India Dance Brochure

Total Page:16

File Type:pdf, Size:1020Kb

India Dance Brochure About the Mamata Shankar Ballet Troupe: Florence High School’s Creative Writing Program teaches students to write for The Group follows the style evolved by Uday Shankar, which has the inherent grammar of Classical Indian dance and yet is innovative, contemporary and not shackled with the moors of rigid classicism. publication. Students write poems, short stories, essays, and one-act plays which The graceful body movements are blended with the idiom of vibrant folk dances of India to attain a are entered into local, state, and national writing competitions. Creative Writing statuesque quality of lyricism. The group believes that dance inculcates the feeling of love & compassion, students also write, edit, design, and publish Signatures, Florence High School’s gives a meaningful dimension to human emotions, and binds the mind and heart of the youth to the award-winning literary-arts magazine. cultural heritage and tradition. About Mamata Shankar: The mission of the Bengali Association of Huntsville is to educate the communi- Mamata Shankar is the Principal of the institution. She is an accomplished dancer, choreographer, and an ty about the culture and heritage of Bengal and its neighboring regions through actress. She has trained in Bharatanatyam, Manipuri, Kathakali, and the Uday Shankar style of dance. She educational, cultural, and recreational activities. is the daughter of Uday and Amala Shankar, wife of Chandrodoy Ghosh, niece of Pt. Ravi Shankar and sister of Ananda Shankar. Shoals India & South Asian Association (SISAA) is a non-profit organization About Chandrodoy Ghosh: based in the Shoals. SISAA’s primary mission is to enhance awareness about Chandrodoy Ghose is the Founder-Director of MAMATA SHANKAR BALLET TROUPE. After receiving the rich traditions of India and its neighboring countries. the basics of music at Santiniketan (the institution founded by Nobel-laureate, Rabindranath Tagore), he learnt Kathakali and the Uday Shankar style of dance forms at the UDAY SHANKAR INDIA CULTURE CENTRE in Calcutta, under the guidance of Mrs. Amala Shankar. He led the Indian Cultural delegation to China, Mongolia & Japan (1985), Maldives (1989) and to WEST INDIES & GUYANA (1997). Admission: Members of the Troupe: Ms.Amrita Bhattacharya, Ms.Payel Chakraborty, Ms.Sreeparna Chatterjee, Mr.Bidhan Roy Chowdhury, Reserved: $25 Ms.Adrija Dasgupta, Mr.Ratul Shankar Ghosh, Ms.Sreya Mahanta, Mr.Dhruba Mitra, Mr.Jubin Mitra, General Admission: Advance $12; At the Door $15 Mr.Krisnajit Munshi, Ms.Sudeshna Nag, Ms.Oendrila Roy, Mr.Rudra Prasad Roy, Mr.Asit Sengupta, and Mr.Netai C.Sett. Students: $10 (At the Door) — Limited Availability Performances: The Troupe has performed in major cities of the USA including New York, Washington Children: No Charge for 12 and under D.C., Baltimore, Atlanta, Miami, Fort Lauderdale, Houston, Lubbock, Nashville, Buffalo, Pittsburgh, Ticket prices include a sample platter of "Taste of India" (6-6:45 p.m.) Chicago, Detroit, Cleveland, Denver, Dallas, Los Angeles, San Francisco, St. Louis. In Europe, they have performed in Sweden, Norway, Germany, Finland, France, Greece, Belgium, and in the UK. In addition to these countries, they have performed in Japan, Australia, South-east Asia, South America & the For more information about the event, please email to [email protected]. Caribbean’s, and the Middle-East. Also, visit www2.una.edu/sborah/mamatashankar for updates about the event. Besides performing in Florence, AL this year, the Troupe will be performing in Madison Square Gardens in New York, Washington DC, San Diego, Phoenix, Portland, Kansas City, Houston, Syracuse, Nashville, Cleveland and some other major cities..
Recommended publications
  • List of Empanelled Artist
    INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ
    [Show full text]
  • 1481186712P4M12TEXT.Pdf
    PAPER 4 Detail Study Of Kathak, Nautch Girls, Nritta, Nritya, Different Gharana-s, Present Status, Institutions, Artists Module 12 Pioneers Of Kathak 1930-1950 Pioneers are those who show the path not attempted before. They lead us to light to the new ways of doing something. These are people with vision to fulfill a mission and they are given divine support by history and circumstances to do so. Thus, pioneers are people, ordinary in appearance but with special abilities and mind backed by hard work. Once a form that was long forgotten and got known and established as Kathak, many stars of other forms, most notably Bharatanatyam and Kathakali did much to learn and promote Kathak and help it reach national acclaim. In this, Bharatanatyam trained Ram Gopal, Kathakali trained Uday Shankar and pioneers in films like Menaka and Sadhona Bose took this form further and can be called pioneers, in addition to the generation that followed their example. It would not be wrong to call Uday Shankar a cult figure of the early part of the 20th century. He was a showman, a creator of magical spectacles and a dancer par excellence. He was not a trained dancer, so his movements flowed from the heart. He 1 created the Indian ballet scene because nothing like it existed before. Originally a painter, on his museum visits to delve into books, Uday got fascinated with pictures of sculptures of Hindu gods and goddesses in varied poses. He began imitating the poses. Although unfamiliar with dance techniques, the images provided inspiration to translate into dance movement.
    [Show full text]
  • Central University of Karnataka
    CENTRAL UNIVERSITY OF KARNATAKA Kadaganchi, Kalaburagi-585367 PROVISIONAL FIRST LIST OF CANDIDATES CALLED FOR THE OPEN COUNSELLING ON 14.07.2017 PROGRAMME: INTEGRATED B.Sc. & M.Sc. (NO. OF REMAINING VACANT SEATS 25 = GEN – 10, OBC – 08, SC –05, ST-02) SUPERNUMERARY SEATS: HKR – 3, NCC/NSS/SPORTS -1, WDP -1, PH – 01, KM - 01) CANDIDATE Q.E CUCET SL. NO. NAME OF THE CANDIDATE CATEGORY REMARKS ID MARKS % MARKS 1 124057 APARNA C OBC 96 76.25 2 110812 SOUGANDH K M GM 96.00 73.75 3 199762 SREELAKSHMI OBC 94.40 73.5 4 111795 AHMED SHANIB GM 92.00 73.25 5 187165 ABHIRAMI R K OBC 99.50 70.75 6 173724 PREET RANJAN OBC 69.75 7 102511 ABHIRAMI J J GM 94 69 8 154663 N SHRAVAN KUMAR SHETTY GM 69 9 177333 SNEHA RAJESH GM 94 68.75 10 100043 SHAURYA UPADHYAYA GM 68.5 11 104300 ADITYA RAJ GM 67.75 12 105061 KARTHIKA NAIR GM 87.60 67 13 193133 NASEEF KAMAL T OBC 96.25 67 14 186110 SAMBIT KUMAR BAL GM 77.00 66.5 15 170650 ATHIRA R GM 95.2 66.25 16 130025 JENITH RAJ GM 88.80 65.75 17 200235 SOURAV KARMAKAR OBC 65 18 137982 DEBASHIS ROUT GM 80.16 63.75 19 215090 MANIRATHINAM R OBC 93.8 63.75 20 118860 ARYA KRISHNA T OBC 86.20 63.75 21 143088 LAKSHYA SHARMA GM 75.8 63.5 22 134640 MUHAMMAD MURSHID P P OBC 90.25 63.5 23 101741 ROHIT P LAL GM 63.25 24 105774 MANAS DAS GM 94.80 63 25 213060 VENI KRISHNA A K GM 94 63 26 166667 SYED ALI RIZVI GM 57.8 62.75 27 144528 RISHIKESH P GM 62 28 134559 ASHMIL MUHAMMED ALI GM 93.4 61.5 29 160452 RAJNISH KAUR GM 96 61.5 30 184511 SHUBHAM RANKAWAT OBC 88.80 61.5 31 177542 ADITYA GYANASAGAR GM 89.2 61.25 32 156450 ARDHRA DAS
    [Show full text]
  • The Sixth String of Vilayat Khan
    Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration.
    [Show full text]
  • Exploitation, Victimhood, and Gendered Performance in Rituparno Ghosh’S Bariwali
    EXPLOITATION, VICTIMHOOD, AND GENDERED PERFORMANCE IN RITUPARNO GHOSH’S BARIWALI Rohit K. Dasgupta and Tanmayee Banerjee Rituparno Ghosh (1961—2013) was a filmmaker, lyricist, and writer who first emerged on the cultural scene in Bengal as a copywriter at Response, a Kolkata-based advertising firm in the eighties. He made a mark for himself in the world of commercials, winning several awards for his company be- fore directing two documentaries for Doordarshan (India’s national public television). He moved into narrative film- making with the critically acclaimed Hirer Angti (Diamond Ring, 1992) and the National Award–winning Unishe April (19th April, 1995). He is credited with changing the experi- ence of cinema for the middle-class Bengali bhadrolok and 1 thus opening a new chapter in the history of Indian cinema. Ghosh arrived at a time when Bengali cinema was going Rituparno Ghosh. ©SangeetaDatta,2013 through a dark phase. Satyajit Ray had passed away in 1992 , leaving a vacuum. Although filmmakers such as Mrinal Ghosh, clearly influenced by Ray and Sen, addressed the Sen, Goutam Ghose, Aparna Sen, and Buddhadeb Dasgupta Bengali middle-class nostalgia for the past and made films “ ” contributed significantly to his genre of intellectual cinema, that were distinctly “Bengali” yet transcended its parochialism. they did not have much command over the commercial mar- Ghosh’s films were widely appreciated for their challenging “ ” ket. The contrived plots, melodrama, and obligatory fight narratives. His stories explored such transgressive social codes sequences of the action-packed Hindi cinema, so appealing to as incest in Utsab (Festival, 1999), marital rape in Dahan the masses, had barely anything intelligible to offer to those in (Crossfire, 1997), polyamory in Shubho Muharat (First Shot, search of a higher quality cinema.
    [Show full text]
  • RTI Handbook
    PREFACE The Right to Information Act 2005 is a historic legislation in the annals of democracy in India. One of the major objective of this Act is to promote transparency and accountability in the working of every public authority by enabling citizens to access information held by or under the control of public authorities. In pursuance of this Act, the RTI Cell of National Archives of India had brought out the first version of the Handbook in 2006 with a view to provide information about the National Archives of India on the basis of the guidelines issued by DOPT. The revised version of the handbook comprehensively explains the legal provisions and functioning of National Archives of India. I feel happy to present before you the revised and updated version of the handbook as done very meticulously by the RTI Cell. I am thankful to Dr.Meena Gautam, Deputy Director of Archives & Central Public Information Officer and S/Shri Ashok Kaushik, Archivist and Shri Uday Shankar, Assistant Archivist of RTI Cell for assisting in updating the present edition. I trust this updated publication will familiarize the public with the mandate, structure and functioning of the NAI. LOV VERMA JOINT SECRETARY & DGA Dated: 2008 Place: New Delhi Table of Contents S.No. Particulars Page No. ============================================================= 1 . Introduction 1-3 2. Particulars of Organization, Functions & Duties 4-11 3. Powers and Duties of Officers and Employees 12-21 4. Rules, Regulations, Instructions, 22-27 Manual and Records for discharging Functions 5. Particulars of any arrangement that exist for 28-29 consultation with or representation by the members of the Public in relation to the formulation of its policy or implementation thereof 6.
    [Show full text]
  • Tradition and the Individual Dancer
    1: Tradition and the Individual Dancer History and Innovation in a Classical Form Critical accounts and promotional materials frequently refer to bharata natyam as “ancient.” The dance form’s status as traditional and classical seems to render it fixed, even timeless. A connection to the past appears to be a given for this dance practice. Even on closer examination, a relationship to the past seems integral to the dance form’s identity, its content, and its structure. Present-day bharata natyam choreography draws from the dance practices of earlier decades and centuries. Its movement vocabulary derives from sadir, the solo dance per- formed by temple and court dancers in precolonial and colonial South India. The margam—the concert order that determines when in a program each dance piece appears—was standardized in the nineteenth century by the renowned musician- composers of the Thanjavur Quartet. The roots of bharata natyam extend still further back. For example, the mudras, or hand gestures, used today accord in both shape and meaning with those described in the Natyasastra, a Sanskrit dra- maturgical text, dating from the beginning of the Christian era. Similarly, an arangetram, or initial performance, described in the fifth-century Tamil epic Silappadikaram correlates with that of devadasi practitioners of the nineteenth century, which then established the protocol for twentieth-century debuts. Bharata natyam’s repertoire consists largely of songs written between the sev- enteenth and twentieth centuries. The poems of love and religious devotion that form the basis of the bharata natyam canon emerged from the musical and lit- erary traditions of previous centuries.
    [Show full text]
  • Pandit Ravi Shankar—Tansen of Our Times
    Occ AS I ONAL PUBLicATION 47 Pandit Ravi Shankar—Tansen of our Times by S. Kalidas IND I A INTERNAT I ONAL CENTRE 40, MAX MUELLER MARG , NEW DELH I -110 003 TEL .: 24619431 FAX : 24627751 1 Occ AS I ONAL PUBLicATION 47 Pandit Ravi Shankar—Tansen of our Times The views expressed in this publication are solely those of the author and not of the India International Centre. The Occasional Publication series is published for the India International Centre by Cmde. (Retd.) R. Datta. Designed and produced by FACET Design. Tel.: 91-11-24616720, 24624336. Pandit Ravi Shankar—Tansen of our Times Pandit Ravi Shankar died a few months ago, just short of his 93rd birthday on 7 April. So it is opportune that we remember a man whom I have rather unabashedly called the Tansen of our times. Pandit Ravi Shankar was easily the greatest musician of our times and his death marks not only the transience of time itself, but it also reminds us of the glory that was his life and the immortality of his legacy. In the passing of Robindro Shaunkar Chowdhury, as he was called by his parents, on 11 December in San Diego, California, we cherish the memory of an extraordinary genius whose life and talent spanned almost the whole of the 20th century. It crossed all continents, it connected several genres of human endeavour, it uplifted countless hearts, minds and souls. Very few Indians epitomized Indian culture in the global imagination as this charismatic Bengali Brahmin, Pandit Ravi Shankar. Born in 1920, Ravi Shankar not only straddled two centuries but also impacted many worlds—the East, the West, the North and the South, the old and the new, the traditional and the modern.
    [Show full text]
  • Reg.No. Name 1071310001 RAHUL R 1071310002 APOORVA NIKHIL 1071310003 KALAGOTLA SAI ABHISHEK 1071310005 AMEENA KADERKUTTY 1071310
    Branch:CSE, NANO, CHEMICAL Date: 13 & 14th July S.NO Reg.No. Name 1 1071310001 RAHUL R 2 1071310002 APOORVA NIKHIL 3 1071310003 KALAGOTLA SAI ABHISHEK 4 1071310005 AMEENA KADERKUTTY 5 1071310006 CHANDANA S 6 1071310007 VEMULAPALLI NIKHIL KRISHNA 7 1071310008 MADUPURI THEJASWINI 8 1071310009 SAKTHIVEL V S 9 1071310011 V ABHILASH 10 1071310013 GOWTHAM S 11 1071310014 ANTON AKKARA 12 1071310016 SWAMI CHETNA DEVRAJ 13 1071310018 TADIKAMALLA NITHIN 14 1071310019 AMRENDRA KUMAR GUPTA 15 1071310020 R PAVITHRAN 16 1071310021 SEVIN XAVIER JOHN 17 1071310022 VENKATA SUBHASH SRIKARNA 18 1071310023 MANGIPUDI KRISHNA TEJA 19 1071310025 GAYATHRI SREEKUMAR 20 1071310027 KARTHICK R 21 1071310028 M RAMYA 22 1071310029 KEERTHANA G 23 1071310030 PRANAVU JOSEPH J 24 1071310032 PAPATHI S 25 1071310033 AKSHYA K A 26 1071310034 SOVAN GHOSH 27 1071310037 ADITI DATTA 28 1071310039 VAIBHAV SOOD 29 1071310045 REEM ABDUL RAZAK KARIPAKULAM 30 1071310046 PRASANTH S 31 1071310050 VISHNA NAIR 32 1071310051 GOWSIGAN V 33 1071310054 ACHANTA VENKATESH RAO 34 1071310055 REME DAS 35 1071310057 VIKAS JHA 36 1071310060 NIHAL RAO 37 1071310061 GAURAV PUROHIT 38 1071310065 SANJAY B 39 1071310067 RWIDDHI SARKHEL 40 1071310068 VISHNU PRIYAN S 41 1071310069 SAMRAJ A 42 1071310070 PANKAJ KUMAR 43 1071310072 ARUN KUMAR N 44 1071310073 ZAHRA AMAN SHEIKH 45 1071310074 JIJO V OMMEN 46 1071310076 BAIDURJYA BANERJEE 47 1071310077 REEMA BORUAH 48 1071310078 MD SADAKAT ALI Branch:CSE, NANO, CHEMICAL Date: 13 & 14th July S.NO Reg.No. Name 49 1071310083 NANDYALA ROHITH REDDY 50 1071310084
    [Show full text]
  • Chapter 1 Uday Shankar and Locating Modernity
    CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead.
    [Show full text]
  • Chapter 1 Uday Shankar: an Overview of the Period
    CHAPTER 1 UDAY SHANKAR: AN OVERVIEW OF THE PERIOD BETWEEN 1900 – 1960 Given that the focus of the thesis is the period from 1960 to 1977, this overview of Uday Shankar’s life from 1900 – 1960 is primarily based on Mohan Khokar’s book, His Dance His Life – A Portrait of Uday Shankar1, the write up published in the name of Uday Shankar in the Souvenir of Shankarscope in 1970, titled My Love for Dance ,2 and a televised interview of Uday Shankar with Shambhu Mitra on DD Bharati3. The researcher is well aware of the limitations that this might present. The two most evident ones being – the biography of Uday Shankar by Mohan Khokar is in many instances incorrect, inaccurate and inadequate for the period 1960 – 1977, therefore the veracity of the biography of Shankar’s early life also remains suspect, all the more so as Khokar does not use any citations, nor does he state the sources of his information in many a case. Nonetheless, this appears to be the most comprehensive book written on Uday Shankar’s life and works till date, and therefore the researcher has used this as a base for the period between 1900 – 1960. The second limitation arises from the usage of the write-up published in the souvenir, and Uday Shankar’s interview as the researcher is well aware that the content of this write-up and interview is what Uday Shankar wanted in terms of information dissemination to his audience and therefore is more 1 Mohan Khokar, His Dance His Life – A Portrait of Uday Shankar (New Delhi: Himalayan Books, 1983) 2 Uday Shankar, “My Love for Dance,” Souvenir of Shankarscope (1970) 3 An interview of Uday Shankar by Shambhu Mitra on DD Bharati, accessed April 28, 2019, url: https://www.youtube.com/watch?v=JHq-uBio5vE&t=14s for purposes of publicity.
    [Show full text]
  • Department of Public Relations, Chandigarh Administration Press Note
    Department of Public Relations, Chandigarh Administration www.chandigarh.gov.in Press Note Chandigarh February 24: Department of Cultural Affairs, UT, Chandigarh is going to organize Chandigarh Dance Festival from 25 to 28 February at Tagore Theater at 7 pm daily. The following groups will perform:- 25th February 2013 Performance by Ganesa Natyalaya of Guru Saroj Vaidyanathan from Delhi. SAROJ VAIDYANATHAN Shrimati Saroj Vaidyanathan took her initial training in Bharatanayan under Shrimati Lalitha at the Saraswati Gana Nilayam in Chennai. She was later a student of the well known guru Kattumannar Muthukumaran Pillai of Thanjavur. She also studied Camatic music under Professor P. Sambamoorthy at Madras University and obtained a D.Litt in dance from the Indira Kala Sangeet Viswavidyalaya, khairagarh. Shrimati Saroj Vaidyanathan is well established today among the leading Bharatanayam teachers of the country. She is the founder director of Ganesa Natyalaya, a dance institution in Delhi where she has trained a large number of young dancers. Some of her students are among the leading artists of the younger generation. She is the recipient of seven honours including the Padma Shri given by the government of India in 2002 and recently she has been conerred with Padam Bhushan Award by Government of India. 26th February 2013 Performance by Gunjan Dance Academy of Ms. Meera Dass from Cuttack MEERA DASS At a tender age of eight, Meera had started training with Bandha Nata, an extremely acrobatic dance form in Anandapur, Keonjhar, Orissa. Meera Das was mesmerized and her eyes filled a with new future, when she saw the Odissi dance performance of Smt.
    [Show full text]