision. However, elsewhere articulating her vision of ‘urban Ramayana Lottery Fund). Showcasing in the south the news was bleak kathak’. By supporting her Annapoorna Kuppuswamy, the dance form were two local for Art Asia in Southampton. ACE is putting its confidence bharatanatyam artist, bharatanatyam groups plus an Not only was the organisation in a second-generation artist, neuroscientist and Pulse inspirational workshop by Ash dealt a cut of over 60 per cent born and trained in the UK. “I reviewer, gave a solo Mukherjee which got everyone to funding in their transition to am delighted that my company performance based on the on their feet. the National Portfolio, they also has been included as one of Arts Ramayana at the Nehru Centre The DVD and text from the currently face being sidelined by Council England’s NPO. I see on 22 March 2011. In a non-stop exhibition can be viewed online the Arts Council and their local this as a new phase of existence seventy-minute performance at www.fipa.org.uk authority in the development of for the company,” says Sabri. Annapoorna entranced the a new arts complex to which Art Balancing the bad news of the audience by her technical Asia have contributed significant West Midland’s disappointing precision, strong yet gentle investment. loss of funding to Chitraleka expressions and the sheer With Akademi and Akram Dance Company, Sonia Sabri stamina of her presentation. Khan Company retaining the becomes one of only three South Taking the lyrics from the same level of funding, the Asian dance touring companies kritis of Thyagarajah the saint- dance scene in London seems included on the National poet of eighteenth century, relatively undisturbed. However, Portfolio. Sabri joins Akram Ramayana, Annapoorna broadening the focus to include Khan and Balbir Singh to make choreographed the key episodes music sees the catastrophic loss a strong case for contemporary from the epic. A student of the to AMC plus a 19 per cent cut kathak in the UK. The latter artist famous guru Adyar Lakshman, to Bharatiya Vidya Bhavan’s is facing a bright future from his Annapoorna keeps up her funding which will set alarm base in Huddersfield as a massive dance art alongside a career as a bells ringing for the capital’s increase in funding was awarded research scientist. music lovers. Bring storytelling to Balbir Singh Dance Company. Sonia Sabri into the picture and it is worth Elsewhere in Yorkshire, the Photo: Courtesy the artist noting the complete cut of Vayu support looks healthy as Kala Kuchipudi Collective Naidu’s funding. Sangam and SAA-UK saw a small and new partnership Funding Landscape In some regions losses funding boost. As The Dust Settles were balanced by gains, which With the 29.6 per cent announced at Kala echoed the statement by Chair reduction of funding to the Sangam When the Arts Council England Dame Liz Forgan that the Arts Arts Council over four years announced the details of their Council has “taken the brave announced by the Department Yorkshire-based organisation funding reforms on 30 March path of strategic choices not for Culture, Media and Sport in Kala Sangam has recently the shock story was the loss of salami slices which has meant 2010, there were always going to announced its new partnership support for the UK’s leading some painful decisions”. In the be painful losses to organisations with Akademi, sampad and Asian music promoter – Asian north-east the Pakistan Cultural on the front line. The question Kadam as part of the South Asian Music Circuit – who saw their Society was denied a place in the is, have the Arts Council dealt Dance Alliance (SADA). This Regularly Funded Organisation National Portfolio, while Gem with these losses fairly and in the relationship will allow the four status disappear along with Arts saw their support almost best interests to their mission to organisations to work closely £500,000 annual funding double. In the East Midlands, provide ‘great art for everyone’? in programming and artist to core costs. That such a Surtal Arts were left off the list Visit the following websites development across a wider area well-established organisation as Darbar appeared as one of for more information on how covering each group’s remit in founded by the Arts Council in two newcomers to the National you can show your support for London, the West Midlands, the 1989 in response to the under- Portfolio from the South Asian AMC and Art Asia: www.amc. East and the North. music and dance sector. In org.uk & www.artasia.org.uk. A Following a lecture

SUMMER 2011 — PULSE 3 UPFRONT - NEWS

demonstration and workshop and entrepreneur Shalini Bhalla in which she will explore her nevertheless be treated in India on vilasini natyam, presented brings her glitzy Bollywood- childhood memories and and internationally to sample part by Akademi and Kadam at inspired workout to a home growing up, particularly her of its treasures. Akademi’s base in London, Kala audience with 30 minutes of South Indian roots, through An extensive tour of the Sangam will host the renowned routines plus 30 minutes of her relationship with the deity MKDC in conjunction with kuchipudi artist Padma clear and careful tuition: “We Murugan. Hari Krishnan of the ICCR (Indian Council for Vibhushan Swapnasundari are the UK’s first and only InDance, who works extensively Cultural Relations), will take place presenting a kuchipudi Master accredited Bollywood fitness with solo artists and dance following a launch at the Habitat Class on 18 June. course, with accreditation from companies internationally, Centre in Delhi on 17 July 2011 at a Kala Sangam will be using REPs (the Register of Exercise will be the co-director/ glittering event with attendance this perfect occasion to launch Professionals). Whilst we will choreographer. from the leading figures of Indian the Kuchipudi Collective – a continue to train instructors to dance. This will be followed by a new dancer-led initiative that meet the increasing demand for world tour to ten US cities, France aims to develop opportunities classes, the Just Jhoom! dance- and Italy in 2011 and in 2012 to the for kuchipudi dancers fitness DVD enables those who UK, Germany, Sweden, Poland, regionally and nationally to prefer to exercise from home Singapore and Malaysia. meet, create new work and to keep fit using our specially Pulse welcomes proposals for perform collectively. UK-based choreographed Just Jhoom! UK organisations who would like kuchipudi dancers are few and workouts” - Shalini Bhalla. to host the exhibition with Nehru far between, so following a Presented in a down-to- Centre in 2012. call from a number of regional earth manner by Shalini and a dancers Kala Sangam has decided team of instructors, the DVD JUNE to offer support to enable offers routines suitable for a 16 Music dancers to pool their resources range of abilities to develop Ravi Shankar: Celebrating his tenth decade and work collaboratively. aerobic fitness, co-ordination, Symphony Hall, Birmingham Kala Sangam will be offering mobility and flexibility, plus www.thsh.co.uk the Collective access to space the all-important feel-good Tanjore Nautch Party 1890 Photo: Courtesy Mohan Khokar Dance Collection 18 Dance for rehearsals and meetings, factor. With music from recent Music, Ankle bells & Gestures: Menaka PP Bora (sattriya) mentoring and technical and blockbusters by respected Pittrivers Museum, Oxford marketing support, with a view production company Yash Raj Unveiling the Mohan www.prm.ox.ac.uk/spotlights.html to developing performance Films and a guest performance Dance platforms and touring by the glamorous Bollywood Khokar Dance Akhilam Madhuram: Rama Vaidyanathan (bharatanatyam) opportunities in the future. Dance London troupe the Just Collection The Lowry, Salford Quays To find out more about the Jhoom! DVD brings accessible www.thelowry.com Kuchipudi Collective or Kala fitness with a touch of sparkle to In his lifetime Prof Mohan Khokar Music Sangam’s work, visit a living room near you! (1924–1999) collected every book NAAD: Present and Future 2011 Sanjay Guha (Sitar), Kiranpal Singh www.kalasangam.org For more information visit written on dance, every journal (santoor), Radha Mahta (vocals), www.justjhoom.co.uk. and prospectus that he could lay Rajkumar Misra (tabla), Dinesh Venkateswaran (harmonium), his hands on and not stopping at Surjeet Singh (sarangi) that also included such dance- Bharatiya Vidya Bhavan, London Anusha related materials as posters, www.bhavan.net brochures, postage stamps, Music & Dance Subramanyam – sculptures, textile, and objects Namaskar St Edmunds Church Hall, Leeds double award winner such as toy dolls. The result ticketsource.co.uk/saauk amounts to the most extensive 18-19 Festival In a ceremony held on 19 May at and fascinating private collection O2 Glasgow Mela: Various Artists the Park Lane Hilton in London, of dance resources held in India Kelvingrove Park, Glasgow www.glasgowlife.org.uk popular bharatanatyam dancer which is hailed internationally 19 Dance Anusha Subramanyam was (Lincoln Centre, New York; Akhilam Madhuram: selected for the Asian Women of UNESCO Council for Dance, Rama Vaidyanathan (bharatanatyam) Achievement Award in the Arts Paris; and the world’s first dance Bharatiya Vidya Bhavan, London www.bhavan.net and Culture category. Anusha museum, Stockholm). In the midst of filming one of the DVD dance routines Dance Photo: Just Jhoom! had to make a presentation to As current holder of the This or That?: Jude Kelly, Artistic Director of MKDC, Ashish Khokar, himself Divya Kasturi (bharatanatyam) London’s Southbank Centre. a dance historian wryly points Gordon Craig Theatre, Stevenage Festival, Stevenage Bollywood routines in The overall award went to out on the website http://www. www.stevenage-festival.co.uk the comfort of your Amerdeep Somal, commissioner dancearchivesofindia.com, of the 20 Dance at the Independent Police billion Indians only one thought Book Launch: Vilasini Natyam - home Complaints Commission. it worthwhile to make a record Bharatam of Telugu Temple and Court Dancers: Swapnasundari In autumn 2010 Anusha for posterity on the subject of Nehru Centre, London Developing their already was one of three to win the dance in a holistic way. The fact www.nehrucentre.org.uk blossoming Bollywood dance prestigious Bonnie Bird Award that the collection covers a period 21 Dance fitness brand, Just Jhoom! for New Choreography from of growth and expansion of the Kathakbox: Sonia Sabri Company The Pound, Corsham Festival, Wiltshire launched their first DVD on choreographer Rosemary dance art over the last century and www.poundarts.org.uk the 1st of June. Just over a year Butcher. Each of the three a half to the dance form we know 22 Dance since Just Jhoom! arrived on finalists received a sum of £1,500 today makes it particularly crucial Kathakbox: Sonia Sabri Company the dancercise scene, it has to help them pursue their that such a collection be preserved Stephen Joseph Theatre, Scarborough www.sjt.uk.com grown to a 15-strong team of choreographic ambitions. for the sake of current and future 23 Dance instructors who teach classes Anusha will be working on generations. It has been awaiting Bharatanatyam Performance: in eight counties across the UK. a contemporary bharatanatyam a home, and although this is not Devika Srimal Now bharatanatyam dancer piece titled Revisiting Murugan, yet forthcoming, the public will Nehru Centre, London www.nehrucentre.org.uk

4 PULSE — SUMMER 2011 UPFRONT - LISTINGS

24-25 Conference 3 Music 14-15 Dance 17 Dance From motivation to movement: Anuradha Paudwal in Concert: Exposure: Tiger-bharatanatyam: Dance India: Vijayanthi Kashi & Towards an empirical Popular Music Devaraj Thimmaiah, Mayuri Prateeksha Kashi (kuchipudi), Irina understanding of the role of dance De Montfort Hall, Leicester Boonham, ATMA Komissarova (odissi) in health: International Congress of www.demontforthall.co.uk Clore Studio, Royal Opera House, London The Capstone Theatre, Liverpool Dance in Health www.roh.org.uk www.milapfest.com Bedfordshire University, Polhill Music Campus, Bedford, UK Haveli Sangeet 16 Music 18 Dance www.beds.ac.uk/dancescience Shree Nathji Sanatan Mandir, London Mid-day Mantra: Dance India: Karunakaran Nair www.amc.org.uk Ravichandra Kulur (flute), Jyotsna (kathakali), Odissi Ensemble, 24 Music Srikanth (violin) Arianna Balabbio (bharatanatyam) 4 Ustad Rahat Fateh Ali Khan in Concert Dance Symphony Hall, Birmingham The Capstone Theatre, Liverpool Demontfort Hall, Leicester Kathakbox: Sonia Sabri Company www.thsh.co.uk www.milapfest.com www.demontforthall.co.uk New Vic Theatre, Newcastle- under-Lyme Festival 19 Dance 25 Dance www.newvictheatre.org.uk Southampton Mela: Art Asia Dance India: Rhythm Ensemble, Chhau Dancers Hoglands Park, Southampton Priyadarsini Govind (bharatanatyam) 5 St Ethelburga’s Centre for Music www.southamptonmela.com The Capstone Theatre, Liverpool Reconciliation and Peace, London Haveli Sangeet www.milapfest.com stethelburgas.org Hindu Mandir, Wembley 19 Music & Dance www.amc.org.uk SAA-UK Family Variety Show 20 Lecture Dance Sheepscar Club, Leeds Dance India: Teachers and gurus Vedic Recitations and Haveli Sangeet Dance ticketsource.co.uk/saauk in conversation including Leela Wittenberg Devotional Music Just Dance: Srishti Yuva Culture Samson,Vijayanthi Kashi, Sujata Festival, Wittenberg, Germany The Rose Theatre, Kingston- 21 Music Mohapatra & Kumudini Lakhi www.amc.org.uk upon-Thames Jaipur Maharaja Brass Band The Capstone Theatre, Liverpool www.iyafestival.org.uk Hull Truck Theatre, Hull www.milapfest.com Music www.hulltruck.co.uk Vina Performance: 6 Lecture Geetha Krishnamurthy Celebrating Tanjavur - A Thousand Years 21-22 Dance Bharatiya Vidya Bhavan, London of Culture: Lakshmi Vishwanathan Exposure: Tiger-bharatanatyam: SUMMER SCHOOLS www.bhavan.net Nehru Centre, London Devaraj Thimmaiah, Mayuri www.nehrucentre.org.uk Boonham, ATMA 26 Music Clore Studio, Royal Opera House, London SOAS World Music Summer School Haveli Sangeet 7-9 Music www.roh.org.uk 20-30 South Indian Vocals and Violin - Hindu Temple, Nottingham Anuradha Paudwal in Concert June Nandini Muthuswamy www.amc.org.uk Shree Radha Krishna Mandir, Manchester 23 Dance Traditional Bharatanatyam: 13-16 Tabla - Sanju Sahai www.radhakrishnamandir.co.uk July Dance Srishti Yuva Culture School of Oriental and African Just Dance: Srishti Yuva Culture 7 Music Harrow Arts Centre, Hatch End Studies, London Kodak Sports Ground, Under One The Singing Violin: Kala Ramnath, www.harrowarts.com www.soas.ac.uk/music/ Sky Festival,Harrow summermusicschool London Symphony Orchestra 24 Dance www.paviliondance.org.uk Strings, Sanju Sahai (tabla) Summer Production: Dancing Nikita Bhavan 2011 Summer School Music LSO St Luke’s, London Company Student Showcase 16 July Hindusthani vocals: Shubra Guha Hindustani Vocal Concert: lso.co.uk/lsostlukes Norden Farm Centre for the Arts, – Tabla: Ansubha Banyopadhyay Kasturi Paigude Maidenhead 8 Music 7 Aug Kathak: Prashant Pravinchandra Shah Bharatiya Vidya Bhavan, London Vedic Recitations www.dancingnikitacompany.com Karnatic vocals: Sukanya Prabhakar www.bhavan.net Hindu Temple, Nottingham Festival Bharatanatyam: Surya N. Rao Music www.amc.org.uk sampad Arts Mela Mridangam: Nyveli Venkatesh Ustad Rahat Fateh Ali Khan in Concert The Public, West Bromwich Violin: Ganesh Rajagopalan Dance Sitar: Sanjay Guha O2 Apollo, Manchester Sivaloka: ATMA Dance www.thepublic.com www.o2apollomanchester.co.uk Bharatiya Vidya Bhavan, London British Museum, London 26 Music www.bhavan.net 27 Music www.britishmuseum.org AMC presents: Shammi Pithia Chakrardar Summer School Haveli Sangeet 9 Music (bansuri) & Hari Sivanesan (veena) Indian Community Centre Vedic Recitations Southbank Centre, London 27-31 Tabla: Shankar Ghosh, Prabhu Association, Nottingham Hindu Temple, Nottingham www.southbankcentre.co.uk July Edouard & Harkirat Singh www.amc.org.uk www.amc.org.uk Kathak: Hanna Mannila 30 Music & Dance Yoga: Kanwal Ahluwalia Music Dance Classical Music and Dance Yehudi Menuhin School, Cobham, Haveli Sangeet The Indian Hereafter Yehudi Menuhin School, Cobham, Surrey Hindu Temple, Nottingham Annapurna Dance Company Surrey www.chakardar.com www.amc.org.uk www.bridgewater-hall.co.uk The Lowry, Salford Quays Demystifying Indian Music www.thelowry.com Music 31 Music 6-13 Introduction to Indian Classical music Ustad Rahat Fateh Ali Khan in Concert Dance Music Drum Jam Aug with Sanju Sahai, Jaymini Sahai & Royal Concert Hall, Glasgow Just Dance: Srishti Yuva Culture Yehudi Menuhin School, Cobham, Debipriya Sircar www.glasgowconcerthalls.com The Scoop, London Surrey Dartington Hall, Totnes, Devon www.londondance.com www.chakardar.com www.dartington.org/tagore150/ 30 Dance demystifying-indian-musict Ek Awaaz (One Voice): Dance AUGUST Dr Vijay Rajput, Sri Shahbaz Hussain Just Dance: Srishti Yuva Culture SAA UK Community Summer School 2011 6 Festival & Ustad Harbhajan Singh Barra Hall Park, Hillingdon Ramayana Puppets 15-21 Santoor, Sitar, Tabla, Vocals Seven Arts Centre, Leeds www.hillingdon.gov.uk Aug GNNSJ Gurdwara, Leeds ticketsource.co.uk/saauk Leicester Caribbean Carnival 2011, Music Leicester www.saa-uk.org.uk Dance Mridangam Concert, M. Balachandar www.cicd.org.uk Dance India Kathakbox: Sonia Sabri Company Bharatiya Vidya Bhavan, London 14-21 Hindusthani vocals: Shubra Guha The Courtyard Theatre, Hereford www.bhavan.net Music and Dance Tabla: Ansubha Banyopadhyay www.courtyard.org.uk Summer School Finale Concert: Aug Dance Bhavan Students Kathak: Prashant Pravinchandra Shah Music Kathakbox: Sonia Sabri Company Bharatiya Vidya Bhavan, London Karnatic vocals: Sukanya Prabhakar Ustad Rahat Fateh Ali Khan in Concert Brewery Arts Centre, Kendal www.bhavan.net Bharatanatyam: Surya N. Rao Birmingham Town Hall, Birmingham www.breweryarts.co.uk Mridangam: Nyveli Venkatesh www.thsh.co.uk 14 Dance Violin: Ganesh Rajagopalan Music Dance India: Sujata Mohapatra Sitar: Sanjay Guha 30- Dance Jaipur Maharaja Brass Band (odissi), Ananda Shankar Jayant Creative Campus, Liverpool Hope 2 July Sacred Geometry: Brewery Arts Centre, Kendal (bharatanatyam/kuchipudi) University, Liverpool Divya Kasturi (bharatanatyam) www.breweryarts.co.uk The Capstone Theatre, Liverpool www.danceindia.org.uk Fringe Festival, Exeter www.milapfest.com www.exeterfringe.org.uk 9-10 Music Sujata Banerjee Company presents: Ustad Rahat Fateh Ali Khan in Concert 15 Dance International Dance Camp in Goa JULY HMV Hammersmith Apollo, London Dance India: Leela Samson 21-31 Kathak with legendary Guru Pundit venues.meanfiddler.com/apollo (bharatanatyam), Maulic Shah & Aug Birju Maharaj and others 1 Music Ishira Parikh (kathak) Kala Academy, Panjim, Goa, India Vedic Recitations & Haveli Sangeet 10 Music The Capstone Theatre, Liverpool Email: [email protected] Unitarian Church, Brighton Anuradha Paudwal in Concert www.milapfest.com Telephone: 07466 488 354 www.srishti.co.uk Cadogan Hall, London www.cadoganhall.com 16 Dance 2 Music Dance India: Sanjukta Sinha (kathak), Vedic Recitations & Haveli Sangeet Dance Shijit Menon & Parvathi Menon Seven Arts, Leeds Shishya’ Student Showcase: (bharatanatyam) To submit a news story or an www.sevenleeds.co.uk India Dance Wales The Capstone Theatre, Liverpool event listing, please email Bute Theatre, Cardiff www.milapfest.com [email protected] www.rwcmd.ac.uk

SUMMER 2011 — PULSE 5 KUCHIPUDI IN FOCUS

Kuchipudiin Focus

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Isabel Putinja gives a fascinating 850 dancers. 200 gurus. 11 minutes. This was the recipe for history in the making. When on account of the origins, 26 December 2010, 2,850 kuchipudi dancers development and personalities of all ages performed an 11-minute thillana in a2 stadium in Hyderabad, they created a world record. behind kuchipudi, a lesser-known This was the largest group performance of kuchipudi, dance style, which has evolved an historical event clocked in the Guinness Book of World Records. The world record was celebrated with from a dance-drama tradition much pomp in the Indian media as a majestic occasion, performed by Brahmin men in one which showcased this South Indian classical dance to Andhra village to a solo form with the world. an international presence. “…Bhagavatulu-s would dance, act and sing, Dancers such as Yamini assuming both male and female roles”. Krishnamurthy and For an Indian classical dance form, which is often Swapnasundari have popularised overshadowed by more popular classical styles, the kuchipudi on the bygone stages. event was considered by many of its practitioners to be a magnificent achievement not only for its scale but Will the young dancers profiled also for kuchipudi’s visibility. This landmark event also in Pulse do the same by imposing marked a milestone in the dance’s long journey from its origins in a sleepy village in rural Andhra Pradesh. the form on public consciousness? The dance presented on 26 December 2010 was Only time will tell. different in many ways from its original form, for along kuchipudi’s 50-year-long-or-so journey, the dance has gone through a process of evolution and change, Words by Isabel Putinja transforming itself on the way. Over fifty years ago in Kuchipudi village from which the dance takes its name, what we know today as

6 PULSE — SUMMER 2011 Guru Vempati Chinna Satyam | Photo: Avinash Pasricha Chinna Satyam | Photo: Avinash Guru Vempati

kuchipudi was presented as dance drama, performed credited as the founder of kuchipudi dance drama. exclusively by Brahmin men, who passed on their art From its origins as a dance-drama tradition to their sons. The performers (called Bhagavatulu-s) performed in rural villages exclusively by Brahmin would dance, act and sing, assuming both male and men, today the dance has evolved into a solo dance female roles. They would travel from village to village, form performed on city stages by dancers from non- staging night-long performances, presented outdoors hereditary backgrounds, mostly women. The dance’s on makeshift stages. revival started, like for most of the other Indian classical Writing in 1972, Ragini Devi describes a Bhagavata dances, in the late 50s following India’s independence. Mela performance in Kuchipudi village: As the gurus moved out of the village to large cities, the “Dance dramas are staged at night in Kuchipudi on dance form and its repertoire inevitably evolved for the an improvised stage facing the temple. The audience contemporary stage. sit on the ground. A multi-coloured curtain is held up Guru Vedantam Lakshminarayana Sastri had made by two torch-bearers, who provide the stage lighting. a significant contribution to the popularisation of Musical accompaniment consists of vocal music, kuchipudi in the early 1940s and 1950s. He significantly a bagpipe drone, drum (mridanga) and cymbals… expanded the scope of the dance-drama form by Preliminary prayers are offered behind the stage choreographing many nritta and abhinaya items for Late Rattaya Sarma training students at Siddhendra Kalakendra in Kuchipudi village | Photo: Avinash Pasricha in Kuchipudi village | Photo: Avinash Late Rattaya Sarma training students at Siddhendra Kalakendra curtain. The stage manager (Sutradhara) appears solo dancers. He had a vast repertoire of ashtapadis, before the audience and recites the invocation. Indra’s padams and javalis. He was also the first to teach banner-staff is set up on the stage. The presiding female dancers, including temple dancers. His students deities of the theatre are worshipped with holy water, included none other than Balasaraswati, Mylapore Gauri Amma, and Vazhuvoor Ramaiah Pillai who all became legends in their own right. “As the gurus moved out of the village to Guru Vempati Chinna Satyam is credited large cities, the dance form...evolved for with having made the biggest contribution to the development of kuchipudi. He developed and codified the contemporary stage.” the technique of the dance based on the principles of the Natya Shastra. He classified the dance units or incense, lights, and flowers. An actor, wearing an adavus and introduced a systematic teaching method. elephant mask, impersonates the elephant-headed god, He polished and perfected the nritta , or pure dance Ganesh, who blesses the actors and spectators. Then the movements. He developed his own particular individual Sutradhara announces the play. He is always present style, which is referred to as the Vempati style or ‘new on the stage, bearing a crooked stick, the symbol of style’ of kuchipudi. Characterised by strong clean his office, to conduct the play and lead the vocalists… lines, crisp energetic jatis and vibrant footwork, the Resin powder is thrown on the torches to effect a Vempati style seems to be the most popular style of sudden flash of light with the dropping of the curtain kuchipudi today. Guru Vempati Chinna Satyam is also a when certain powerful characters appear. Each actor prolific choreographer, having choreographed 180 solo introduces himself with a pravesa daru, an entrance items and fifteen dance dramas. He has received many dance appropriate to his role, accompanied by song and awards for his contribution to kuchipudi including the rhythm syllables (daru). There are both masculine and prestigious Padma Bhushan from the government of feminine darus with dramatic gestures, postures, and India. He established the Kuchipudi Art Academy in dance sequences, rendered with grace and elegance. Chennai in 1963. Some of his students who went on to Darus also provide the dance element throughout the play.” This dance-drama tradition had developed during “Guru Vempati Chinna Satyam… the Bhakti movement of the fifteenth and sixteenth codified the technique of the centuries, along with other forms of vernacular theatre, as a mode of religious expression through the dance based on the principles of recounting of religious stories. According to a legend, Siddhendra Yogi, an ascetic and Krishna devotee, is the Natya Shastra.”

SUMMER 2011 — PULSE 7 KUCHIPUDI IN FOCUS Vedantam Satyanarayana Sarma revealing behind-the-scene to adopting a female female a adopting to behind-the-scene revealing Sarma Satyanarayana Vedantam Pasricha role photos: Avinash

become celebrated kuchipudi exponents include Yamini (but performed on stage less often), as are thillanas Krishnamurty, Sobha Naidu and Swapnasundari. His as concluding pieces. Episodes from the traditional son Vempati Ravishankar has followed in his footsteps dance dramas are also popular, the most famous being and is an established dancer and guru. Bhama Kalapam which tells the story of Satyabhama, Thanks to some prominent dancing couples, a consort of Krishna. The dramatic aspect of abhinaya kuchipudi has also developed as a duet form. Jaya characteristic to kuchipudi is an inheritance from its Rama Rao is from a traditional Bhagavatulu family. He dance-drama tradition. There is a rich repertoire of and his disciple and wife Vanashree are well-known padams, javalis, kirtanams, shabdams, ashtapadis. and respected kuchipudi dancers and gurus based The padams and kirtanams by Telugu poet and in Delhi. Chennai-based gurus Narasimhachari and Vasanthalakshmi are better known as bharatanatyam dancers but they are also accomplished kuchipudi “The dramatic aspect ofabhinaya … dancers known for their innovative choreographies is an inheritance from its dance- created for duos. The Reddys are probably the best- known kuchipudi couple. They have won numerous drama tradition.” awards for the excellence of their dance, including the Padmashri. Radha’s sister Kaushalya is also a prominent composer Kshetrayya are favourites. Vedantam dancer, as are their daughters Yamini and Bhavana Satyanarayana Sarma is a renowned kuchipudi artist Reddy. famous for his compelling and versatile abhinaya and Compared to the other Indian classical dance styles, especially his convincing impersonation of female roles kuchipudi is perhaps closest to bharatanatyam in terms during which he completely transforms, adopting the of technique, but it has its own unique characteristics. grace of a woman with ease and conviction. Both styles feature a half-sitting posture as the The Tarangam is unique to kuchipudi, often basic position and strong, rhythmical footwork. But performed as a finale. This is a technique where dancers kuchipudi has a certain light-footedness and many stand on the edges of a brass plate, sometimes balancing graceful hops and leaps. Compared to bharatanatyam, a pot on the head and holding oil lamps, as they move it is less angular, with ‘rounded’ arm movements to complex rhythmical patterns. Another technique and characteristic bobbing, bending and swaying unique to kuchipudi which was popularised by guru C. movements, which are unique to kuchipudi. R. Acharyulu is tala chitra nritya. Using her feet dipped The kuchipudi repertoire presented by the solo in coloured paint, powder or dye, the dancer traces the dancer on the contemporary stage is still evolving outline of an animal: a peacock in Mayura Kautavam, and though there is a trend to standardise it, there lion in Simhanandanam or an elephant in Ganesh is no fixed ‘recipe’ when it comes to a performance Kautavam. All of India’s classical dances went through a revival following independence, which involved a process “Kuchipudi has a certain of reconstruction and codification. Over the past few decades, kuchipudi has made many transitions: from light-footedness… that a dance-drama tradition to a solo repertoire; from distinguishes it from its cousin hereditary male performers to a proliferation of female dancers; from the makeshift stages of rural villages to (bharatanatyam).” the theatres of metropolitan cities; from guru-shisya- parampara to institutionalised teaching; from the repertoire, as is the case for the bharatanatyam Natya Shastra to the Guinness Book… This process of margam, for example. A kuchipudi performance may evolution continues with the contemporary kuchipudi start with a prayer or an invocatory piece: an offering of gurus and dancers of today who inject it with their own flowers to a deity through a puspanjali, or a kautavam perspectives, innovations and inspiration. in praise of a certain god. Like in bharatanatyam, the jatiswaram set to swara patterns is a popular item

8 PULSE — SUMMER 2011 Chitra Kalyandurg | Photo: Courtesy the artist/ Arunima Kumar | Photo: Simon Richardson/Vyjayanthi Kashi | Photo: Courtesy the artist Dancer Profiles

Chitra Kalyandurg to kuchipudi a new perspective that I believe Vyjayanthi and Prateeksha Kashi Chitra Kalyandurg is a kuchipudi performer, only enhances it and adds to its evolution. I Vyjayanthi Kashi is a highly respected kuchipudi educator and choreographer based in am optimistic that the art form will continue performer, choreographer and guru. She’s Maryland, USA. Speaking about the current to grow artistically, and am really hopeful an active and dynamic figure in Bangalore’s state of kuchipudi in the US today, she says: that classical Indian dance can one day reach dance scene with an infectious enthusiasm and “There are very few kuchipudi dancers who the level of national recognition here, as it passion for the arts. are solely performers, and who are regularly does in the UK,” she concludes. Vyjayanthi grew up in a family of well- creating and performing new work that moves known theatre artists from Karnataka. She was beyond the various ‘banis’ or styles. The Arunima Kumar drawn to dance at a young age, first studying stalwarts are performing much less nowadays; Moving from India where she’s a well-known bharatanatyam before finding that her passion however, new work is being created, much of dancer and starting over in London where was for kuchipudi. She studied with numerous it by choreographers from India who work with kuchipudi occupies little space has been a eminent kuchipudi gurus. “I have been able kuchipudi schools in the US. Many schools bring challenging experience for dancer Arunima to take something from each guru,” she says. kuchipudi exponents from India during the Kumar. “There were quite a few obstacles “From senior guru C. R. Acharyulu I learnt the summer to conduct workshops and we benefit at first,” she reveals. “Having to audition ‘old style’ of kuchipudi and temple rituals. Gurus from their creativity.” for a performance slot, for example, was a at that time were looking for students who could Chitra began learning kuchipudi at a young completely new experience for me. But after continue their teaching. You will be my ‘dancing age with Mrinalini Sadananda. In 1994, she my first performance, things really took off.” daughter’ is what he told me. I got a government began training with renowned kuchipudi artist In the space of only two years, Arunima of India scholarship to study in Andhra Pradesh. and guru, Anuradha Nehru, a disciple of the has managed to attract much attention and I studied with Vedantam Prahalada Sarma renowned Vempati Chinna Satyam. She also establish herself as a dancer to look out for who gave me my foundation. We would have had the opportunity to learn with Guru himself in a scene dominated by bharatanatyam and intense classes from morning to evening. Having during intensive summer dance camps, as well with little exposure to kuchipudi. She has strong basics is extremely important. I learned as with his son Vempati Ravishankar, and well- presented over fifty shows and workshops Yakshagana from Korada Narasimha Rao and known guru Jaikishore Mosalikanti. across the country and already has a Kalapam from Vedantam Satyanarayana Sarma. “In the US there is a predominance of dedicated group of students. I also learnt the ‘new style’ of kuchipudi from teachers following in the Vempati Chinna Arunima had the good fortune to study guru Vempati Chinna Satyam. I have been able Satyam style,” she explains, “which makes under eminent gurus. She had her first lessons to absorb the best from my gurus and I take the sense, as he trained many kuchipudi artists in kuchipudi at the age of 7 from the renowned best from both styles.” who relocated here in the 1990s. Dr. Sobha dancer Swapnasundari. She then trained for Vyjayanthi started her dance centre, Naidu’s school also has a large community of fifteen years under well-known gurus Jaya Shambhavi School of Dance, on the outskirts disciples here. Since there are many kuchipudi Rama Rao and Vanasree Rao. Arunima has of Bangalore in 1993. Over the past year, teachers who run dance schools, a lot of the performed extensively all over the world and through her ‘Celebrate Dance’ series, she has performances are student- and community- is the recipient of many awards including the invited top gurus of different styles to conduct centred. Throughout the country there are Sangeet Natak Akademi’s prestigious Ustad workshops and offer dance students a taste of pockets of kuchipudi activity that stay regional, Bismillah Khan Yuva Puraskar. each classical dance tradition. Her annual Dance and which remain more of a cultural tradition She’s set on bringing more visibility to the Jathre (dance fair) is a celebration of dance rather than an artistic movement.” dance form: “I would like to have a strong base and the performing arts and brings together Along with her guru Anuradha Nehru for kuchipudi in London. I’m keen on creating practitioners and connoisseurs from all dance and two fellow students, Chitra co-founded a kuchipudi dance collective and developing styles. She has won numerous awards including the Kalanidhi Dance Company in 2005. The a syllabus for kuchipudi under the ISTD,” she the prestigious Puraskar award from the company has collaborated with several says. Arunima is also interested in broadening Sangeet Natak Akademi. US-based and international artists, and has her horizons by exploring new productions, Her daughter Prateeksha is only 21 but has toured nationally and internationally. “I’m and developing and promoting choreographic already made her mark on the kuchipudi scene. part of a group of young kuchipudi dancers works and collaborations with dancers of She has performed in many prestigious festivals who have been learning in this country for other styles. In this way she hopes to explore in India and abroad and has featured in many over twenty years and who are taking up the new dimensions while retaining the classical dance productions for television. art form and running with it. As American identity of kuchipudi. dancers of Indian origin, these artists bring

SUMMER 2011 — PULSE 9 SWAPNASUNDARI ON VILASANI NATYAM

Swapnasundarion Vilasani Natyam

Vilasani Natyam, the form practiced by the devadasis of Andhara Pradesh co-existed with the Bhagavatalu tradition, which gave rise to kuchipudi as we know it today. Swapnasundari took a break from her performing career to investigate and study, through document research and by learning the form herself. The fruit of her work has been distilled into a new book Vilasini Natyam: Bharatam of Telugu Temple and Court Dancers. Isabel Putinja speaks to Swapnasundari for Pulse.

10 PULSE — SUMMER 2011 You have had an interesting journey as a dancer. disappeared and solo kuchipudi dance is more sought While most dancers devote their lives to a single dance after now. The sweeping changes and innovations style and focus on a career as a performer, you have which have been made in kuchipudi over the last fifty not been afraid to change trajectories and explore years, may have even rendered it unrecognisable to other dance forms and fields. At the height of your the generation which has lived through this period. bharatanatyam career, you turned to kuchipudi and In the case of vilasini natyam its new performers later you devoted yourself to the revival of vilasini including myself, do not belong to the devadasi natyam. What was the catalyst which inspired you community. We present the artform in a new context. each time to change direction? We dance on the proscenium stage, not in the royal Swapnasundari court or the temple (except in the annual temple- I agree that my artistic journey has been very festival of Rang Bagh). untypical. The change in my trajectory has been I respect the art which has been taught by my spurred by many factors. Both my mother and bharatanatyam and kuchipudi gurus as well as my maternal grandmother were knowledge-seekers devadasi gurus. They have sincerely bequeathed to me and enthusiastic explorers of new skills. Perhaps I am what they had inherited and nourished assiduously similar to them - I sincerely believe that continuous through their lives. Now it is for me to handle this growth is essential for an artist. inheritance carefully and take it further. As has been Whenever I have sensed stagnation in the external happening over past centuries, it is natural that the environment, I have sought to build an artistically rich dance styles I perform and teach would acquire new inner world. Other than dancing three dance styles, I dimensions through my interpretations. also sing, teach and write. Why didn’t vilasini natyam receive the same attention Both kuchipudi and vilasini natyam have their origins as other dance forms post-independence? in the Telugu-speaking region of India. How are they similar and dissimilar? Though I have mentioned some key facts in my book, it is the cultural administrators of our country who There is no direct relationship between the kuchipudi have to answer this question. I pursue vilasini natyam and vilasini natyam. In fact, one can discern some for purely artistic reasons. I am not a part of any lobby, similarities between vilasini natyam, bharatanatyam political or otherwise. Organisations such as Sangeet and odissi. The historical connect between the solo Natak Akademi do nothing to support my efforts, Bharatham forms which were danced in these parts of although vilasini natyam as an artform has already southern and south-eastern India has been discussed gained great appreciation among connoisseurs as well in my book on vilasini natyam (Vilasini Natyam: as the discerning media. Bharatam of Telugu Temple and Court Dancers). Interestingly, the Telugu hereditary dancers of vilasini You have taken vilasini natyam not only to the stage natyam from whom I have learnt, have never studied but also back into the temple during an annual festival from kuchipudi masters. Most of them had not even at a temple in Hyderabad. Does this feature the ritual seen kuchipudi until television entered their lives. The and ceremonial aspects of the dance? name of the late Balasaraswati is unknown to them as is that of odissi dance. It is only the ritual and ceremonial dances of vilasini Physical behaviour, mannerisms, language, natyam that we perform annually in Sri Ranganatha customs, and preferences of people invariably leave Swamy temple in Rang Bagh, Hyderabad. These a characteristic stamp on artforms. Any passing ritual-dances (called Agama Nartanam in Sanskrit resemblance between kuchipudi and vilasini natyam is and Gudi-Seva in Telugu) can be seen here every day an outcome of their shared culture. during the Brahmotsavam, which usually falls in the Though some similarity between kuchipudi months of January-February. As a part of worship in and vilasini natyam is discernible in the operatic the temple, we dance these to the accompaniment of repertoire, the differences are many. The Northern religious chanting and traditional music that includes and coastal school of vilasini natyam alone contains ancient talas and rare ragas. Every vilasini natyam over 100 basic adavus and their permutations and dancer looks forward each year to this one-of-a-kind combinations. Another thirty-five to forty nrittha experience. units belong to its Southern school. None of these find a place in the kuchipudi Sampradayam taught Please feel free to mention anything else you think is to me by its traditional male Gurus. Equally vast and important or relevant. varied is the abhinaya repertoire and methodology earlier followed by the Telugu hereditary female Besides performing vilasini natyam, I have also been dancers which continues today in vilasini natyam. teaching it over the past ten years to a select few. All this differs from what is currently taught and Some of my disciples are multi-stylists, like myself. performed in kuchipudi. Their experience while dancing vilasini natyam appears very similar to my own. They tell me that You have learnt from dance gurus as well as from they feel ‘centred’ and sense a certain kind of ‘inner hereditary temple-dancers. How has the experience equanimity’ within themselves, not just while dancing been different? Is one experience more ‘authentic’ temple-rituals, but even during their stage concerts. than the other? I can’t help thinking that indeed, this is the true purpose of art. If I am able to lead people there I am So far as traditional performing arts are concerned, I deeply honoured and humbled, especially by the do not ascribe much importance to claims of ‘purity’ fact that it is the honest art of the much-maligned and ‘authenticity’ which are frequently heard. Telugu devadasi and the proud artistic legacy of the Adaptations have always taken place as and when Telugu rajadasi, that has brought me so close to the necessary. core of dance. In kuchipudi the operatic tradition has all but

SUMMER 2011 — PULSE Swapnasundari | Photo: Courtesy the artist 11 A PROFILE OF KALI CHANDRASEGARAM

The first of a series focusing on a new wave of performers and dance-makers in the UK with South Asian connections. Kicking off the series is Kali Chandrasegaram, ‘a rebel with a cause’ who has come a long way He Who Dares... since he dropped into his sister’s dance class in Kuala Lumpur A profile of Kali eighteen years ago. As he completes the second of a two-year Akademi/ Chandrasegaram Arts Council choreographic development bursary, he reflects upon the radical re-haul he has been through.

f words are clues to understanding how a person thinks and functions in the world, there Words by Donald Hutera are a few key phrases that pop up in relation to the versatile, London-based dancer and choreographerI Kali Chandrasegaram. One comes from his extensive website www.kalidance.net which is subtitled ‘Gateways to differential dance’. The work documented there certainly gives ample indication of Chandrasegaram’s varied interests as a dance-based artist. Another, more basic notion appears at the end of his emails, which simply reads: ‘May you always be happy.’ Combining the two ideas, the sense is that here is someone who is perhaps happiest when striding into new creative territory. Now in his late thirties, Chandrasegaram is also a person to whom the various gatekeepers of South Asian dance want to give opportunities. For proof look no further than the ringing endorsement of him as “an intriguing, upcoming performer and choreographer of his generation”. So says Mira Kaushik of Akademi, the organisation through which Chandrasegaram has just “A very perfumed dancer is how I remember him.”

completed a two-year stint as one of three recipients of a choreographic development award jointly administered with the Arts Council. Or consider this praise and encouragement from Piali Ray of sampad, Birmingham: “Kali is more than a dancer – he is a performer who loves to think outside the box and has a creative energy that is gentle but confident. I always believe that to capture the hearts and minds of an audience, an artist has to be a good human being besides having acquired technical expertise. And Kali is that artist.” Even Shobana Jeyasingh, for whom Chandrasegaram worked a decade ago, retains a strong impression. “He had his own highly individual way of moving,” she recalls. “A very perfumed dancer is how I remember him, both literally and figuratively!” So who is this man about whom others speak in such a vivid, positive manner? Onstage he cuts quite a figure: tall, muscular, imposing but with softer shadings, too. One’s eye is drawn to him, which makes

12 PULSE — SUMMER 2011 him in particular a magnetic soloist. Born in Kuala Lumpur, Chandrasegaram began training there in bharatanatyam at the ripe old age of 18. It was 1991, and he was realising a dream of which his parents initially disapproved. They had, he says, “the orthodox mentality that boys should not be dancers but should instead become a lawyer, doctor or engineer”. His response to this familial plan? “Yeah, right! I guess you can say that after my basic education I became a rebel with a cause and started training at a He Who Dares... Chandrasegaram | Photo: Simon Richardson Kali A profile of Kali “...Began training there in bharatanatyam at the ripe old Chandrasegaram age of 18.” dance school where my oldest sister went for classes. She also performed in the big theatre productions there, which I secretly desired to be very much a part of for many years.” Chandrasegaram’s determination still shines through two decades later. “I was ready to face my destiny to become an eminent dancer,” he says, jokingly adding, “not quite world-famous since I didn’t start at the tender age of five! But nothing was going to stop me. I worked my butt off for seven years, playing the lead in many productions, performing for local television and on international tours. I literally lived my life in that school starting at 6am with yoga classes right up to 9pm or, if there was a performance, 11pm.” Eventually his family changed their tune and started being supportive of Chandrasegaram’s devotion to dance. Another turning point was being invited to further his dance education in the UK by an uncle and aunt. “This was in 1998,” he explains. “After completing my Arangetram (South Asian dance graduation) in Malaysia I did a Higher National Diploma in Performing Arts at University of Hertfordshire, took a year off to work and tour with Shobana’s company and then went back and finished my third year in dance performance at Middlesex University.” Already grounded in an array of South Asian dance styles, the Western strings Chandrasegaram added to his bow included training in Graham, Cunningham and Humphrey techniques. “Learning to free my body from the constraints of South Asian classical dance was a stepping stone in my maturity in terms of thinking about and creating new dance. For me it’s a rollercoaster ride of emotions conveyed through physical intensity.” The goal, he says, is “to assimilate the many different dance vocabularies in my body memory bank to create choreographies which usually don’t fit in boxes created by social and cultural norms”. Professionally he has enjoyed some lucky breaks. “I was one of very few South Asian dancers in the UK to land a regular job as an artist in residence for seven years straight after graduation,” Chandrasegaram says. This was thanks to Kadam Asian Dance and Music. He tried forming a company “and failed miserably. So I decided to be an independent artist who works with others rather than be branded with a company. I have my name, and that’s enough.” Going freelance, however, has posed challenges. “It can be a constant struggle to get work, but it’s always good to have good friends and colleagues who trust you.” Although he can be a flamboyant performer, offstage Chandrasegaram comes across as both innately modest and quietly dedicated. “I don’t intend to change the world with my art. What I’m interested in is taking traditional forms and breaking them by using

SUMMER 2011 — PULSE 13 A PROFILE OF KALI CHANDRASEGARAM

individual, personal experiences and belief in one’s self rather than structured, codified formulas. These experiences are presented in a widely accessible, fun, exciting, light-hearted way with references to current social issues. What I want to say [to an audience] is, ‘Come with me on a journey of self-reflection, contrast, contradiction and exuberance!’ It’s all about the tease, “It’s all about the tease, but with an insight.” but with an insight.” The insights include his own. “I’d been happy just

being a dancer and a ‘puppet’ choreographer working Chandrasegaram | Photo: Simon Richardson Kali and re-interpreting ideas from others. Now I’m going through a complete overhaul.” He lays much of the credit for this radical re-invention to the Akademi/ Arts Council bursary mentioned earlier. “I finally had the chance to give myself time and space to think and work towards developing confidence to go against the grain.” To Chandrasegaram this means a pursuit of cross-pollinating (‘and poly-amorous!’) acts of creation made with a mix of ‘authenticity and audacity’ that instigates change “whilst embracing and then purging ingrained, pre-determined and stereotypical mind-sets until you begin to understand how, in the words of [the genderbending American actor and singer-songwriter] Ru Paul, ‘The real you is the energy force that created the entire universe!’” Clearly Chandrasegaram combines drive with a fecund imagination. “I can’t think of choreography without the entire aesthetics of it. Mine usually come as a complete package with the design of sets, costumes and lighting.” Among his current projects are a solo for odissi/contemporary dancer Katie Ryan that will “bring out the Black Swan within her using the sculptures of the Konarak Temple in Orissa as a metaphor, paying importance to the coarse texture of the stones rather than just their beautiful shapes”; a solo for himself that “plays on the layering of two different personalities, one a Japanese geisha and the other Rebekah from the Bible (Genesis 24:60), and celebrates the power of women through a male form”; and a piece drawing vesham, or cross-dressing as evinced in the classical upon “Hindu and Muslim cross-cultural influences in dance forms of bharatanatyam, odissi, kuchipudi and kathak, finding the transition from one to the other kathakali. For this he was inspired by his training with using the ideology of the Chaotic Node, a transition Hari Krishnan, director of the Canadian company state to do with the collapse of the collective lies of a culture.” It all sounds pretty heady for someone who champions frivolity and proclaims, “After all, life “I feel like an outcast, but I absolutely should not be taken that seriously.” As a performer Chandrasegaram has of late been believe in what I’m doing.” dancing and acting on stilts in an adaptation of The Ramayana for FIPA (Foundation for Indian Performing InDance and choreographer of Chandrasegaram’s solo Arts) that saw him cast as Ravana, ‘a schizophrenic Uma [reviewed in Pulse Issue 111]. “I’m just revisiting with ten different personalities’. Elsewhere his an age-old tradition and giving it a new light,” he experimental side has sought release by collaboratively says. “Unfortunately it’s a struggle for the South Asian dance community to accept this. It will take time. The “He lays much of the credit bottom line is I love dressing up; since childhood I secretly desired to do it and what better way than the for this radical re-invention performing arts to express my innermost desires? “I’m interested in pursuing very different and to the Akademi/Arts Council varied things,” Chandrasegaram continues, “working bursary”. across disciplines rather than sticking to one form of dance or creativity. Only when I’m being dictated to by mixing dance with trapeze, opera, swathes of fabric and a director does my work have definition…reluctantly!” site-specific work made in response to architectural Again he repeats, “The Asian dance community doesn’t space. He’s also continuing to develop JayKali, an comprehend my work because it’s far from the ‘safety’ androgynous alter ego cum alternative aesthetic that zone. I feel like an outcast, but I absolutely believe in lends a distinctly different cabaret/burlesque flavour what I’m doing. Hopefully one day I’ll be looked at as an to his South Asian dance roots. The precedent is stri- artist who dares...a true Daredeva!”

14 PULSE — SUMMER 2011 YOUNG PULSE Photo: Courtesy the artists

The members of the Bhaktikalalayam troupe, bharatanatyam-trained dancers, based in Florida are on their first tour outside the USA. They talk to Jahnavi Harrison on what gives a freedom of speech,” she says. “And hence the troupe’s name – Bhakti Dance Seva. performing dances that explore such unique, This year marks an exciting shift. With motivates them to practise spiritual topics gives an audience a chance to almost every girl graduating from college, this form of dance with such examine their emotions too.” they will be embarking on a seven-month Practitioners of the Hare Krishna lifestyle tour – first to Europe where they will perform dedication. often attend daily temple services and classes, a marathon sixty-four times! They then travel and practise meditation at home. Many of the to India, where they will be undertaking I’m on the phone at midnight. Thousands of second generation find little time or relevance intensive training in Chennai for the first time miles away in Florida, the six girls of the Bhakti for these activities, but for some of the girls, and staying for the December season. “We Dance Seva troupe are taking a break from dance has been their unbroken connection. never have a chance to just focus on dance,” rehearsals to chat. They laugh and scream “It is my spiritual life,” Prtha stresses. “I’m says Sita. “We also never get to see other as one of their group arrives, after being in in college and I’m working, and I have no professional dancers perform. They just don’t India for nine months. Their Bhaktikalalayam time, but dance has been my saving grace. come to Florida much. We’ve seen plenty of Academy studio is secluded – they share the You can’t dance and not feel close to Krishna uninspiring ones who obviously don’t put in wooded setting with a few curious peacocks – there is no separation.” The other girls much effort, but this will be a chance to have and even cows. Though they’ve travelled murmur their agreement. a new level of exposure to this art form.” almost every summer performing their But how do six non-Indian girls from And what of the future? It seems no dance bhakti-filled bharatanatyam at festivals across ‘po-dunk’ Alachua fare dancing this teacher escapes the fate of most students North America, their upcoming European tour traditional form among audiences outside giving up dance once they hit their late is their first ever trip outside the US. their home community? “People usually twenties. Like many, the girls don’t want to As members of the Hare Krishna say stuff like ‘You’re American girls, how depend on dance as a source of income, and community, they were introduced to dance come you didn’t do ballet?’ They’re usually want to pursue different career paths. But from a young age as a way of offering love surprised but when they see us dance, they they unanimously stress that it has an eternal and devotion to God, and sharing that with an can see we feel it – it is a form of worship, value in their lives. “I want to dance, whether audience. Their teacher, Anapayini Jakupko it is an offering,” Jahnavi adds, “otherwise I perform or not,” says Jahnavi. “The joy of the felt a calling to South Indian dance from what would our connection be?” sadhana is separate from the performance.” early childhood, and spent extensive time Anapayini has pushed the girls even Kalindi agrees, “I’m so grateful for the in Bangalore and Chennai with her guru, harder for the last few years, choreographing opportunity to dance and I can’t imagine life Smt. Indira Kadambi. As an adult, she began new repertoire, most interestingly that which without it. It trains me to be confident but also teaching this form to the local girls of the explores the spiritual tradition they practise to be humble. This is a service, it’s not about community, some of whom began to take – coming from the Bengal/Orissa region, in me being on stage.” their training and performance very seriously. the idiom of bharatanatyam. These include If you’d like to catch the troupe on their brief “It gives me physical and mental ‘Jaya Jaya Jagannath’, a fifteenth-century stay in England, check the Pulse website for discipline,” says Nadia, 22. “It’s so much Bengali bhajan recomposed in Carnatic style, up-to-date listings. Bhaktikalalayam perform 18 more than just a hobby or a form of exercise and a special group alarippu that depicts June at the Leicester City Festival and 19 June at – it’s a deep devotional practice.” Sita, 21, the opening of a lotus. Every dance is a deep the Bhaktivedanta Manor, Watford. was attracted to this art form because of its expression of their faith, and performances Visit their website for more photos, videos deep capacity to express emotion: “It almost are normally offered as a voluntary service, and information: www.bhaktidance.com

SUMMER 2011 — PULSE 15 ASHA THE RISK-TAKING LEGEND

Ashathe Risk-Taking Legend Words by Ken Hunt

Asha Bhosle and Shujaat Khan talk to Ken Hunt about their recent project Naina Lagaike studio recording and live performance at the Royal Festival Hall as part of an international tour. he promise inherent in the pairing of surname, Mangeshkar. It drew on his ancestral village of Asha Bhosle and Shujaat Khan for Naina Mangeshi, to which he added the protective hand (kar) Lagaike – and their subsequent concerts of the family deity Lord Mangesh. He specialised in the promoting that recording – was mighty. Marathi dramatic song-form known as Sangeet Natak. SheT is one of the world’s most haloed and popular Like many regional drama forms, during performances singers – note, the world’s, not the subcontinent’s Marathi drama generally interspersed songs as light or the diaspora’s – and he is a sitarist and truly gifted relief or employed them to move the action on. Tried vocalist in his own right. Expectations were doubly and tested, this theatrical convention guided the raised because, one, both principal musicians come subcontinent’s film-makers when India went walkies trailing clouds of glory, but very different ones in the with talkies from 1931. popular imagination; and, two, because when they Filmi sangeet – film song – captured anna- entered the Mumbai studio they had decided to lay the paying audiences’ interest even when they could not music down live in the studio and bounce off each other. understand the language or follow the intertitles. The “What generally happens is that Ashaji’s used to subcontinent was ‘going multilingual’ and little Asha having everything written down and fixed,” explains grew up in the era of pictures, as films were called in Shujaat Khan. “Like, ‘Shujaat sings this line once; Asha Raj-era India. It was a transitional world of Silents, sings this line three times; Shujaat sings line number Partial Talkies and One Hundred Per Cent Talkies. Their father’s sudden death in 1942 forced the family to move, finally relocating to Bombay where Asha’s eldest sister “Here nothing is fixed. It’s just Lata established a toehold in its booming film industry as one of the open-secret playback singers who put eye contact, feeling and how words in lip-synching actors’ mouths – uncredited in case, as industry moguls feared, audiences were turned you feel.” off and stayed away. Asha Mangeshkar made her first cinematic entrance three; Asha sings line four…’ Here nothing is fixed. It’s aged 10 in the Marathi film Majha Bal. She liked the just eye contact, feeling and how you feel. That’s the singing but not the acting, which nipped acting in the whole fun of it.” bud very early. Only in 2011 did she give it a second Asha Bhosle (the family’s preferred spelling over chance for the film Maaee (‘mother’, more colloquially Bhonsle) is a stalwart of the Indian film industry – and ‘mum’). Days before Maaee’s ‘going on floors’, jargon not only the one later nicknamed Bollywood. Born Asha for shooting, that April, she confides, “It’s a mother’s Dinanath Mangeshkar in September 1933, she and her role. And I’m a mother, so I don’t have to act. I thought four siblings would recontextualise the Mangeshkar now I’ve done playback singing, shows, everything – name. Their father Dinanath Mangeshkar worked apart from one area and that was appearing on the big in Marathi- and sometimes Hindi-language drama. screen.” With a view to advancing his professional status, he She is a musician who genuinely deserves the title adopted the gotra (sub-caste) name, a species of Hindu of legend. After all, she has recorded more songs than

16 PULSE — SUMMER 2011 becoming a manager on an Assamese tea estate – as hand-picked a way to go stir crazy in them thar hills as human brain could devise. But he read his tea leaves, persevered and emerged as arguably the deepest and finest next-generation sitarist of the late twentieth century. With the Iranian kamancheh (stick-fiddle) maestro Kayhan Kalhor, he fronted Ghazal, an ensemble dedicated to finding common ground between the related Persian and Hindustani modal systems and their improvisation-based forms. But let’s rewind. Before Shujaat made his name in Hindustani classical music, he pounded the Bollywood treadmill, too. People, especially people with regular pay packets can afford to look askance at classical musicians lowering their standards (surtitles: ‘dumbing down’) by taking other musical work. What looks like the allure of the profession from the outside looking in must be balanced by the freelance musician’s need to put food Asha Bhosle and Shujaat Khan photos: Janio Edwards of GDM on the plate. Thus, for every piccolo trumpet solo that excited people’s imaginations or got him into obituaries worldwide – the session in question being the Beatles’ Penny Lane – David Mason put in unnumbered hours of rehearsing and bum-numbing trumpet chair work in orchestral settings, sessions and so on. India was no different. Top-ranking soloists and musicians starting out alike jumped at the chance of film work. A far from comprehensive bead-roll of classical talent might include Begum Akhtar, Zakir Hussain, Hariprasad Chaurasia, Ali Akbar Khan, Rais Khan, Vilayat Khan, Ravi Shankar, Shivkumar Sharma and Parveen Sultana. Famously, the music-director Naushad Ali (Asha: “A very great musician. He was very disciplined and a very nice person”) after much pleading even enticed the stone-walling purist Bade Ghulam Ken Hunt has worked any musician in history. Musically speaking, she is a Ali Khan to sing live to screen during the delightfully with Asha Bhosle on three risk-taker, a role originally foisted upon her during named ‘feather scene’ between the prince and his projects, two that won Grammy nominations her early years as one of many low-ranking playback beloved Anarkali in K. Asif’s Mughal-e-Azam (1960), and the third with her the year Shujaat was born. and the Kronos Quartet’s Shujaat explains, “See, I grew up in a family where re-interpretations of R.D. Burman’s Hindi and Bengali “…She has recorded more my father was a great, big, old legend of his time. I was film industry legacy. not star-struck, so, when I finished school and started songs than any musician in working with backgrounds in movies, very often I used history.” to go to the studio and they’d give me my piece and we’d wait for the singers to come. Ashaji or Mohd. Rafi singers in Bombay. With three children to support – her or Kishore Kumar used to come, sit in their different first, Hemant, was born in 1949 – and as the family’s room – because we were just musicians. Very often she de facto head breadwinner, she took whatever ‘pot- came, she worked and she went away. There was no boiler’ singing jobs came up. Bombay’s studios, film- connection between her and us.” makers and ‘music-directors’ (composers) operated a preferential and hierarchical system. It opened doors so long as the face fit and slammed them shut if it didn’t. “I have a space, a very small It took years for her to be recognised and championed. pond but I’m the king of that By then risk-taking was a default disposition hot- wired into her psyche and creativity. It was made pond.” most deliciously manifest in her singing for her second husband, music-director Rahul Dev Burman, and her Although he found himself on the same sessions as singing for the actress Helen. her on occasion, this dividing line was firmly in place. Shujaat Husain Khan is the son of one of the most Trespassing was not an option, so long as he retained magisterial sitarists of the twentieth century, Vilayat his anonymity, rather than admitting to being Vilayat Khan. He first performed in public in 1966 and on Khansahib’s son. In March 2004 his father died and five his parents’ separation he lived with his father, who years on, he contacted her about celebrating his father’s memory. She agreed to attend and sang. The next day when he went to thank her again and say goodbye, “…Risk-taking was… deliciously manifest she threw the prospect of doing something together musically into the ring. “I was overjoyed,” he chirrups. in her singing for her second husband, “I have a space, a very small pond but I’m the king of music-director Rahul Dev Burman.” that pond. I play classical music and some Sufi and folk and what I do no-one else does. C’mon, she’s twice my doubled as his guru. Music was in his bloodstream but age and a legend. Everyone wants to do something with he attempted to kick against the pricks and get out of her. I couldn’t’ve had the courage to go up and say that music. He considered, he told Deepak Raja in 1996, she and I should do something together.”

SUMMER 2011 — PULSE 17 ASHA THE RISK-TAKING LEGEND

It gelled, his role becoming one of sourcing and putting together Naina Lagaike’s Hindi-language repertoire and the accompanying musicians. “Naina mean ‘eyes’,” he translates for anyone whose Hindi is rusty, unnuanced or non-existent. “Naina Lagaike would be the locking of the eyes, so the meaning of the song [title] would be, ‘I rue having locked eyes with you’.” The decision was reached to record live in the studio eye-to-eye. Shujaat winkled her out of her comfort zone, so to speak. The material he brought to the table included a Enhancing song that appeared in two versions on his Waiting For Love (1998). Called Aaja Re Piya Mora (‘Come back my love’) there, on Naina Lagaike it is titled Aaja Re Piya (‘Come back love’). In some ways it is the album’s signature song, perhaps even over the title song that Roehampton University’s Dance appears in three versions for solo singer and duo. His Department has been declared classically inflected sitar part sets the scene before they indulge in a call and response passage. Then nearly a ‘number one in the field of dance minute in, electric bass re-positions the performance research’. Its alumni include firmly within the ‘modern song’ genre. Step by step other instruments enter. The full team consists of his performers, choreographers and regular tabla player, Amit Choubey, his son Azaan entrepreneurs. Dr. Avanthi Meduri, the Khan on guitar, flautist Ajay Prasanna, Bheem Rao on dholak and arranger-orchestrator Upmanyu Bhanot on Convenor of the MA and Postgraduate whatever else was needed to finish the portraits. courses describes what is on offer “Having worked with Ashaji on three projects, most notably her two Grammy-nominated recordings, she for dancers looking towards making and I know each other some. The first was her and her careers in the wider field of dance guru, the sarod maestro Ali Akbar Khan’s bandish (fixed composition) classical project Legacy (1996). The second was You’ve Stolen My Heart (2005), her and the Kronos Quartet’s re-interpretations of R.D. Burman’s Hindi and ost readers of Pulse know that a postgraduate South Asian Dance Studies (SADS) course is offered at Roehampton “So, it’s (improvisation) fun and University. But how many understand its it’s new for me.” relevanceM to dance practice or production, whether it be in India or the UK? In the course of this article I would Bengali film industry legacy. Candour is a watchword. like to take the opportunity to describe how the MA and She corrects my faulty Hindi pronunciation and I tell her the Postgraduate certificate in SADS may be useful to that Naina Lagaike is a grown-up project, reflecting the you as dance-makers, choreographers and teachers, and dignity of the artist she is now. Remixes and retreads of equip you to work broadly as ‘cultural entrepreneurs’ in filmi sangeet are not my thing.” the rapidly-expanding South Asian Dance sector. How does she feel about the project? “At first I Briefly, the South Asian Dance MA was launched as was not really happy,” she answers frankly. “And a a new international postgraduate research programme little bit afraid. I didn’t know Shujaat; I didn’t know at Roehampton in autumn 2005, following the huge his musicians. But after one rehearsal, after that I success of the large-scale Leverhulme-funded SaDiB had confidence that it could be good.” In the spirit (South Asian Dance in Britain) research project led by of the Stage Sound studio sessions, the concerts Professor Andree Grau at the university in 2001. The allow spontaneity. “On stage it’s not rehearsed,” she SADS MA does not exist separately but is part of a cluster continues. “We don’t know what they will play. They of seven dance MAs. In the recently-published National don’t know what I’m going to do when I’m improvising Research Audit (2008), Roehampton Dance Department in a song. So, it’s fun and it’s new for me.” So, is it an was assessed as number one in the country for dance adventure? With comic timing, she says, “Sort of!” research, and South Asian Dance Studies was declared an before bursting into laughter. ‘area of excellence’. This acknowledgement is significant One of the most welcome aspects of the Naina as it demonstrates that South Asian Dance has come of Lagaike experience is their eagerness to take risks on age, not just in mainstream British dance production stage. Talking the morning after its public unveiling but also in higher education! To promote the research at London’s Royal Festival Hall in March 2011, Shujaat vision of the Department, Roehampton offers two says, “One of the pieces I started had a completely graduate bursaries: an AHRC bursary for professional different pitch. She looks at me and it was, ‘Really, dancers, and a specific bursary for South Asian Dance. you want me to go that high? OK…’ I don’t know why The latter, offered by Milapfest, the UK’s South Asian people are presenting music as if it’s a presentation Arts Development Trust, was set up in 2010. Urja Desai where everything is absolutely set up and fixed. C’mon Thakore from the UK and Sabina Sweta Sen from Poland man, where’s the element of fun and spontaneity and are recipients of the award this year. pleasure gone from our lives? You make a mistake on I joined the Roehampton dance team from India/ stage? Laugh!” the US and was asked to lead on the programme. Since With thanks to Anand Bhosle, Atul Churamani, we are living in what we call the age of globalisation, I Sareata Gindha and Scheherezade King at Saregama. conceptualised a global arts pedagogy for South Asian Photography: Janio Edwards of GDM, courtesy of performing arts including classical, contemporary and Saregama. popular forms like Bollywood and Bhangra. We created

18 PULSE — SUMMER 2011 ENHANCING DANCE CAREERS

Dance Careers through Research Enhancing and Reflection Dr Avanthi Meduri | Photo 1: Courtesy the artist Dr Avanthi Photo 2: Courtesy Milapfest

this pedagogy by taking as inspiration the work and ‘pratice-based submission’. Shrikant Subramaniyam, vision of contemporary/classical Indian and British Asian for instance, completed a ‘practice as research’ choreographers, dancers and dance teachers. These dissertation focused on the emergence of the male include Akram Khan, Shobana Jeyasingh, Pushkala dancer on the global stage. Divya Kasturi and Urja Gopal, Mavin Khoo, Hari Krishnan, Nina Rajarani, Desai Thakore have also taken this option and will Sonia Sabri, Anusha Subramaniyam, Kumudhini Lakia, present their practice dissertations in summer 2011. Mrinalini Sarabhai, the late Chandralekha, Rukmini Mavin Khoo, enrolled on our PhD programme, Devi Arundale, T. Balasaraswati, Ram Gopal and Uday will be pursuing a ‘Practice’-based dissertation on Shankar, to name but a few. bharatanatyam, while Suparna Banerjee is working Drawing on my doctoral research completed in towards a traditional PhD on South Asian dance. the US in the late 1990s, and the pioneering work of In addition to the MA, Roehampton now offers a dance scholars in Britain, we positioned Indian dance Postgraduate Certificate in South Asian Dance Studies. production within the globalising framework of This introductory or taster programme, compressed South Asia and focused on themes revolving around into three months, is aimed at professional dancers dance modernism, dance migration, dance history, who do not have the time to pursue full-time study. British multiculturalism, diversity, dance politics, We offer this foundation course because we think it and British/Indian arts policy. How are cultural will be useful to South Asian dance teachers, students traditions preserved and transformed in the British, and choreographers, and also to students interested in American and South Asian diaspora? What links these arts management, arts administration, arts curation, diverse productions? Does travel change the historical dramaturgy and arts journalism. This certificate, identity of dance traditions? These are key questions combined with an ISTD (Imperial Society of Teachers that students research at Roehampton. Since arts of Dancing) qualification or even an arts management organisations helped mainstream South Asian dance, degree can create professional pathways for South Roehampton students research the work of national Asian dancers and aspiring arts managers and organisations like Akademi, sampad, Kadam and producers of culture. Milapfest, and write research papers on the unique Although the South Asian Dance MA has manner in which they mainstream and develop South generated international interest, the programme Asian arts within the multicultural fabric of Britain. has not recruited as well as we had hoped, perhaps Since its inception the programme has attracted because South Asian students are unaware of practitioners and all have used their academic degrees career opportunities available to them in Higher creatively to create new profiles for themselves. Education. I believe it is time to think outside the Graduates of Roehampton include Paya Ahuja box and embrace the positive benefits of acquiring (India/Australia), Shrikant Subramaniyam (India/ an academic/practice degree or certificate in South UK), Shalini Bhalla (Kenya/UK), Jasmine Lail (UK), Asian Dance Studies. As a researcher/practitioner, I Madeleine Hull (USA), Rupa Nathwani (UK/India), would be delighted to enter into such a dialogue with Divya Kasturi (India/UK), Urja Desai Thakore (India/ the South Asian dance community and forge new UK), and Sabina Sweta (India/Poland). Students collaborations that could help us expand the South enrolled on the programme have the option of writing Asian arts sector, both within local communities and a dissertation as part of their final assessment, or as a Higher Education practices.

SUMMER 2011 — PULSE 19 song of the city - unconventionally Tagore 150

5th - 6th August 2011, Southwark Vaults

For more information visit our website at www.akademi.co.uk

Tickets: £10 REVIEWS — DANCE

Dance Performances artists: first tentative and then piece that demonstrated Sabri’s frontal and did not achieve the increasingly more confident vision of expanding kathak into exploration of space suggested as they engaged with each new territories, particularly to in the introduction. However, Kathakbox other’s artistic discipline. From embrace the urban environment the choice of movement 17 February 2011 Geering’s hip-hop sequence so that Kathakbox becomes the vocabulary gave the item an Sonia Sabri Company that involved him balancing song of Birmingham. engaging thread of tension: a Mac, Birmingham on his head while his torso The performance left the playful push and pull pervaded Reviewed by Shezad Khalil and legs were slanted towards viewer hungry for more, a the choreography, which the adjacent box, to Marcina sequel perhaps? successfully showcased the he seventy-minute Arnold and Shan Bansil’s dancer’s crisp, fleet footwork. world premiere of expressive musical vocalisations In an Oriya Champu Kathakbox at the and beatboxing exchanges, Sutra – Creativity in choreographed by Guru mac, Birmingham was Kathakbox ‘challenged’ the Tradition Tthe result of an eighteen-month frontiers between static and 8 May 2011 project, led by British-based ‘fixed’ traditions of both dance Arushi Mudgal kathak dancer/choreographer and music. The Lowry, Salford Quays Sonia Sabri. Featuring seven The most interesting Reviewed by Katie Ryan artists-collaborators including elements were the new Sabri herself and musician- conversations by artists taking ondon audiences husband Sarvar Sabri, it took on unfamiliar forms and missed out in May place and to an excited and lending a new twist to their as the North-West expectant full house on the personal dance and musical was treated to a Company’s home turf. vocabularies. For instance, Lfeast of odissi, performed by Kathakbox successfully in one particular section of Arushi Mudgal – the recipient Arushi Mudgal | Photo: Courtesy Milapfest portrayed the ‘meeting points’ or Kathakbox, the audience of Milapfest’s 2010 International the artistic parallels between the witnessed how all of the artists, Touring Fellowship. In recent Kelucharan Mohapatra, Arushi performative genres of kathak, regardless of their dance training years, the 24-year-old niece showed that her talent for contemporary dance, hip- (Amayra Fuller and Suzanne and student of celebrated odissi clarity and articulation is not hop culture, spoken word and Grubham, contemporary artist Madhavi Mudgal has been confined to her execution of beatboxing, making a case for the dancers), executed the tatkar; establishing herself as a talented nritta, as she adeptly portrayed relevance of kathak in a twenty- the rhythmic compositions of soloist. With impressive stamina the layered characterisation first-century multi-cultural, kathak, and how they altered and confidence, Arushi sailed of a sakhi mocking Radha for multi-linguistic and multi- these cadences through the use through a programme of six her lovelorn behaviour. Arushi of clapping with their hands items with ease and mastery, imparted a jovial scorn of a and body parts rather than the engaging both South Asian friend as the sakhi compared conventional employment of dance fans and newcomers to Radha’s pursuit of Krishna to footwork. Even though this the genre. Arushi presented that of a dwarf attempting to device of striking body parts choreography from three pluck the flowers of heaven. for rhythm creation has already generations of artists: the Arushi added a suitable touch of been executed in many of Sabri’s pioneering Guru Kelucharan comedy to the role as a teasing previous compositions, its use Mohapatra and his disciple sakhi, her warm and accessible here was particularly striking. It Madhavi Mudgal, plus her own performance defying any also reiterated Sabri’s vision of creative work. cultural or language barriers. the inter-connections between Opening with an iconic This accessibility would these artistic modes. Guru Kelucharan Mohapatra have been enhanced throughout Sonia Sabri and Suzanne Grubham | Photo: Simon Richardson The second skilful and piece, Ardhanarishwar, Arushi the evening had Arushi simply movement-based Britain. enjoyable feature was the use showed perfect poise and a reduced the pace of her Not narrative-driven, of humour throughout this mesmerising centredness. With poetically and concisely-worded but rather a vocalisation of a composition. For example, in one rock-solid balance, her leg introductions. Her audience hybridised dialogue between arrangement Sabri and Geering movements were as articulate as would have benefitted from various artistic styles and how took it in turns to exhibit the her arms as she executed poses more time to absorb each new they correlate and overlap conventional aspects of kathak depicting the contrasting male idea, especially when dealing formed the main thrust of and hip-hop, but could visually and female energies of Shiva with an unfamiliar narrative. the piece. A key element laugh at themselves and the and Parvati. Conveying the Madhavi Mudgal’s running throughout was confinements of the ‘tick-box’ required masculinity of Shiva’s beautifully composed Vasant the confrontation of the culture that they reside in. Tandava is a daunting task for from Kalidas’ Ritusamhara ‘tick-box’ culture. From the Also worthy of mention was a dancer of slender stature, ended the first part of the opening motif of each artist the sweet and sharp text of poet but as Arushi moved from the programme. With a long shloka occupying their position within Zena Edwards and delivery in more static section to rhythmic setting the scene, the dancer a square, each performer, in song lyrics by Marcina Arnold compositions, her strong roamed about the space, turn, demonstrated his or which raised the quality bar footwork gave the performance allowing time for each new her particular skill. This was of the experience. The fact the necessary authority. image of spring to develop. It mirrored by the chessboard that there were no musical Choreographed by the was particularly captivating check design suggesting instruments, not even the dancer herself, Bageshree was to see the agitated bees’ flight identities confined and ubiquitous tabla, and that all introduced as exploring the as Arushi’s hands trembled, constrained by boundaries, music was generated by the architectonics of the dance circled and danced around each too anxious to think and move vocal chords of dancers and form. Although there were other. With effective use of ‘outside the box’. musicians was another first for tantalising moments where space and projection the dancer However, as the performance South Asian dance. the dancer posed facing away evoked an idyllic spring setting, developed, there was a Overall, Kathakbox was a from the audience, generally which remained in the mind’s loosening-up between the thoughtful and entertaining the choreography was very eye during the celebratory

SUMMER 2011 — PULSE 21 REVIEWS — CDS

rhythmic conclusion. CD Reviews and the moment. That is highest chamcha (sycophantic) designs. The highlight of the evening praise. Previously, I had marked The Madurai-born, Carnatic came after the interval, her out as an accompanist in singer Madurai Shanmugavadivu with Kumarasambhavam, Carnatic Jazz art music contexts. Here she is Subbulakshmi (1916–2004) another epic poem by Kalidas, Dr. Jyotsna Srikanth joined by flautist Ravichandra was one of very few for whom choreographed by Madhavi Swathi Soft Solutions Kulur, Arun Kumar on rhythm ‘greatest’ could, should and – Mudgal. The subject of Parvati’s Reviewed by Ken Hunt programming, sitarist Suma Rani, because she lives on through extreme penance to win the Praveen D. Rao and Shadrach recordings such as this – can be heart of her beloved Shiva he principle of Solomon on keyboards. Given used justifiably. Surdas Bhajans is a narrative less familiar to Carnatic jazz is fairly those credits, it is presumably comprises twelve Surdas-themed odissi audiences. The first part long-established. Kumar who contributes the settings recorded live in Calcutta of the composition depicted By that, let’s agree mooring (Jew’s harp), an at the Vidya Mandir’s Prayer Hall the episode of Kamadeva’s Ton a fusion of the Carnatic instrument that counts as on 23 September 1978 with P.S. destruction to ashes on – also Karnatic – art music percussion in the South Indian attempting to rouse Shiva from tradition system of South India firmament. The album opens meditation. Then, in three and jazz – predominantly, with ‘Haunting Thoughts’, a piece succinct sections aided by maybe exclusively jazz in its harnessed to ragam ‘Sallapam’ atmospheric lighting, Parvati post World War II, multi- which to the forefront at the was shown serenely enduring cultural manifestations. The beginning, at times wittily edgy, the trials of exposure to fire, commonality, the common at times so subtle as to be hardly mountain-top storms and ground is that both extemporise noticeable, runs through the piece immersion in the ice-cold to varying degrees on the three like a pulse. water of a lotus pond. The sense organising principles of melody, What is especially good about of devotion and drama was rhythm and harmony. And Carnatic Jazz is the way Srikanth well conveyed. A hint towards many people deem that common fills the head with ideas. The MS S | Photo: Courtesy the publisher Parvati’s suffering might add principle to be enough. It is not melodic variations in, notably, a note of more humanity to enough. Better put, it is no longer the album’s eighteen-minute Srinivasa Rao accompanying the portrayal. With a complete enough because the bar was centrepiece ‘Folk Dreams’ (“a on harmonium, uncredited sense of the context, the raised in the 1970s with, say, Stu South Indian folk theme”) percussion (notably mridangam) audience was brought to the Goldberg, Larry Coryell and L. resonate especially well in food- and Radha Viswanathan crux of the piece: a dialogue Subramaniam’s Solos-Duos-Trio for-thought ways. You cannot supporting vocally. Née Radha between Parvati and Shiva and most important of all, Shakti. pre-conceive this music. It has to Sadasivan, she is her mother’s disguised as an ascetic. Again contain spontaneous composition daughter. When she comes in Arushi successfully portrayed around themes. The opening on ‘Madhuban Tum Kyon Rehat the complex characterisation pianistic inventions (alas, the Hare’, for example, her unison of Shiva as he acts out a role credits are pretty useless) act vocalising creates an uplift and mocking himself and discretely as a prologue before she reveals quite different vocal dynamic. reacting to Parvati’s flattering herself; by the end rhythmicality It’s to do with heightened- responses. Cleverly, as the is the watchword. It feels more artistry buzz that only blood-kin dialogue progressed, the like a pan-South Indian folk delivers – whether that is, to do dancer switched between the theme than anything specific, but a western number, dear readers, roles of Parvati and Shiva with I have been wrong before. the Bee Gees, the McGarrigles, increased frequency, allowing It is not a complete the Watersons or the Stanley the presence of two separate thumbs-up. It is hard to Brothers. At this recital M.S.S. was characters to grow stronger. At Carnatic Jazz | Photo: Courtesy the publisher justify this in writing, but one week to the day past her 62nd the point when Shiva’s identity It is not entirely accidental the percussion programming birthday. Her youthful voice had is revealed, one feels a tangible that violin has played a signal sounds too tabla-esque. On changed, had deepened – as had sense of both characters. As role in those two highlighted this crew’s next voyage – her command of her repertoire the lights fade Shiva’s presence cases. L. Subramaniam and, and there must be another and her interpretative skills. is defined in the space created in Shakti’s case, his brother L. – stronger mridangam, Surdas was a blind seer by the dancer as Parvati: eyes Shankar created new ways of ghatam or even thavil (supposedly) and epigram- closed with her face uplifted in expressing Carnatic sensibilities. sonorities are advised. strewing Hindu poet-composer rapture towards her beloved. In the subcontinent the violin is a Beginning with ‘Insight’ based associated with the bhakti In her self-choreographed borrowing on long-term loan but on ‘Chakravaka’ through (devotional) tree of reforming finale,Aahlad , Arushi really took one especially dear to southern to the concluding bleep Hinduism and Krishna worship. the brakes off: weaving through hearts through its employment rhythmicality of ‘Penta Tone’ He was also associated with its the space in extended phrases in art, religious and demotic – based in ‘Ratipatipriya’ – saguna branch. This addressed of continuous movement. The musical forms. Those brothers Jyotsna Srikanth creates a the paradoxes of illusion on the unpredictable use of phrasing succeeded because they had the remarkable journey. Truly an earthly plane through theological and exciting leaps gave the brief wit and imagination to be alert advance on the chessboard. metaphors, including both the static moments punctured by to the tradition, the day and entrapment of the senses and crisp gestures and glances all the moment. But when balance how we use our senses – fittingly the more impact. Conveying tended towards the day, there Surdas Bhajans for Surdas, especially darsan the authentic joy of an artist were spectacular train crashes… M.S. Subbulakshmi (‘sight’). Surdas, idiomatically comfortable in her own skin, Nobody – big word – remembers Charsur Digital Workstation ‘slave to sound’, was a late Arushi Mudgal is a performer the Epidemics with fondness. Reviewed by Ken Hunt medieval saint-composer whose who approaches every aspect Jyotsna Srikanth represents life was first described in a of her dance with conscientious one generation on. On Carnatic n some fields of music it is hagiographical, sectarian work detail and depth coloured by her Jazz she distinguishes herself possible to use a superlative attributed to Gokulnath but infectious vivacity. as alert to the tradition, the day like ‘greatest’ without fear whose life and works spiralled I of charges of partiality or into the stuff of bigger legend, 22 PULSE — SUMMER 2011 REVIEWS — MUSIC

including roping in the Mughal have known. Given the chance, gist, ‘Mishra Piloo’ as its back- Raag Jaunpuri followed. emperor Akbar (much like tales he would revel in cooking Bangla garden trampoline. It brought But again it failed to elevate of Robin Hood rope in King John dishes – fish with everything – to the fore the sensitivities of myself or the audience who, by and Richard the Lionheart). Now from start to finish. When the Anubrata Chatterjee (another now, should have developed read on… chamchas – the ‘spoons’ (literally son, in his case, of the tabla- a rapport with the artists Listening to archival and metaphorically) that ladle player Anindo Chatterjee) – through spontaneous verbal recordings of whatever out sycophantic praise – weren’t incidentally the Darbar festival provenance frequently calls for there to hosanna his every literature’s proofreading a suspension of audiophile ears kitchen move because it was Him proved pretty lame – and Alam (whatever that means) and this that had cooked, you could see Khan with some fine call- M.S.S. recording is no exception. that he was so at ease in his own and-response interludes. Its The point is that ears attune and skin – the maestro, whom Yehudi concluding segue or fantasia, adjust. That will happen as you Menuhin described to me as the sometimes known as a garland listen to Surdas Bhajans. One greatest musician on the planet, of ragas, flew. Alam Khan is thing that you can leave like shoes and the maker. never going to be his father, at the threshold is presumptions So, clearly there could have however much or how long he of perseverance and weightiness. been no pressure on his son, Alam plays sarod. However curious This is too easy on the ears to Khan, born in 1982, to deliver a that may sound, that is part of Arati Ankalikar-Tikekar | Photo: Courtesy Sursagar flickr.com count as work. This songcraft recital with this concert’s title. the joy of what happens from runs like the sheerest silk scarf The first ‘half’ of the recital was father to son. Speaks a father. and physical appreciation. through the fingers. a well-chosen, sunny afternoon Loved the concert. At one point, Arati was And another thing, now ‘Bhimpalasi’ eventually unfurled directing the tabla player on you ask. This recording presents in 16-beat teentāl. His opening what to play. Not right. Young a less familiar side to M.S.S.’s ālap movement was really good, a Serene Morning Ragas Anubrata, son of the illustrious work. Each composition is set in gentle unfolding with some lovely 23 April 2011 Anindo Chatterjee – brought a northern Indian raga – Desh, wa-wa (‘excellent’) expressivity. Arati Ankalikar-Tikekar in at the last minute to replace Behag, Bageshri and so on – but Par for the course, given that his Kings Place, London the tabla-player programmed she delivers them in a delightfully old man called one of his finest Reviewed by Kulbir Natt in the brochure – was looking a inflected ‘foreign’ accent. Imagine albums Ustad Ali Akbar Khan little uneasy. the seductiveness of a Frenchman Plays Alap. But the way he s it possible to go to The next two pieces were or woman purring in your ear in revealed the jōr – the movement any concert without short and more enjoyable. accented English. Go on: it’s as with unmetered rhythm that expectations? Arriving Mirabai’s famous bhajan Mhare naughty as a second helping but many Hindustani audiences at the Darbar Festival, Ghar Aao Ji, and a wonderfully it’s very nice indeed. Plus, there is kinda ho-hum through – was expectationsI of a memorable light classical song celebrating humour in the way ‘Muraliya Ab exquisite. I repeat the word concert were high. These the first month of the Sindhi Kaahe’ ends with its slinky outro exquisite. Any narrative that is were formed by seeing Arati year Cheti Chand, describing slide. When mother and daughter being told needs introductions – Ankalikar give a fabulous nature and a newly-awakened finish, you can see the smiles on characters, settings and motives, performance a few years ago yearning for the beloved. At this their faces. Eidetic artistry. that sort of ālap thing – but then in Mumbai (faint traces of it stage, Arati became aware of it needs its plot development or re-surface every now and again pakhawaj-player, Omkar Dalvi, jōr, as we Indians call it – before in my memory). There were seated just behind Anubrata. Music Performances the denouement. However much also expectations set by Darbar, “Oh, you were there,” Arati he is steeped in the family’s which has regularly presented says in Marati. (I don’t think the musical tradition, Alam Khan is some outstanding concerts over audience was not meant to hear ‘A Tribute to Ustad Ali not his father. Clearly the deal several years. this.) As I left the auditorium to Akbar Khan’ is him delivering a different sort Sadly, the event did not the stirrings of raag Bhairavi, 8 May 2011 of deal. Yet his ‘Bhimpalasi’ still live up to these high hopes. It my thoughts turned to how Alam Khan was at best a routine concert, important it is for the artists Kings Place, London which at times appeared a bit to gel together, or at least rise Reviewed by Ken Hunt disjointed. Beginning with raag above minor irritations to Ahir Bhairav, Arati gradually present a polished performance. hat amount of picked up the tempo to long And maybe one should leave courage and sustained notes that enveloped one’s expectations outside. focus does it the beautiful oak-panelled Postscript…Unlike most take to get up auditorium at the Kings Place. UK concerts, this concert was onW stage and perform? Of all The hand gestures began to flow a morning performance that the many – and I mean very but then, during a break for a allows artists to play raags many – supreme musicians, it bit of tabla-tuning by Anubrata specific to the time of day. A has been my inordinate pleasure Chatterjee, Arati looked conversation with Arati later Alam Khan | Photo: Courtesy Look flickr.com and privilege to sneak an inner distinctly bored. Something in the day was revealing. It glimpse of their world at, the produced a number of chip- was not right. The music concerned how the level of the sarod maestro Ali Akbar Khan off-the-old-block resolutions recommenced but somehow sun (or not, as the case may sahib is contender for the one of the unexpected twist kind, the voice didn’t sparkle, the be), the air and nature affect that (a) educated me the most; resolutions showing an awareness hand gestures became less the mood of different raags (b) illuminated my appreciation of pace, speed and balance, and effusive and several times for played during the 24-hour daily of music (note, not Indian music) two or three that prompted ‘you the rest of the performance cycle. “But,” said Arati, “once the most; and (c) released music little rascal’ smiles. she touched her ear, an you’re in an auditorium it really of uttermost numinosity into The concluding ‘half’ artistic apology perhaps to her doesn’t matter what time of day the world the most. He was also similarly reflected unseasonably Guru, the celebrated Kishori it is outside.” more down-to-earth than any warm, summer-come-early Amonkar, for not getting things other top-ranking musician I sentiments with, if you get my quite as they should be.

SUMMER 2011 — PULSE 23 REVIEWS — MUSIC

Why did you feel inspired to What is a badakhadi? start learning kathak dance? A definite or fixed order of You may be surprised to know compositions presented in the that twelve years before I performance is what we call Pt. Tirth started kathak, I worked in badakhadi, comprising 12 or the theatre in which I was 14 bols. The demonstration commended for my dance. of the bols clearly depicts the Ram Azad During the time I was working gharana’s form. Recently, in the theatre, I went to see this topic was brought up Param Narayan Prasad’s by the well-known dancer Kathak Karyakram in Delhi, and Guru Rohini Bhate in a after which I took the decision seminar. Luckily I had a paper that I too wanted to learn on me in which the badakhadi kathak. for many different gharanas was written on it. On request Of the many different gharanas, I responded by reading it out which would you say is better to the audience, who received known for the particular it well. qualities which have sustained its presence till today? Can you shed light on any one gharana’s badakhadi? Each gharana has its own palette of qualities, some For example take Lucknow emphasise more expression gharana, in which you start where others may emphasise your kathak programme with more speed; however, no vandana and that in which gharana is any less than you use the bol ‘thei ta thei another as it is all these tat ta’ on khaali (matra 9) qualities from all these or matra 13 and according to gharanas that make kathak requirement, you can increase well-known and enable the the matra. The second item dance to expand and develop in the repertoire is amad, further. which has bols ‘ta thei tat, aa thei tat, aa thei tat’. After However, these could be this kramash, salaami, present-day qualities, natwari, paran, amad, tej, whereas some qualities are amad, tihai, gat bhav or some traditionally passed down in bhajan or thumri. Following the gharanas. What is required that in drut laya: paran, to differentiate a particular chakardar paran, parmelu, gharana from the rest? ladi towards the end of the performance. This way In this day and age this seems the type of sequenced bols quite difficult, because in the comes inside this badakhadi. process of everyone accepting Similarly every gharana has and appreciating each other’s its own type of badakhadi, qualities, they’ve ended up which according to the type mixing them! Still there are of programme can be adjusted certain things, which in the slightly; however, not to a

Pandit Tirth Ram Azad | Photo: Courtesy the Artist’s estate bigger picture, portray and greater extent, as it has to highlight the differences of a follow the kram (sequence). gharana; for example the use If it is done in a sequence Bhavo Ki Alag Hi Bhasha Hoti Hai of the limbs, of the particular completely outside its kram bols of the gharanas, things then the dance is not really Expression has its own language like that still define each referred to as pure original gharana today. dance, hence why some qualities still define each The late kathak dancer, teacher But the bols depend on the gharana and yet cannot be and scholar Pandit Tirth Ram Azad pakhawaj or an expressional mixed. was associated with some of India’s song, which may be commonly used by many people. Abhay Shankar Mishra belongs to best-known dance institutions and an established family of Benaras contributed three seminal texts Yes. This is correct and tabla gharana. He trained under keeping this in sight, many great Gurus like Pandit Birju on kathak. Here he talks to Abhay different gharanas’ famous Maharaj, Smt Urmilla Nagar and Shankar Mishra and throws light on dancers have made their own Pandey Maharaj. Abhayji has been different badakhadi for their the resident kathak teacher at the the concept of the badakhadi that own gharanas. Bhavan, London for the last ten defines the gharana. years. www.abhayshankar.com

24 PULSE — SUMMER 2011 Open Minds

In the fi eld of dance, Roehampton University is world class. Not just our words, but those of the Government’s Research Assessment Exercise, which placed Roehampton’s dance department ahead of every other university in the UK.

We are a large and vibrant community of staff and students with a passion for dance. We’re renowned for cutting-edge choreography and performance, a reputation earned by the quality of our teaching and our world-leading research.

Visit us at www.roehampton.ac.uk/dance call 020 8392 3232 or come and see us. You’ll fi nd details of courses as well as performances on our website.

Postgraduate courses in dance include: MA Ballet Studies – MFA Choreography – MPhil/PhD Dance – MA Dance Anthropology – MA Dance Studies – MA South Asian Dance Studies

And new for 2011: MRes Choreography & Performance – MA Community Dance – MA Teaching Dance: Science & Art Open Spaces. Open Minds. www.kikuchi-online.com designed by kikuchi www.pulseconnects.com