sign in sign up
<<
Home , Dhananjayans, Jatin Goswami, Kalamandalam Satyabhama, Kalidas Samman, Kanaka Srinivasan, Kanak Rele

P 2 | OCTOBER 2017 Contents Volume 2, Issue 4 | October 2017

Editorial Team 04 Beacons of Light 24 Anupama: Editor’s Note 05 The Unparalleled

Cultural Bulletin 06

Dance in 10 Reviews 35 Sai Nrityotsav @ 100 A Magical Evening with Palpable Excitement A Confluence of Impressive Nritta - Tribute to Legendary Narmada Rays of Hope 28 10th Anniversary Rita Andrade: Vysakhi Nrithyotsav 2017: Torch Bearers 14 Passion A Decade of Classical Personified Dance Cover Story 18 Reliability Reports 46 Then and Now Scholarly Corner 60 Augmenting Brain with Indian Music

Kindled Spirits 62 Frozen in Time 63 Arangetram 64

Celebrations 31 Tributes 65 Reformer of In Sight 66 Natyam Classifieds 67

P 3 | OCTOBER 2017 Editorial

‘The Dance India’- a monthly cultural magazine in English is our humble "If the art is poor, attempt to capture the spirit and culture of art in all its diversity. the nation is sick."

Articles may be submitted for possible Editor-in-Chief publication in the magazine in the following BR Vikram Kumar manner. Executive Editor • Send in your articles to [email protected] Paul Spurgeon Nicodemus Please include your full name, contact Associate Editor information (address and telephone number) and a short bio data. RMK Sharma • Articles are published in the magazine only Assistant Editor on the condition that the author agrees to UNS Vijayshri the terms of the Copyright Statement and Policy Sub Editor

D Praveena Regd. Office: Trivikram Publications, Feature Writer D.No. 50-01-50/1, ASR Nagar, Seethammadhara, Visakhapatnam - 530 013, A.P. Ch Nikhitha Coordinators (News, Advertisements & Tel: 0891-2525656 Editorial Advisor Subscriptions) The opinions, beliefs and viewpoints expressed by the various writers in the articles and B Ratan Raju Sai Venkatesh reviews do not necessarily reflect the opinions, beliefs and viewpoints of the editorial team or Contributions by Kashmira Trivedi Maharashtra official policies of The Dance India. Dr Alaknanda Noida All rights reserved. © October 2017 - Cultural Critic The contents published in The Dance India Lakshmi Thomas magazine are an exclusive copyright of Avinash Pasricha Trivikram Publications. No part of the magazine Gayathri Gopi Vellore may be reproduced in whole or part without Photographer the written consent of Trivikram Publications. Parinithi Gopal Sagar All disputes are subject to the exclusive Administration Manager jurisdiction of competent courts in KV Lakshmi PSB Nambiar Visakhapatnam only. Sooryavamsham Circulation Manager V Srinivas GV Chari Communications Incharge Dr. Kshithija Barve Edited, Published and Owned by Bathina Ranga Vikram Kumar, K Bhanoji Rao Goa and Kolhapur Mobile No. +91-9848137445, on behalf of Trivikram Publications from D.No. 50-01-50/1, ASR Nagar, Seethammadhara, Dist. Visakhapatnam - 530 013, A.P. and Technical Advise and Graphic Design Follow us on Printed by K. Ram Naidu, Vizag Art Printers, D.No. 30-5-21, Gardens, Dabagardens, Visakhapatnam - 530 020, A.P. thedanceindiamagazine Editor: Bathina Ranga Vikram Kumar

P 4 | OCTOBER 2017 Editor-in-Chief BR VikramKumar also ahistoricnecessity. Andhra PradeshDanceDayisnotonlyjustifiedbut birthday onOctober15,whichiscelebratedasthe dance victoriouslyinvariouscontinents.His village, hewasageniuswhopromotedKuchipudi Natak Akademi.Evenafterbeingborninaremote the recognitionofcentralgovernmentSangeet provide classicaldancestatustoKuchipudiwith more thanhalfacentury. He workedhardto revolutionary changesinKuchipuditraditionfor artists worldwidearefollowinghisstyle.Hebrought there isnodoubtthat75percentofKuchipudi Natyam, inspiredbytraditionandscience.Today laid thefoundationtoaneweraofKuchipudi incomparable. Heisapioneeringpersonalitywho Kuchipudi dancestylesindifferentmodesare His effortstoresearchandconsolidateallthe Kuchipudi danceforthenextfewhundredyears. form, dancerswouldbedrawnto his effortsinreformingKuchipudiart together, under onebigtree.Thanksto must becreditedwithbringingthem haywire, DrVempatiChinnaSatyam At atimewhenKuchipudidancerswere everything andswamagainstthetide. tensions. Hewastheonewhoendured system, hastowithstandmany person, tobetransformedintoa individual. Thebirthofanideaina The systemisgreaterthanthe BR VikramKumar BR VikramKumar BR VikramKumar BR VikramKumar BR VikramKumar Jai Hind! P 5|OCTOBER 2017 Editor’s Note Vice President releases He further said that Dr Subbulakshmi's music is Commemorative Coin on MS immortal and everyone in this country was influenced Subbulakshmi and thrilled by her music. Music acquired a divine dimension when she lent her voice to various r MS Subbulakshmi was a legendary and compositions. She was the first musician to be iconic figure who mesmerized everyone awarded , the country's highest civilian from Mahatma Gandhi to the common man, D honour, and first Indian musician to have performed at said the Vice , M Venakaiah Naidu, the United Nations General Assembly, he added. while addressing the gathering after inaugurating an exhibition on her. Minister of state for culture (I/C) and Dr Subbulakshmi was called the 'Nightingale of India' environment, forest and climate change, Dr Mahesh by Sarojini Naidu and 'Tapaswini' by , Sharma and other dignitaries were also present on the while Ustad described her as occasion. "Suswaralakshmi Subbulakshmi. Apart from UN, she performed at the Edinburg International Festival and Earlier, he released a Commemorative Coin on Bharat for Queen Elizabeth-II at the Royal Albert Hall, Ratna awardee Dr MS Subbulakshmi and inaugurated London. She mostly sang in Tamil, Telugu, an exhibition titled "Kurai Onrum Illai - MS: Life in and Meera in . Music" on the occasion of her Birth Centenary Commemoration. She made a huge contribution to popularizing Annanmacharya Kritis. She also undertook more than

The Vice President, M Venkaiah Naidu at the Exhibition on the legendary Carnatic Vocalist, Dr MS Subbulakshmi, on the occasion of her Birth Centenary Commemoration, in New Delhi on September 19, 2017. The Minister of State for Culture (I/C) and Environment, Forest & Climate Change, Dr Mahesh Sharma is also seen.

P 6 | OCTOBER 2017 CULTURAL BULLETIN

The Vice President, M Venkaiah Naidu inaugurating the Exhibition on the legendary Carnatic Vocalist, Dr MS Subbulakshmi, on the occasion of her Birth Centenary Commemoration, in New Delhi on September 19, 2017. The Minister of State for Culture (I/C) and Environment, Forest & Climate Change, Dr Mahesh Sharma and other dignitaries are also seen.

200 charity concerts and donated the royalties she 'National Tourism Awards, had earned on devotional albums to the Tirumala 2015-16' Presented temple. Her Suprabhatham is played in The President of India Ram Nath Kovind presented Tirumala temple daily as part of the ritual. the "National Tourism Awards, 2015-16" to various In his address, Dr Mahesh Sharma said that Bharat segments of the travel, tourism and hospitality Ratna Dr MS Subbulakshmi performed in the 50th- industry at a function organised by the ministry of anniversary celebration of the United Nations and it tourism on the occasion of "World Tourism Day". was a very moment for all Indians. Mahatma Gandhi Minister of state (I/C) for tourism Alphons Ji asked her to sing "Prabhu Tum Haro Jan Ki Pir" and Kannanthanam presided over the function. Tourism she had sung it with full dedication. Dr MS ministers of states, central and state government Subbulakshmi was not only a singer but was an officials, members from the travel and hospitality encyclopedia of singing. It is a proud occasion for us industries, including leading hoteliers, travel agents to celebrate her anniversary from 16 September 2016 and tour operators, students from tourism and to 16 September 2017. India is known for its rich hospitality institutes, mainstream and travel media cultural heritage and our new generation should try to attended the function. preserve our rich and diverse cultural heritage. The President launched the "Incredible India 2.0 The title of the exhibition draws from an iconic song Campaign"; 'Adopt A Heritage' Project and new composed by Rajaji and rendered by Dr MS Incredible India Website on the occasion. "Incredible Subbulakshmi, perhaps only by her. The song tells India 2.0 Campaign" marks a shift from the present God that she has no complaints about life, about him. generic promotions being undertaken across the The exhibition looks at the life of Dr MS Subbulakshmi world, to market specific promotional plans and from her early years to the people who moulded her product-specific creatives, with a greater focus on the composers and songs she immortalized, her digital presence and social media. 'Adopt A Heritage' contribution to the freedom movement, her Project plans to entrust heritage sites to the public magnanimous charity work, her role in films and the sector and private sector companies and individuals many awards and accolades world decorated her for the development of tourist amenities. They will with. become 'Monument Mitras' and adopt the sites. The

P 7 | OCTOBER 2017 "New Incredible India Website" is an advanced version India into one of the most preferred destinations for of the website with more useful features. travellers around the world. He said that India's foreign tourist arrivals and domestic tourist visits are Speaking on the occasion, the President said that on a growth trajectory. India's ranking in the Travel tourism is one of the largest industries in the world. Its and Tourism Competitive Index 2017 of World evolution can be estimated from the fact that the Economic Forum moved from 65th position to 52nd number of tourists all over the world has increased position in 2015 and now India's position has moved from 2.5 crores in 1950 to 123 crores in 2016. The up by another 12 positions and is ranked at 40th tourism industry contributes 10.2 per cent of the position. world's GDP. In her welcome address Rashmi Verma, secretary, M/ In India too, the livelihood of a very large number of o tourism, said that the sector has been performing people is linked to the tourism industry. The tourism

President Ram Nath Kovind launched the New Incredible India Website at the presentation of the National Tourism Awards 2015-16, on World Tourism Day. The programme was organised by the ministry of tourism, in New Delhi on September 27, 2017. The minister of state for tourism (I/C) and electronics & information technology, Alphons Kannanthanam, the secretary, ministry of culture and tourism, Smt. Rashmi Verma and other dignitaries are also present.

industry can contribute significantly to generating well over the past few years in India with a higher than permanent employment opportunities and eliminating the World average growth rate. In 2016, India poverty. According to an assessment, an investment welcomed 8.80 million foreign tourists, an increase of of Rs 10 lakh in tourism industry provides 9.7% over the previous year. The current year also employment to about 90 people, while about 45 in looks very promising with a double-digit growth rate agriculture, and about 13 people in manufacturing. of 15.7% in foreign tourist arrivals recorded during the period January to July 2017. This would not have Alphons Kannanthanam in his address congratulated been possible without the support and cooperation of the winners of the National Tourism Awards 2015-16 our partners in the tourism sector. and called upon all to commit ourselves to transform

P 8 | OCTOBER 2017 CULTURAL BULLETIN

Article Competition

The Dance India Magazine is conducting an article competition, on the following topics:

1. Indian Dance in the Educational Curriculum.

2. Swachh Sanskriti - Promoting and Protecting Indian Art Forms.

3. Impact of Fusion and Contemporary styles on Indian Music and Dance.

Participants should send a 300-500 word article to the following email Id: [email protected]

The piece of writing has to reach the editorial board by the end of October 2017. Participants should attach their details, along with their photograph and a letter giving rights and consent to use the article and publish it.

The top five articles on each topic would be selected and rewarded with an annual subscription of The Dance India magazine free of cost and the selected articles would also be published in the magazine.

P 9 | OCTOBER 2017 ohini Attam, a lyrical and enchanting dance form became the sole vehicle for feminine interpretation developed on the lines of the other Mclassical dance styles of India. It is a solo dance of sheer visual beauty, far removed from the ever-vigilant supervision of the temple and the grip of rituals. Devotional fervour is permissible in the dance form but not mandatory. Religio-philosophical tenets are not allowed to interfere with the central idea of dance -- its soul-enchantment.

The very name Mohini Attam expresses its aesthetics. God had appeared as Mohini, the enchantress, and performed a dance to cast a spell on the danavas or demons.

The natural beauty of the Kerala landscape provides ample inspiration for its lyrical and lilting movements. Its rounded body kinetics the distinctive heave of the torso and the soft walk create the sensation of the verdant paddy fields, the undulating palm fronds and the rippling backwaters of Kerala.

Some scholars trace Mohini Attam to the second or the 3rd century A.D. (to the era of the great Tamil epic. Svaadheenabhartrukaa - Shilappadikaram), Source from The book Mohini Attam by

P 10 | OCTOBER 2017 whereas others maintain that it was created in the instead, chollukettu is danced as invocation with lyrics middle of the 18th century in the court of Maharaja resembling the shabdam appearing at the end of the Swathi Tirunal of Travancore at his behest. However, item. The "sapta tala" and "panchajati" system of neither of the premises is correct. Carnatic time measures are employed in these items. Owing to the ethnic affinity existing amongst the south All the dance forms of India are the end products of a Indian people, the popular ragas of the Carnatic long process of evolution, change and improvement in system are followed. keeping with the constantly changing social structure. Since dance and music were two very highly Mohini is an avatara of Lord Vishnu, the Supreme developed arts in the Shilappadikaram era, we may sustainer who takes the avatara of Mohini to maintain surmise that Mohini Attam has its roots in the dance the cosmic order. Mohini prevents the danavas from form which was practised in Kerala during that period. becoming immortal during the episode of churning the Literary evidence shows that it was very much in vogue milky ocean, ksheerasagara. in the beginning of the 17th century A.D. and thus must The cosmic balance is threatened and so knowledge, have had its origins before that. The dance form is the elixir that guides life towards its ideal goal has to be between 400 and 600 years old. reinstalled. This knowledge, imbued with unbound The standard Mohini Attam, being practised by most power is amrita that gives immortality, the endless of the dancers, runs almost parallel to that of "reality''. Once this knowledge (amrita) is re-instilled, the . A traditional Bharatanatyam recital cosmic order can be re-established. This was to be today comprises alarippu, jatiswaram, shabdam, achieved by activating the dynamic equilibrium of the varnam, padam, javali, shlokarn and tillana. In Mohini opposing spiral forces of the universe. Attam there is no item similar to alarippu or shabdam,

P 11 | OCTOBER 2017 And so came Vishnu's maya- shakti or vaishnavi-maya in the most bewitching and enchanting female form - Mohini, the enchantress. Her dance created an illusion in the minds of the strength of purpose. The presentation comes out with danavas. Mohini a deep impact to envelop the spectator in an aura of personifies the grace, charm and lyricism with a forceful vivacity. The sheer joy and movements of the body and limbs could be pleasure of compared to the gently undulating palm fronds filling living however the Kerala skyline. The gait and stepping are momentary and reminiscent of a boat bobbing up and down in the "unreal" that life gently soaring backwaters of Kerala. But though may be. This supple and graceful, the palm fronds are not limp, and lovely illusion definitely unlike a clinging creeper. Rather, they have a Kanak Rele intoxicates the strong and solid spine attaching them to the trunk of in Mohini Attam beholder by its the tree, yet leaving them free to pivot around. And enchanting beauty. though a boat may bob up and down, it is not a wild and uncontrolled movement. The boat is, rather, Mohini Attam is thus the dance that reflects the harmonising with the flow of the stream, in tune with the enchantment that is life. By its virtue it casts a spell, a rhythm and music of nature. The boat does have the mesh of illusion, on the beholder bathing him in the required force and strength which controls this raga of enchantment, leading him towards knowledge bobbing with the ultimate purpose of reaching its along the path of enchantment and beauty. destination. Mohini Attam, a style abounding in beautiful lyrical The overall impression created by Mohini Attam is movements nevertheless, exhibits a conspicuous shringara which is designed to create enchantment of the highest order that which is caused by the divine influence of Vishnu. Presented in true spirit it must and would shine-out as an epitome of extreme grace, good taste, dignity and above all high cultural values. It is essential to disregard and discard the vulgar absurdities that crept into it.

The description of Mohini Attam can never be complete without a special reference to that particular group of bodily movements which gives it a distinctive P 12 | OCTOBER 2017 charm of its own. This is what Poet Vallathol, who had undertaken can definitely be termed the herculean task of restoring and collectively as nayanabhinaya or revitalising at his famous the movements of eyes, eyelids institution , had and eyebrows. also passed away before he could do much for Mohini Attam. Eyes are supposed to be the mirror of the soul. What one It was in 1966-1967 that Dr Kanak feels is instantly mirrored in the Rele revived Mohini Attam as a full- eyes. Before any part of the fledged classical dance idiom. Today body can react to a certain her name is synonymous with mood or emotions it is the eyes Mohini Attam due to the stellar role which reflect the state of the she played in reviving the dance mind. The widening of eyes in form. astonishment or horror before In collaboration with the noted Kerala the other reactions that follow poet-musicologist, Kavalam are the examples of the Narayana Panikkar Dr Kanak Rele importance of eyes in the Kinetics of Mohini Attam has created a fully researched communication of an idea or a parallel repertoire for Mohini Attam mood. And this, mute speech through the eye is not a which includes the elements of the tenets of the human prerogative. The liquid eyes of animals speak Natyashastra as well as takes into account the long volumes where speech is denied. In dance also the tradition of the Kerala theatrical arts. They have used dancer does not make any use of her speech. Thus 'Sopana Sangeetam' which is indigenous to Kerala. her eyes have to be so eloquent as to be able to Sopana Sangeetam is not a system of classical music convey the meaning to the audience. The face of a as the Carnatic and Hindustani are; it is a very blind person always appears to be devoid of any specialized way of vocalisation which has roots in the emotions as the eyes are totally ineffective. Nature 'vedocchara' (Vedic chants). It does have some ragas meant eyes to behold and also let others behold. They which are not found in other systems but, by and large, can prove to be the doors to one's soul. Carnatic ragas are adapted to the Sopana mode of Mohini Attam, which flourished till the end of the 19th singing. Kerala abounds in an amazing variety of talas century, went into a sad decline. This was the case with which are also incorporated in this new repertoire. The all the traditional arts in India which was under the items thus created and broadly categorized are: oppressive rule of the British who set about destroying Ganapati -invocation the Indian identity very systematically. In the British era, Ashtapadis -from the Geetagovinda the Anti-Nauth Act was issued which prohibited all sort Padam - or abhinaya items of dancing in the temples terming the practice as Pandrari Kattala -nritta or pure dance item 'vulgar'. Traditional performers gradually lost Mukhachalam -nritta item patronage with the British annexing the local princely Slokams -nritya items states and zamindaris who sustained the dance arts. Jeeva -nritta item Thus by the first two or three decades of the 20th In all more than 65 such dance pieces have been century, Mohini Attam performers lost their livelihood created and today, the almost dying dance art has a and the numbers of as well as performers rich repertoire which can equal those of more declined. established dance styles.

P 13 | OCTOBER 2017 adma Shri awardee Nrityacharya "Because of the environment all around, I was able to hear the , a doyen of sounds of Khols and Cymbals, even when I was in my mother's PSattriya culture, was born in 1933 womb. I cannot recall at what age I started dancing Sattriya at Sattra's in Adhar Sattra, a Centre for Vaishnava Namghar (Prayer Hall) but I vividly remember that in the evenings of culture in Dergaon, . His father, the month of Bhada, there were regular dance practices in the Sattra's Late Dharanidhar Goswami was one of Namghar and all the young boys clad in dhoti and gamocha the major Sattra exponents from whom (Assamese hand-woven garment used like angavastra) needed to be Guru Goswami got a solid foundation in present for practice. In the beginning, certain exercises were to be Sattriya dance, which subsequently carried out, which are called Mati Akhora (ground exercises)… at the became the pivotal point of his career age of 12, I had to play the role of Sutradhari or Krishna in most of the and passion as well. plays (Bhaonas) staged in and around our Sattra. This continued till I was in college. The reason behind it was that the audience liked my Being born in a Sattriya family, Guru performance because of my good pronunciation due to my Goswami got a very conducive learning in my school days and the directors and other assistants of atmosphere and ample support in the plays liked me because I could deliver all the dialogues and Slokas pursuing his dance career and his of Sutradhari from my memory, without any prompting and passion. Let us hear in his own words, rehearsals." how he viewed his early childhood:

P 14 | OCTOBER 2017 Guru Goswami got his initial from his proximity with the veteran. training in Sattriya dance from Kalaguru, with prolonged coaching, his father at the age of 7 years both in theoretical and practical and subsequently received a aspects of classical dance, made formal training from Babula Guru Goswami a seasoned Bayan and Gopiram Bayan at classical dancer, who would the age of 10. Occasionally, his negotiate any challenge in the field father tutored him and of dance and music in future. explained to him the meanings Guru Goswami's deep interest in dance made it clear of the different Sanskrit Slokas used in Sutradhari to his mind that he is not cut out to be just a Sattriya nrittya. All these supports made things easy for Guru dancer alone, and looked out for varied dance forms Goswami and emboldened him to accept Sattriya of the country to quench his artistic thirst. He started dance as the ultimate passion and goal of his life. At training even in dance from Guru Ganesh this juncture, Guru Goswami came into contact with Hiralal at Jaipur. Further, he learnt Manipuri dance two pioneers-Gurus and under Guru Atomba Singh. His love and passion for awardees namely Late Maniram Dutta Muktiyar and dance and music made it possible for him to learn Late Roseswar Saikia Barbayan. The guidance and both the dance forms remarkably well, in a shortest training from these two renowned Sattriya exponents possible time. In 1956, Guru Goswami earned could entail the learning process of Guru Goswami in accolades from the Maharani of Jaipur for his brilliant the right direction and paved the way in shaping him as performance of Kathak at the royal court in Jaipur. a promising Sattriya dancer. In 1958, Guru Goswami got an opportunity to Whoever follows closely the life of Guru Goswami, accompany with khol Bishnu Rabha in his last would agree with the observation that Guru Goswami's performance of dance at Margherita, Assam. childhood was full of small experiences and chance- In the year 1960, Guru Goswami got an invitation from meetings, which later on played a significant role in his Delhi Doordarshan to perform Sattriya dance, as the being shaped as a dancer of prominence. first ever Assamese artist to get this opportunity. He His meeting with Kalaguru Bishnu Rabha, (the cultural received high appreciation from the then Vice- doyen of Assam with an overarching presence in the President of India, Dr S Radhakrishnan, for his cultural domain for many decades) was probably the outstanding performance of 'Dasavatraranritya'. most significant event of his life. Noticing Guru Meanwhile, Guru Goswami married Kamala Sarma, a Goswami's deep interest in learning classical dance, leading Sattriya dancer and an actress of repute. In two social workers of Dergaon, Late Chida Sarma and 1966, Guru Goswami got a job in the Department of Late Dhan Nath advised him to meet Kalaguru Bishnu Cultural Affairs, Government of Assam. During this Rabha, the great cultural polymath who lived in Tezpur. period, the artist couple got a month-long assignment Both the social workers not only advised him to meet to perform in the bordering areas of Kashmir and Bishnu Rabha, they also saw to it with all necessary Rajasthan as a part of Inter-State Cultural Exchange logistic supports, that Guru Goswami goes to Tezpur Programme, immediately after the war between India and meets Kalaguru. Kalaguru, in the first day of their and Pakistan. However, for his passion to promote meeting, could foresee the vast potentiality in this Sattriya and take it to newer heights, he felt an urge to upright young man and started giving training to Guru do something more profound in the field which Goswami on various aspects of classical dance. eventually led to resignation from his job. Besides, Guru Goswami acquired a lot of knowledge Consequently, in 1970, he established a mobile cultural

P 15 | OCTOBER 2017 troupe called 'Pragjyoti Kala Parishad' for Guru Jatin Goswami is an artist of presenting and promoting Sattriya dance multi-faceted talents. Besides being and music. Though it was an innovative a dancer and a creative artist of idea, it failed to meet the targeted result high repute, he has been actively due to some unfortunate financial associated with cultural matters of constraints. the state. He has a knack for knowing things well, which drives Guru Goswami's adventurous him to go deep into the issues he personality did not surrender to the handles, resulting in creating of situation; rather he looked for an several research-oriented writings alternative platform to explore - avenues particularly on Sattriya culture. In for an honourable survival. In 1975, Guru recognition of such major and Jatin Goswami stepped into the world of mobile overwhelming contribution, Sankari Sangeet Vidyapith theatre as a dance director of the Bhaskar Theatre, the conferred on him the title of 'Nrityacharya' in 1990 first mobile theatre group in the upper Assam area. followed by many more awards and accolades. In Though it was not a soul-satisfying change for Guru 1997, the Government of Assam honoured him with the Goswami, yet it was a good respite for some time. 'Best Dance Director Award' for his outstanding Guru Goswami continued with this commercial contribution in the field of Sattriya culture. In 2002, Guru assignment till 1990. Guru Goswami's long 15-years Goswami's performances in 'Swarnotsav Lucknow' service at a stretch to the commercial segment speaks and 'Swarnotsav Chandigarh' earned lots of volumes about his brilliant blending skill of classical to accolades. During the same year, Assam Sahitya commercial need, without shifting the paradigm for Sabha honoured him for his lifelong contribution to the proscenium theatre. cause of Sattriya culture. In 2004, the prestigious When we look at the scenario of Sattriya dance being Sangeet Natak Akademi Award had been conferred on recognized as a major form, Guru Jatin Goswami for his dedicated service in the Guru Jatin Goswami's name comes immediately after field of Sattriya culture. In 2005, 'Assam Natya Sanmilan Dr , as the front ranking scholar of not Award' was given. In 2007, Asom Sattra Moha Sabha only Sattriya culture but also beyond the border of the honoured him with the title of 'Nritya Siromani'. In 2008, region of North Eastern India. Although the matter of the conferred upon him 'Padma recognition had started way back in the sixties nothing Shri' for his overall contribution to the cause of Sattriya concrete had been seen for a long time. Guru Jatin dance and music. Goswami was one of the persons who used to follow Though age is creeping in, octogenarian Guru Jatin up the matter with a structured manner. Once he was Goswami does not surrender to any such predicament nominated to the general counsel of the Sangeet Natak Akademi in 1999 he put adequate pressure on the right forum. As a result, the long-awaited resolution of recognizing the Sattriya dance as a major Indian classical dance tradition saw the light of recognition by the Akademi in 2000. Recognition overdue for a long deserving dance tradition which continued as a living tradition for more than five hundred years was finally given justice!

P 16 | OCTOBER 2017 like many of the common mortals. Rather, with a vigorous renewed enthusiasm of prime youth, he is busy moving forward with his creativity, relentlessness and lust for life and art. Guru Jatin Goswami is one of the guiding torchbearers of Assamese culture, today.

Dr Mallika Kandali on her experience with Guru Goswami:

It was in the year 2010. I had performed in a composition titled 'Navadhabhakti' where nine different types of - Bhavas were illuminated and Gajendra, Devaki Kheda Varnanam, Rama Vandana, expounded through various enactments of dance Chakravyuha and others with an overall number of performance in Sattriya style of rendition. The more than forty Sattriya compositions and illustrative enactments about the multiple manifestations choreography. Moreover, there are one hundred and of a very layered emotive expression called Bhakti seventeen dance dramas composed for the mobile Bhava of Indian aesthetics were done through different theatres of Assam which play a pivotal role in the mythical characterizations. I was one of the performing cultural scenario of the region as one of the most artists of the composition where I had to enact the significant forms of popular culture with a long- character of Arjuna to bring out the most nuanced standing artistic tradition. Most of these dance dramas aspect of Sakhitva Bhava through the depiction of the were in Sattriya style and Ankiya Bhaona style (the unique friendship of Lord Krishna and Arjuna. It was traditional Vaishnavite drama tradition of Assam during the practice session of this created by the great Bhakti saint particular Sattriya composition, that scholar-artist Srimanta Sankardeva I witnessed from the close quarter in 15th century) which contributed the depth and dimensions of the immensely to the promotion and creative brilliance of Nrityacharya preservation of this classical dance Jatin Goswami who had and drama tradition among the composed and directed it. common mass.

Of course, this was not the singular Awards: case of an enriching experience. h in 2008 There were much more to count h Sangeet Natak Akademi Award - such as the Taal Vihar, an inimitable in 2004 experiment in terms of exploring h Bharatiya Samman - in 2002 the concept of tala or rhythm (E.Z.C.C.) through various dance choreography, Ekalbhya, Graha

P 17 | OCTOBER 2017 ne hears stories of ancient times about The first known postal messages being carried by birds and document found in Odomestic animals to far off places. Kings Egypt dates back to had royal messengers of their own who carried 255 BC. But even messages on horseback, stagecoach or whatever before that postal means could be available. However, it was not services existed on possible for the common citizen to send messages. nearly every continent Some sort of a postal system was needed for the in the form of common man. messengers serving kings and emperors. When writing evolved, communications came into Over time, religious existence. The practice of communication by written orders and documents carried by an intermediary, from one First postage stamp of India universities added person or place to another almost certainly dates back their own message nearly to the invention of writing. However, delivery systems to exchange news and information. development of formal postal systems occurred much Relay stations were set up along the messengers' later. The first documented use of an organised courier routes to speed delivery over long distances. service for the diffusion of written documents was in Eventually, private individuals were allowed to use the Egypt.

P 18 | OCTOBER 2017 messengers to facilitating the safe, speedy communicate with one and cheap transfer of another. letters. Hill later served as a government postal official, During the 17th and and he is usually credited 18th centuries, the with originating the basic exchange of mail concepts of the modern Armenia National between countries was postal service, including the Instrument PKU largely governed by invention of the postage bilateral postal agreements. But by the 19th century, Pandit Omkarnath stamp. the web of bilateral agreements had become so Thakur complex that it began to impede the rapidly developing In May 1840, the World's trade and commercial sectors. Order and first adhesive postage stamps were distributed. With simplification were needed in the international postal an elegant engraving of the young Queen Victoria services. (whose 21st birthday was celebrated that month), the Penny Black was an instant success. Refinements, Sir Rowland Hill was an English teacher, inventor and such as perforations to ease the separating of the social reformer. He campaigned for a comprehensive stamps, were instituted with later issues. reform of the postal system, based on the concept of Uniform Penny Post and his solution of prepayment,

Metal Craft Metal Craft P 19 | OCTOBER 2017 "Penny Black"-the first postage stamp issued in Britain and, more importantly, the first postage stamp issued anywhere bears the image of Queen Victoria, but the first British postal service did not originate in Victorian England. In 1680 an entrepreneur by the name of William Dockwra started a public service that guaranteed the quick delivery of a letter anywhere in London. His system was quickly nationalized with Dockwra in charge.

To bring awareness of the Post's role in the everyday lives of people and businesses, as well as its contribution to global social and economic development, the Universal Postal Union (UPU) was established on October 9, 1874. Henceforth, the day is celebrated as the 'World Postal Day'. The UPU was the start of the global communications revolution, allowing people to write to others all over the world. Annamacharya For hundreds of years communication took place Indians -- Vaneeta Tandon and Sayani Sur Roy -- through just a couple of ways, you either sat down won the Bronze medal in this competition in 1980 to have a conversation with someone or you wrote and 2001, respectively. Indian postal service owes your thoughts and feelings down on a letter and its origin to the British who introduced mailing had it delivered to them by courier. The nature of services in India. The British East India Company letters made them incredibly intimate, as each established the first post office in India in the 17th carried the indelible mark of its creator. To make a Century. Indian postal department has been note of the significance of post and letters, the serving the country for over 150 years and that's Universal Postal Union started the International no mere achievement. National Postal Day is Letter Writing competition in the year 1972. Two celebrated on October 10 every year. Indian postal celebration is an extension to the World Post Day. On this occasion, let us get acquainted with the relation of postal services with different art forms and cultures of the world.

Postage can reveal more than the history of a letter, it can reveal the history of a nation. As noted by the National Postal Museum, "Every stamp tells a story"-and, it sometimes tells how the story should be told. Postal services, since the beginning, have imbibed cultures of different parts of the world into Aryakudi Ramanuja Iyengar

P 20 | OCTOBER 2017 them through numerous ways, such as postage service system by releasing postage stamps on stamps, postcards, mail art, etc. From time to time art special occasions. forms have been recognised and given due The Indian Post has released a set of six numbers of importance by releasing postage stamps related to art commemorative postage stamps on Indian Classical forms such as dance, music, etc., and also of Dances in the year 1975 to symbolize that India has an renowned artists of diverse art forms. The culture of unparalleled antiquity of dance traditions. Each region the country is represented very vibrantly by the postal has evolved a distinctive style of music and dance at

P 21 | OCTOBER 2017 different levels of Europe for harp music. Harpists travelled around society. There Ireland playing at special events. Honouring this, have been many the postal services released a stamp for maestros who representing their national emblem. The stamp have nurtured features a harp made by John Egan, a leading Irish Indian classical harp maker from 1801-1841. During his career, he music and have is said to have made over 2,000 harps. made its presence felt in the national and Visakhapatnam has potential: PMG international arena. India Post paid tribute to such legendary maestros of the Indian Classical Music "Many stalwarts in the field of art literature and by releasing a set of eight stamps on Indian culture especially musicians in the year 2014. Indian Postal services in the field of also issued a commemorative postage stamp classical music, and information folder on the 400th death vocal and dances anniversary of Sri Purandara Dasa who is the most enrich popular among the Haridasas of Karnataka. Visakhapatnam region. As it is a Dance forms, music and art depict culture and all known fact that Ghantasala the countries around the world promote and maestros like honour their culture. Postal services contribute to Ghantasala Venkateswara Rao, Shrirangam this admiration by releasing postage stamps Srinivas Rao (Sri Sri) and many more with their related to the dance forms and musical roots in this area, have contributed a lot to instruments of their country. Belgium has released promoting culture," opined the postmaster general, a postage stamp of a Saxophone in the year 2014 Visakhapatnam region in an exclusive to The Dance on the occasion of the 200th anniversary of the India. birth of Adolphe Sax. Armenia also released a postage stamp of their national instrument 'PKU' She informed that Visakhapatnam Region formed against the background of an abstract from the with effect from May of 1985 with jurisdiction Armenian miniature depicting a musician playing covering 4 revenue districts with 16 head post PKU-type instrument representing their culture. offices and many post offices and branch post Postal services of Croatia released a postage offices providing postal services to the public. stamp in the year 2014. The stamp depicts a She also mentioned that through postage stamps, Lijerica. The lijerica is a musical instrument from the department promotes art and culture by the Croatian region of Dalmatia. It is a pear- releasing stamps on various themes such as shaped, three-stringed instrument which is played legendary singers, etc. She pointed out that cultural with a bow. It is played to accompany the meets are conducted during which various traditional dances from the region. competitions in music, dance in various categories Having a musical instrument as a national emblem (classical, Hindustani and folk) and drama are sets Ireland apart from many other countries. In carried out for the employees and their wards of medieval times, Ireland was famous throughout Postal Circle.

P 22 | OCTOBER 2017 P 23 | OCTOBER 2017 omposing or choreographing for classical arts and films needs a different approach as both of them Care different fields. Choreographing any classical item is based on "Padardham" which includes abhinaya, mudra, Adavus etc. in limited place, time, continuity (carving of next movement from the finishing or halting of the last moment) and coordination. But all these do not apply to film

Anupama Mohon Sivanandaraslahari P 24 | OCTOBER 2017 choreography because it is done in a phased revolutionary step of going against the wish of the manner. The director and cameraman do rest family elders. Noticing the hidden art in their child of the job. All the above mandatory aspects of Anupama, her mother with the support of her classical arts need not apply sequentially and father initially admitted her for formal learning of categorically said veteran Kuchipudi classical classical dance under her first guru Kota dancer, teacher, choreographer and wife of Subramanya Sastry in Nellore at the age of four. film director Mohon, Anupama Mohon Anupama received the first invitation to dance at (formerly Anupama Naidu). the tender age of four and in a span of four years she was credited with as many as hundred Reminiscing her past, in an exclusive interview performances in Andhra Pradesh. to The Dance India, Anupama says, "Now, when I am a sexagenarian it makes me feel that it was After sometime Anupama's family, with a wish of an unfulfilled desire of my parents which got purchasing jewels and costumes visited Madras carried forward in the form of genes and I (Chennai) and met one of her father's cine started dancing automatically as a natural act producers, who took them to Vempati Pedda even before getting a sense of things. It was Satyam (No. 5 Prakasam Road, T Nagar). my mother who discovered the hidden dancer Impressed by the child's small piece of in me." It is learnt that a day before Anupama performance and identifying the hidden talent in was born, her mother watched V Shantaram's her, Pedda Satyam advised and took them to his box office hit classical movie 'Jhanak Jhanak brother Dr 's dance Payal Baaje (1955)'. Shantaram's spouse institute (a gurukulam). On June 9, 1964, Sandhya and classical dancer Anupama accompanied by her two younger played the lead roles in the movie. sisters and a maid joined the gurukulam.

Telling the untold At Gurukulam

Coming from an orthodox Zamindar family, Anupama was once again proved to be lucky. In Anupama's parents struggled a lot in taking a a short span of joining Kuchipudi Art Academy in

P 25 | OCTOBER 2017 Chennai, she became one of role of Srinivasa, who was also her batchmate. As an the fondest gifted disciples of approval of her performance, Anupama had been its founder - director, Guru nicknamed 'Narada' by Kuchipudi enthusiasts. After a and awardee thorough and rigorous training that saw her blossom Dr Vempati Chinna Satyam. into an artiste of technical and emotive excellence, she Thereafter, she settled in continued in the Academy as a teaching staff after her Chennai for further learning 16 years of training. She was with the Guru for more under Gurukula than 20 years. Anupama Sampradayam for more than With an inborn passion for the Kuchipudi art form, Mohon 25 year. During her days in the during interview Anupama is a dancer whose movements, rhythm and Gurukulam, Anupama was sensitive abhinaya are a delight to watch. Her one of the leading artists in the performances are marked by the empathy and Guru's troupe for stage performances. elegance complemented by delicacy and warmth of She had presented almost all the important characters aesthetic communication. She has won the hearts of in the troupe's ballets. Her masterpieces include the connoisseurs with her compelling stage presence, Narada in Sri Krishna Parijatham and Parvathi, classical artistry and nuances of expression, wherever Erukulasany in Srinivasa Kalyam where Manju she has performed, be it in India or abroad. Bharggavee ('Shankarabharanam' fame) played the

Anupama Mohon

P 26 | OCTOBER 2017 accompanied her Guru Dr Vempati Chinna Satyam to London with her batchmates Hema Malani (heroine of , Dream Girl fame). In 1975, she made a four months Europe tour to France, Italy, Anupama’s father late Shri. Kandikattu Germany, Holland, Venkayya Naidu mother late Smt. Vanajakshi Belgium and many other Performances Anupama Mohon with her cities with her family (Mohon(Husband), Anupama had performed in nearly a thousand stage batchmates. She had Purandar(Elder Son), Upendhar(Younger Son)) shows in India and abroad. This includes her performed more than 36 performances in various cities like Delhi, Agra, Jaipur, stages during this tour alone. She had widely travelled Lucknow, Varanasi, Vishakhapatnam apart from some in the Middle East and performed. of the temple cities. Besides, she has given many Honours lecture demonstrations all over the country. In 1977 Kuchipudi Art Academy, Chennai honoured Privilege Anupama with Natya Visharada (This is given as a Anupama also got an mark of Certification and recognition by the academy opportunity to perform in on successful completion of the course). She was the presence of Dr honoured for her outstanding performance in Sarvepalli Radhakrishnan Kuchipudi in Hyderabad, Konark Festival in , (former President of Mamal Festival in Mahabalipuram, 'Natyasri' award India). In the early and 'Satyabhama Lifetime Achievement' award by the seventies, she started Nataraj Music and Dance Academy on two different touring several parts of occasions in two different festivals in Visakhapatnam, the country and abroad Surya Festival and Nishagandhi Festival in too. Her first trip was to Trivandrum, Akhila Bharatha Kuchipudi Mahostava in Sikkim in 1971; where she Kuchipudi (Andhra Pradesh), Sidhendra Yogi Jayanthi Anupama with her master performed in the Mahostava in Kuchipudi, National Dance Festival presence of King of conducted by the in Karasgod, Sikkim. A glance of Anupama's career on the Kaladarpana honoured her with Natya Jyothi in international scene includes her performances in the Cochin, Guruvayur Sri Krishna Temple honoured her Yuv Utsav Festivals in Delhi (1974) conducted by with Guruvayurappan Kshethra Kala Puraskar and Sangeet Natak Akademi and later in Hyderabad many more. (Andhra Pradesh) for Telugu Prapancha Maha Shaba. An 'A' graded artist of Doordarshan in 1994, taking to In 1979, she performed along with eminent classical dance at the age of four, Anupama has danced to dancer in Bharatanatyam art form and wife of popular fame. These make her a Beacon of Light. She is also cartoonist, RK Lakshman, Kamala Lakshman in Sri a successful organizer of 'Sathyanjali Academy of Lanka at Thyagaraja Gana Shaba. In 1974, she Kuchipudi Dance' in Cochin.

P 27 | OCTOBER 2017 Text: Ch Nikhitha

o dance is to encourage an individual Tto introduce her own variations and interpretations. It is represented as the symbol of communication to express her innermost feelings in a marvellous gesture. To express in a wonderful form is not easy but it has been a spectacular endeavour by a Brazilian dancer Rita Andrade. She is a woman of 44 years, who hails from the city of Sao Paulo, Brazil. She possesses a master degree in Anthropology and graduate degree in Geography and

P 28 | OCTOBER 2017 Education. She is a woman of hard work who has her practice at Srjan in , he visited the followed her dreams after completion of her formal temples and clicked pictures of detailed structures on education. the walls. Her passion for dance had inspired her husband to document the ornaments of dancers that Since her childhood, she always had a passion to was carved in stone. As he was a Gemology teacher dance. Unfortunately, due to her financial status, she he started studying Indian jewellery which was was initially told to put all her efforts to save money to embedded as stone carvings of the temples. complete her formal education. Therefore, she became a teacher as her parents wished and worked in private schools after her graduation. She then thought of She started to learn dance form from 1999 to following her passion. She tried to learn many 2005 at her hometown in Brazil. In 2006, she migrated contemporary dance forms like the Ballet, Jazz and to India and began to learn from Parwati Dutta at Afro. One fine day Rita happened to watch an Indian Mahatma Gandhi Mission, Sangeet Natak Akademi. movie called "Kama Sutra" by . It was her first Since then she is under the guidance of Sujata watch on Indian dance form. She fell in love with the Mohapatra at Srjan, Bhubaneswar. This teacher was a eye and other sensuality movements of the dance role model for her. Rita was not only inspired by her form in that movie. This fascinated her and drove her in dance but also by the attitude that she carried in her search of dance institutions where she could find a life. There were three important formulae given by her good dance teacher at her living place, Sao teacher to her. Firstly, it is the pure and sincere Paulo. Gradually, in the year 'Sadhana'- to practice every day. Secondly, it is the 1999, she found a dance humbleness to understand our mistakes in the institution and started practice process of dancing which makes us a professional in Odissi dance form. dancer. Thirdly, it is to practice with pure and sincere She never had a reference in 'Bhava' every day, with energy and happiness. people who inspired her to Rita makes all her efforts to carry the tradition of Odissi start dancing. She insisted dance forms in all dimensions as much as she can. that it was in her blood to She intends to keep her dance classes running in Brazil dance. As she had started as she finds it a most gratifying experience to share to take formal training in knowledge with people. She wants to promote her dance it was her husband's artwork association with Brazilian dancers of different support which made her a styles of Indian classical dance. She is interested in successful dancer she pursuing her PhD in dance education so as to is today. Her systematize the knowledge, to learn Indian classical husband was dance and to help other dance teachers. According to all in her her, the cultural fabric of India is quite versatile. The support to classical dance forms represent the diversity of the follow her Indian culture and heritage. She states that one can see passion and that the soul of the cultural identity of India manifolds always and each style is represented creatively. For her, respected her Odissi would translate many aspects of decisions. He was a multiculturalism of India. teacher at a university and taught Gemology. He even Apart from dancing, Rita is interested to teach as she accompanied her to India for had started her professional life as a teacher. She says her to learn dance. During it's amazing to be a part of this noble profession which P 29 | OCTOBER 2017 in her life is the establishment of her own dance studio 'Natamandir. She thinks that the concept of tradition is not static. It is dynamic and cannot affect the traditional dance art. She believes in the capabilities of an individual. Circumstances of each place also play a vital role in fetching a good profession. She also admits that through art one can serve the society and environment. Dance is a form of art that allows us to enter in contact with self-knowledge and also helps in maintaining a good relationship with people.

According to her, festivals are good opportunities for artists to disseminate their talents by making it visible and to propagate globally. She feels proud to represent Indian classical dance in Brazil. She commits that Brazilian people have huge respect for a country like India. Therefore, she strives for a permanent improvement and puts all her efforts in promoting art forms abroad. She has directed many legendary shows. Such as:

would shape and transform the lives of the students. She is also interested in exploring places all over the world and has visited many places like Italy, Uruguay and Portugal. She feels travelling is like diving deep into the culture of other countries. Her daily routine is simple yet effective. Though she has a hectic schedule as a teacher and a dancer she manages them well. She practices nearly three hours a day and gives Odissi classes one full day in a week. She even practices Odissi dance form mentally. She explains this mental 2017 - 'Padma Padam - the lotus's feet' (to be learning in a way is an excellent exercise of focus and presented in October of this year) concentration. Many studies in neuroscience tell about 2016 - 'Natanjali' (It was a jugalbandi between Odissi the importance to combine the physical and mental and Bharatanatyam. This recital was a report in the processes for the progress, to memorise and refine magazine "The Dance India" in September 2016) the quality of the movements. 2011 - 'Spandan' Rita maintains her own dance institute which is named 'Natamandir'. She plans to consolidate it and dedicate it 2008 - 'Odissi - dance carved in stone' to different dance forms. Or else, she would promote 2007 - 'Window of the soul, mirror of the Gods' this institute in her very own Sao Paulo city. The most The above achievements of Rita Andrade give a clear challenging moment in her life was to gather all her picture of her pure hard work and dedication to her research of Odissi dance and while she published her passion. Though she started her journey into dance first book on Odissi dance form in the Portuguese after her formal education she has come out with flying language in the year 2009. The most defining moment colours overcoming many struggles.

P 30 | OCTOBER 2017 Celebrations Reformer of KUCHIPUDI NATYAM Text: Dr Sunil Kothari

was a greenhorn, She performed tarangam placing a pitcher full of water rearing to burst on and balancing herself on the rim of a brass plate. Vissa Ithe Indian classical Appa Rao, the great scholar was presenting a paper at dance scene after Dr Vigyan Bhavan before the large gathering. I was sitting took me next to Banda Kanaklingeswar Rao who was in charge under his wings. It was in of Siddhendra Kalakshetra at Kuchipudi village. He was September 1957 that I a friend of poet Harindranath Chattopadhyay and chanced upon a special involved in theatre and dance movement in Andhra issue of Bharatanatyam Pradesh. edited by Prof Mohan He invited me to visit Kuchipudi village. It was only after Khokar. I saw it at JB Pitit four years in 1962, that I could go there after the dance Library near Flora seminar. I had also seen Acharyalu, Fountain in . I read it from cover to cover another Natyacharya of Kuchipudi dance tradition. I many times. I met Dr Mulk Raj Anand, got the address had heard of Vedantam Satyanarayana Sarma, aka from him of Prof Mohan Khokar, corresponded with Vedantam Satyam for his female impersonations. him, and took his permission to translate his article on When I arrived in Kuchipudi village, Banda arranged for Natak and Kuchipudi from Marg into my stay at the under-construction hostel, and took me Gujarati. I was curious to know more about Kuchipudi around, showed me the demonstrations by young and also about those villages near Tanjore - Oothkadu, disciples, invited Vedantam Satyam to demonstrate Nallur, Tepermanallur, Soolamangalm, Saliyamangalm, patrapravesha daruvu, the entrance dance and song. I and Melattur. I did not know that Bhagavata Mela Natak was completely amazed at young Vedantam Satyam's and Kuchipudi dance-dramas were a part of the living abhinaya of Satyabhama even when he was dressed tradition. When I met Prof Mohan Khokar at his normally only in a dhoti! Banda also arranged for me residence at Baroda, where he was professor and to see young children reciting Sanskrit Shlokas. Banda head of dance department, the first ever in the had taken upon himself to get Kuchipudi recognition as University system, he advised me to attend All India a classical dance form. And he left no stone unturned Dance Seminar at Delhi in April 1958, convened by to gather public opinion for doing so. And he did Sangeet Natak Akademi. succeed. The die was cast. It was a turning point in my life. I My involvement in research in dance tradition came to know a galaxy of pioneers of Indian dance, continued and, when in Chennai, during that period, at exponents, gurus, scholars, critics and dance T Nagar, YG Doraiswamy took me to Panagal Park to enthusiasts. Those were the years when Sangeet Natak meet Vempati Chinna Satyam who had just started Akademi was mapping the country in terms of Kuchipudi Art Academy to train young dancers in gathering valuable information about our living dance Kuchipudi on lines of solo performance. traditions. What now in present dance discourse we say 'nation-building activities'. I was fortunate to meet That was the first time I met Vempati Chinna Satyam, which resulted in friendship for a lifetime. Whenever I these great gurus, exponents and scholars. I saw for the first time a demonstration of Kuchipudi dance by visited Chennai, I invariably spent time watching his Kanchanmala, BA, as she used to write about herself. classes. I had seen Chandrakala, a gifted dancer

P 31 | OCTOBER 2017 learning from him and was impressed by her dance. I Vempati Chinna Satyam gave a superb exposition of was told later that she gave up dancing and joined nritta, pure dance and abhinaya to Telugu films. I never saw her again. But I did see Shobha compositions. Of course, his demonstration was Naidu and other dancers. They were upcoming superb. People started looking forward to his disciples dancers and Vempati was shaping them, chiselling like and others. From 1971 till 1980, when I a sculptor, turning them into dancers who reflected his left for to join as a professor and head of artistry, how he was polishing the dance movement, dance department at Rabindra Bharati University, this which became a hallmark of Kuchipudi dance and series had gained popularity and I learnt a lot at the feet Vempati bani, if we may call it. I used to take of great gurus of different forms. photographs in those years for documentation. I have Vempati brought dancers one after another for a somewhere in my archive photos of Vempati and two- decade to Mumbai twice, once for Kal-Ke-Kalakar at year-old also. Even some photos of dancers CJ Hall and other for Swami Haridas Sammelan at taking lessons. Rang Bhavan. I also wrote articles in Femina, I continued corresponding with him and was keen on Dharmayug, The Illustrated Weekly of India, The Times visiting Kuchipudi village again for detailed studies and of India (reviews in daily), features in Sunday magazine photographs for documentation. When I got an section, reviews in The Evening News of India and we opportunity of visiting London under British Council had great times. Vempati by that decade had scholarship in 1968, after editing a special issue of composed dance-dramas and sometimes we had Marg on Chhau Dances of India, published by Dr Mulk excerpts from these dance-dramas like Vipranarayana. Raj Anand, I met Kamadev who wanted to study Sometimes we had four dancers performing in place Kuchipudi and Chhau dances. He came to India and of one, as sakhis going to temple dancing to that started studying Kuchipudi under Vempati. That memorable composition Vedalera Vaiyyarula, in which brought us once again together. the courtesan Vedvani seduces Vipranarayana! Brijnarainji, director of Sur Singar Samsad, had by then Shobha Naidu, Ratnapapa, Bala Kondal Rao, accepted my proposal to have lec-dem series of Kothapalli Padma used to dance in an alluring manner classical dance forms for Kal-Ke-Kalakar Festival at CJ to Vempati's choreography which Shirin Vajifdar, then a Hall opposite the then Prince of Wales Museum. Now dance critic for , would describe as there is National Gallery of Modern Art there. It was a apsaras. spacious hall with three galleries and crowds used to fill Vempati's own patralekha, in which repentant all the galleries. With Manipuri exponent Nayana Jhaveri Satyabhama writes a letter to we started together a weeklong Kal-Ke-Kalakar dance Krishna asking his forgiveness, festival. What we planned was as follows: At 6 pm we both in padarthabhinaya, arranged lecture demonstrations of different styles, demonstrating each word and working with gurus, rehearsing with the salient features also in vakyarthabhinaya, as of each dance style and with their disciples. We made suggestive abhinaya, would the dance forms accessible to audiences. The series receive thunderous became very popular and we received an applause. In unprecedented response. padarthabhinaya, he We began with Kuchipudi inviting Lakshmi Viswanathan would stand up and Shobha Naidu. After the first one-hour from 6 to 7 pm when lec-dem was over, we presented dancers in another form like Kathak, or Odissi in a regular performance. It worked smoothly and audiences found the series interesting as we were explaining various technical aspects with demonstrations.

P 32 | OCTOBER 2017 Celebrations realised that Kuchipudi had to acquire posh and perfection with the aesthetic presentation. With his creative genius, he brought a sea of change in the execution of the nritta movements. The nritta numbers in the dance-drama lacked in the beauty of movements and were crude and rustic. He introduced sophistication, clean lines and a scintillating quality with perfect resolutions of movements of various dance units and created innumerable jatis and dance patterns. He classified them, correlated them with the Natya Sastra text, emphasizing the sastric nature of the and perform dancing with such grace, the gem of the Kuchipudi dance form. He brought an order to the poem Srimad Ratnakar Putrika, Mukharvinda… that it solo presentation of Kuchipudi dance on the lines of would cast a spell on the audience. Such was his Bharatanatya and other solo forms. mastery over the form. He had invested the form of He brought in changes in aharya, costumes, as well as Kuchipudi with great dignity and saushtavam, upright music emphasizing its classical character. He received aesthetic posture. Year after year we used to watch it support from P Sangeeta Rao, the veena player and and relish it with delight. music director. Bhujangaraya Sarma wrote at his Of all the illustrious gurus from the Vempati family behest, homage to Siddhendra Yogi in the form of group, Vempati Chinna Satyam's contribution to Brahmanjali with the words "Brahmanjali tandava nritta Kuchipudi has been outstanding. Born in 1929, he shreshame". It was set to Todi raga by the young studied under Tadepalli Perayya Sastry, Pasumarti vocalist K Suryaprakash Rao. Most of his disciples Kondala Rayudu, his elder cousin Vempati Pedda perform it as an opening number with slokas from the Satyanarayana and Vedantam Lakshminarayana Sastri. Abhinaya Darpana. He composed and choreographed As a child, he played the roles of Lava, Kusha, jatiswarams, tillanas, varnams and lyrics of Lohitasya and Prahlada, and then graduated to the contemporary lyricists like Devulapalli Krishna Sastri female roles of Satyabhama and Gollabhama. Well from the dance-drama Vipranarayana viz., Koluvaitava versed in other male roles, he was known for the role Ranga Sayee and Vedalera Vayyarulu, which became of Lord Shiva in Ksheerasagara Mathanam, a dance- extremely popular. drama choreographed by him. The repertoire he created over a span of thirty years is Following the footsteps of Vempati Pedda remarkable and Vempati's style acquired a distinct Satyanarayana, he too migrated to Chennai and in the characteristic, setting his style apart from other gurus. early years gave direction for dance in films. However, His students are a legion. With star pupil Chandrakala, when he came under the influence of Vedantam who left Kuchipudi to join films and Sobha Naidu, Lakshminarayana Sastri, he was extremely impressed Vempati succeeded in having a large following in no by the guru's approach and erudition. When he got time. From the leading lights of Bharatanatyam like film involved as a guru training dancers in Kuchipudi, he stars Vaijayanthimala, , Meenakshi established Kuchipudi Art Academy in Chennai in 1963 Sheshadri to the celebrated dancers like , and began choreographing and composing dance , , Lakshmi numbers for solo presentations. He had already made Viswanathan, Swapnasundari, Kamala's sister Radha, a a deep study of the Natya Sastra and other texts and host of dancers studied under him in the seventies, was obsessed to place Kuchipudi on par with other performing some numbers learnt under him in their classical dance forms. He received good exposure repertoire. However, in the earlier years, it was Sobha during his initial stay in Chennai feasting his eyes on the Naidu who as his prime disciple became synonymous productions of Rukmini Devi at Kalakshetra. He with Vempati Chinna Satyam's style. Later on, when he

P 33 | OCTOBER 2017 opened a branch in Hyderabad, he deputed Sobha has written a book in Telugu on Naidu to teach there and run the academy. Similarly, he Kuchipudi with hundreds of sent Bala Kondala Rao to Visakhapatnam and spread sketches for the technique and Kuchipudi in Andhra to other cities with great success. explanations of Natya Sastra Kamala Reddy, Sasikala, Anuradha Nehru, Padma principles. Menon, Manju Barggavee, Rathna Kumar, Kamdev Several honours came his way for among others acquired a status of a star followed by his excellent work. Sangeet Natak so many including Kalpalatika, Anuradha Akademi award, fellowship, Padma Jonnalagadda, Shanta Rati Mishra and Shantala Bhushan, Andhra Pradesh Sangeet Natak Shivalingappa based in Paris. Shantala has worked Akademi's Bharata Kala Prapoorna award, with Peter Brook of Mahabharata fame and renowned Government's prestigious German choreographer Pina Bausch. There are , Honorary Doctorate from countless exponents who have trained under him and Sri Venkateswara University and several other follow his style, a majority of them settled in the USA. titles were bestowed upon him. His son Venkat For want of space, I have mentioned a few names only. looked after the management, foreign tours, Besides solo numbers, Vempati Chinna Satyam documentation, annual festivals at Kuchipudi village, choreographed a number of dance-dramas with placing statues of great legendary masters at imagination and deep understanding of how dance- Kuchipudi village, and did not leave any stone unturned dramas should be presented for metropolitan to promote the cause of Kuchipudi. As mentioned audiences. He has choreographed more than fifteen earlier, like a pitrubhakta Shravana, he served his father dance-dramas of which Padmavati Srinivasa till his last breath. Kalyanam, Rukmini Kalyanam, Hara Vilasam have With his own creative skills, imagination, observation received unprecedented success. Their production and aesthetic approach, Vempati Chinna Satyam values and dramatic impact, music and uniform good metamorphosed Kuchipudi into a highly classical performances by the well-trained dancers have dance form, meeting various norms of the Natya received appreciation not only in India but also abroad. Sastra. He shall be remembered for long by Several American and European tours are a testimony generations of dancers for his genius. He taught with to the Guru's genius. The tremendous support he great generosity. Never charged any fee, fed dancers, received from Telugu NRIs abroad is historic. The allowed them to blossom and today wherever they services he rendered to Kuchipudi dance-drama and are, they have done Vempati proud by continuing and solo dance form was unparalleled. following his tradition. Ananda Kuchibhotla of Silicon Andhra honoured him at Venkat and Ravi will now have to work out various Cupertino, near Stanford in the USA which brought the strategies to run the Kuchipudi Art Academy to carry entire Telugu community to pay tribute to him. For the on the legacy of Vempati. Venkat's daughter Vempati Guinness Book of World Records, one in the USA and Lakshmi Kameswari is a brilliant dancer. Kuchipudi is in the other at Hyderabad, hundreds of Kuchipudi her blood and she is bound to turn into a star of dancers performed Vempati's choreographed Kuchipudi of Vempati bani. His son Aneesh Vempati jatiswaram and tillana numbers and created history. has also been exposed to dance and we all hope that Vempati has devised a course of training which is quite these two grandchildren will along with Ravi, Venkat, his rigorous. Training in music and Sanskrit literature is wife Srimayi and others continue and preserve this compulsory along with practical lessons in dance. He great heritage. We all will miss him. I owe him a debt of himself used to supervise the classes, till his health gratitude for when I undertook to write a book on permitted. He conducted several workshops abroad Kuchipudi, Vempati assisted me and saw that there and as a creative guru, his prolific choreographic were no mistakes. He had bestowed upon me works have placed Kuchipudi on a very high level. He affection without expecting anything in return. Gurus like him appear on the dance scene rarely.

P 34 | OCTOBER 2017 NEWS

Sai Nrityotsav @ 100 A Magical Evening with Palpable Excitement Text: Dr Sunil Kothari

Guru Dhananjayan fter a few years, if the dance aficionados were to discuss and recollect the arrival of Sunanda ANair from the USA where Houston was submerged in water, to perform for Sai Nrityotsava 100, they would not believe that she had made it in time

Shanta Dhananjayan

to perform at SSS Auditorium, without showing slightest sign of fatigue after a long-distance flight! To put it in terms of mythological context, it would not be an exaggeration to say that some very special guiding devaduta, angel, must have flown her across the ocean and placed her invisible to the eyes of the mortals, in the green

P 35 | OCTOBER 2017 room. For, when she arrived in her full Mohini Attam regalia lunch, minus onions and garlic. Simple, sattvik food she was a Mohini, enchantress, who mesmerized the has become very popular. audience. Acharya, former secretary of Sangeet Natak She was ushered into the auditorium with a resplendent Akademi, was invited to inaugurate the celebrations of royal red umbrella over her head by the hosts Sai Sai Nrityotsava 100. She also gave very useful Venkatesh and his wife Suparna and other retinue suggestions to the organizers, as she has more than members following her with fanfare! That was dramatic 30 years of experience in organising festivals for SNA. enough to set the celebrations for the 100th evening of The performance began with Purvarangam with three dance performances. energetic young male dancers Soma Shekhar C, Never-say-die Sai Venkatesh had started presenting on Sharath T S and Nidhaga Karunad MB, who with their the first of each month upcoming dancers, followed by electrifying entry and movements kept the audience performances by young dancers on other three days. enthralled. Suparna Sai had choreographed the dance That was eight years and four months ago. And during as per the dictates of the Natyasastra. The purification this time he never missed any date. For the record, of the stage, the placing of the jarjar dhwaja and months ago he had planned it as a gala event inviting worship of presiding deities of the eight directions was major four senior dancers like Sunanda Nair from well performed. The Tandava, the vigorous dance of Houston for Mohini Attam, Sujata Mahapatra from these three dancers was most impressive. Bhubaneswar for Odissi, Manju Barggavi from Then followed the Kaishiki dance by four young for Kuchipudi and Dhananjayan and dancers: Kavyashree Nagaraj, Kshamitha Shastry, Shantha from Chennai for Bharatanatyam. Ashitha R Kumar and Swetha Venkatesh, who with their Along with this Sai also planned to have a conference graceful and alluring dancing provided quite a contrast of organisers. These voluntary organisers have been to Tandava. The choreography was imaginative promoting young dancers for the past 10 years. In capturing the essence of Kaishiki vritti mentioned in the Visakhapatnam, Vikram Bathina has been arranging Natyasastra. Then followed the solo annual dance festival in the month of September called performances by the senior the Vysakhi Nrithyotsva and Satyabhama Kuchipudi dancers. dance festival. In Bhubaneswar, Jagbandhu Jena has Sunanda chose to dance been organising Festival to promote Vallabhacharya's and preserve Mahari dance tradition of Odisha. In Madhurashtakam, enriching it Chennai, Churchil Pandian organises a few festivals with sancharis, episodes promoting young dancers. Artists have recognized this voluntary work. Such work possesses several problems for raising funds. In Bangalore, Veena Murthy Vijay is involved in organising several national and international festivals. She has vast experience of organisation and also understanding of raising funds. Another enthusiastic Bharatanatyam performer and organiser Kashmira from Thana, Mumbai also came to attend the organisers' meet. Sai had made arrangements for meeting at Apurva Restaurant opposite SSS Auditorium - an unusual restaurant, where people can sit on the floor, also have special

Sujata Mohapatra

P 36 | OCTOBER 2017 NEWS from the life of Lord Krishna. The most memorable and Sujata Mahapatra performed next with her touching was the visit of Sudama to Dwarika to see incomparable Odissi, reflecting the impeccable training childhood friend, sakha, Lord Krishna. He had only of Guru Kelucharana Mahapatra, her father-in-law. She brought rice as a gift for Krishna and was too cast a spell. There is an aura about Sujata. Her embarrassed after witnessing the splendour of Yugma Dwandwa in melodious Bagesri raga and eka Dwarika, the palace, and the opulence all over. Krishna tali composed by Pandit was a welcomed him with great affection and washed his feet, tour de force. It indeed evoked memories of Sanjukta asked his wives to fan his childhood friend, and took Panigrahi and Raghunath Panigrahi's jugalbandi. Sujata away from Sudama, the rice he had brought. He ate a has excellent command over tala and laya and she mouthful of it and Sudama's old hut turned into a loses her 'self' while performing, giving delight to the palace and wife and children had new clothes and audience. ornaments. The nritta with her chiselled figure acquired another On returning, Sudama found his old hut had extra dimension. The jugalbandi, the repartee with the disappeared and so were his ill fortunes! The musician, matching the solfa notes, swaras, was sakhyam, friendship of Krishna, is full of Madhuryam fascinating. Both nritta and music became an equal and Sunanda enacted it in a very touching manner. partner. The dancing on the heels, sculpting the various poses, like parshva maradala or darpani, karihasta, Shikhandi's revenge was the second number which embellished the pallavi. has become Sunanda's signature piece. Bhishma's rejection of Amba, the humiliation, parihas, the agony For abhinaya, Sujata chose Guru Kelucharan et al of Amba were enacted with netrabhinaya, Mahapatra's choreography of Shabari from the expressions through eyes and mukhajabhinaya, facial to the chaupais of Tulsidas. The delineation expressions, in an eloquent manner. Sunanda won of abhinaya for the character of old shabari, waiting for the admiration of the audience, who were spellbound the darshan of Lord Rama was full of intensity. Offering by her art. Lord Ram, the berries after tasting them, with hand atremble, was enacted with a complete feeling of surrender. Tulsidas's chaupais were transformed to Manju Barggavee depict the character of Shabari as a devotee in a delectable manner. Gifted as she is, Sujata succeeded both in enjoyable nritta and abhinaya.

Rupakumar Parida's singing and by Ratikant Mahapatra were excellent.

Manju Barggavee, a senior disciple of Vempati Chinna Satyam, became well known for her appearance in film Shankarabharanam. Trained by Vempati and performing in several dance dramas choreographed by him, she often was cast in the role of Lord Vishnu with her majestic personality. However, she was adept both in solo and roles offered in dance dramas. She presented excerpts from Bhamakalapam with patrapravesh daru of Satyabhama. With her arresting stage presence she looked royal and as proudha, garvita, swadhinapatika nayika, she did justice to the role of Satyabhama.

P 37 | OCTOBER 2017 Honouring in Honouring Helen Acharya in 100 episodes of Sai Nrityosav 100 episodes of Sai Nrityosav

Honouring Churchil Pandian in Honouring Kashmira Trivedi in Honouring Jagabandhu Jena in 100 episodes of Sai Nrityosav 100 episodes of Sai Nrityosav 100 episodes of Sai Nrityosav

Honouring BR Vikramkumar in Honouring Kapinayya in Honouring Padmasri Dr. Sunil Kothari 100 episodes of Sai Nrityosav 100 episodes of Sai Nrityosav in 100 episodes of Sai Nrityosav

Honouring Veena Murthy Vijay in Honouring Sujata Mahopatra in Honouring Sunanda Nair in 100 episodes of Sai Nrityosav 100 episodes of Sai Nrityosav 100 episodes of Sai Nrityosav

As patralekha with padarthabhinaya, depicting each word with hastas and appropriate expressions, the rich Telugu poetry, written for Satyabhama, Manju Barggavi excelled in its depiction. Right from shrimad ratnakaraputrika mukharvind till the last signing of her name as Satya, it was a moving display of a repentant nayika, begging forgiveness of her Lord and begging him to come unto her. Rendered in Shankarabharanam raga it brought out Satyabhama's agony.

Honouring Manju Barggavee in Shakunalu, the auspicious omens in raga Arabhi displayed her joy when 100 episodes of Sai Nrityosav she saw a married couple, a Brahmin Satyabhama was delighted that her

P 38 | OCTOBER 2017 NEWS sending letter was bound to result in success and she mother Yashoda took him to breastfeed. The audience would be reunited with Lord Krishna. Vempati's instantly applauded Dhananjyana's abhinaya for that choreography for these sequences is evergreen and passage. When mother Yashoda placed Krishna in the evokes feelings of admiration for his genius. Manju cradle for sleep, naughty Krishna caught Yashoda's Barggavi did justice to it. sari and Yashoda displayed her anger but was overcome with love. Dhananjayan's transforming into The expressions were so graphic that one's mother Yashoda was exquisite and one marvelled at sympathies seemed to be on the side of the helpless his ability to transcend gender and make the audience nayika. believe he was mother Yashoda. The audience, in Dhananjayan and Shantha, dressed in simple particular, the young generation was hysterical with joy costume, becoming their age, endeared themselves to watching it and cheered loudly. the audience. Dhananjayan's The song further describes that disciple in Bangalore, Kiran Sunanda Nair Brahma, Sanaka, Indra and others Subramaniam conducted the crave for his glimpse and say, "O nattuvangam and the honey-voiced Yashoda you begot him as a son in Priti Mahesh from Chennai sang a trice!" All Gods question Yashoda soulfully. Veenit was on while she fondles the child Krishna mridangam and Kaliasan, known lovingly. The abhinaya by as the king of violin, accompanied Dhananjayan was so unalloyed, them. refreshing, endearing that it resulted Shantha and Dhananjayan after into rasanubhuti, aesthetic delight. Mallari performed a prayer in Shantha performed a javali depicting praise of Ganesha, almost khandita nayika dismissing the deconstructing the song and culprit Nayaka with suchi hasta and alternatively dancing with epithets closed the doors on him. The of Lord as Modaka hasta, brevity of the song and abhinaya Mushikavahana, a matured and were enticing and brought out the dignified approach that their lifelong essence of javali and the mood. tapasya in dance has brought them. When in the end for Mangalam both performed Shantha performed sitting on a small stool 's together offering the Vigraha, the idol, garland and ashtapadi sancharadhara, depicting Radha's state of folded hands to the audience, the audience got up as jealousy seeing Krishna playing Rasalila with other one and gave them a standing ovation. Indeed it was a Gopis. The exquisite similes for Krishna's beauty, moving recital by both of them. chandrakacharu, attractive like the moon, dhanur purandara, the eyebrows like the bow of Indra, and his When I say it was a magical evening, I am not playing Rasalila with stanzas vallabhayuvati sahsram, exaggerating it. After the show concluded, no one countless Gopis, came alive with adequate abhinaya. seemed to be in a mood to leave. Everyone wanted to cherish the aesthetic delight, given by each dancer and The finale by Dhananjayan's abhinay to Papanasam savour it. Sivan's song in which even Gods ask Yashoda what punya she has earned that the Lord is playing as a Sai Venkatesh, Suparna, and the entire team deserve child before her. Even Brahma is jealous, "O Amma compliments for a memorable Sai Nrityotsav 100. Yashoda, tell us how Lord Vishnu has become your There was a palpable excitement in the air and one child!" Dhananjyan turned into mother Yashoda, took would for a long time remember the evening. child Krishna for bath, Krishna had stanapana, when

P 39 | OCTOBER 2017 A Confluence of Impressive Nritta - Tribute to Legendary Guru Narmada Text: Dr Sunil Kothari

here was a buzz in the air. Three prominent But the piece de resistance was the signature disciples of late Guru Narmada were to perform choreographic marvel, the Ashtaragamalika Varnam Ttogether at JSS Auditorium to pay tribute to her set to Rupak tala, the Tanjore quartette's Sami ninne on her 75th birthday. These three are Sathyanarayana korina, "Pleading you O my Lord". The presiding deity Raju, P Praveen Kumar and Saundarya Srivatsa. And is Lord Brihadeeshwara and the nayika; devotee is what a power packed performance it was! Deceptively virahotkanthita, beseeching Lord's love and union. The appearing delicate in comparison with other two, trio took various iconic postures of Lord Shiva, Sathya Praveen's was a powerhouse of energy. The three forming the tall shikhara, tower of the temple, unleashed such energy that from the very first entry Saundarya of Shivalinga, and Praveen that of Nandi, onto the stage holding hands, the audience was riveted the vehicle of the Lord, and unfolding the vastness and watching their Brahmsandhi, a rare choreographic grandeur of the temple with eyes of wonder. The three gem from Navasandhi by Tanjore maestro Kitappa spread their arms in space to suggest the great from whom Narmada teacher had studied it. edifice. They created the architectonic beauty of the temple, with equally enchanting Pandanallur style, Set to Madhyamavati raga and Rupak tala, extolling the Sathya with his broad sweep of arms, as it were supremacy of Chaturmukha, four-faced Lord Brahma, generating the energy in the other two performers. the creator of entire universe, Sathya, Praveen and Each one in turn displayed in abhinaya the agony of Sauandarya formed a triangle, dancing in circle, separation suggestively with fleeting expression on separating, with sparkling nritta. They at once cast a their faces! spell on the audience. Each one performing together in unison and keeping one in the centre and the other two Not known for dwelling upon abhinaya, Guru Narmada disappearing in the wings, showed off their individual was known for scintillating nritta, pure dance. The three prowess and a rare harmony. dancers embellished it in joyous abandon, thoroughly

The choreography spoke volumes of their understanding of the legacy they have inherited from courtesy to Srivatsa Shandilya the great guru. Whether they performed in front with two male dancers and female next to them, the execution of movements of arms with effortless footwork in keeping with the tala, or diagonally and then covering the stage, the formations invested itself with newness.

P 40 | OCTOBER 2017 NEWS enjoying and communicating the joy to the audience. Guru Narmada she found them a treasure trove. Guru Sathya with his utplavana, a little jump drew cheers Narmada excelled in nritta and as all saw how exciting it from the young enthusiastic admirers, whereas the was being performed by the three dancers; there was audience gave three of them rounds of applause for also enough scope for developing abhinaya. She was the teermanams, the concluding movements. It was a open to disciples' own individuality. A rare creative guru feast for the eyes. Their perfect tuning was palpable Narmada will always be remembered for her and well synchronized. The eight ragas which flowed in everlasting contribution. Her institution Shakuntala a seamless manner, alternating with nritta, highlighting Nrityalayam was always a centre full of disciples the choreographer's imaginative approach, were Todi, performing and practising her unique style. Fulsome Sankarabaharana, Pantuvarali, Atana, Bhairavi, Kalyani, tributes were paid to her. Vasanta and Mukhari. Tillana in Valachi, Ratipatipriya and The procession of the Lord, with musicians playing Simhendramadhyama ragas was a tour de force. The different instruments walking in front, veritably created three dancers entered the stage from the wings taking an illusion of watching the procession, seeing it, as it Bhramaris, the circles and covered the stage, at times were before one's eyes. Nayika's telling the Lord 'Mati', two dancers sitting on either side, one standing in the 'Mati', I hear from all singing your greatness and the centre, performed with élan. At end of a dance phrase, repetition with tatti mittu adavu reinforcing the mood Saundarya stood in a sculpturesque pose and glided enhanced the pain of the nayika. The gender did not away in the wings, Praveen took over displaying matter, the dancers became the nayika, begging him to virtuosity when Sathya joined taking periya adavu come quickly, the three of them holding the Lord's feet. covering the stage on either side revealing the beauty Such touches were like colourful brush strokes of a of tillana. At one point three of them dancing keeping painting. The finale of nritta with sarukkal adavu. tala clapped joyously a la Kathak dancers! Strenuous as its nature is, it was executed by each one The prayer Om Parashaktiswarupini, Bhavani, Ambe of them in an effortless manner, rarely seen in a Mahamaya, in view of Navaratri, was the apt choice varnam. attached to Tillana. The three dancers performed with The three of them ended with an iconic image, as precision of ballet dancers, maintaining symmetry described above, Sathya showing the shikhara of the executing tadhingin tom with ease and when they temple, Saundarya with Shivalinga hasta and Praveen raised arms above, sitting on stage, turning their back with Nandi hasta, with lights slowly fading giving a to audience, from ceiling came down, as it were from silhouette touch that left an indelible impression. The the heaven, a large portrait of Guru Narmada with a audience gave them a rousing ovation. shower of red roses on that drew a huge applause from the audience. It was a moving tribute by the three Before the final Tillana, the senior Gurus Lalitha disciples and a memorable evening. Srinivasan and Guru Bhanumathi paid Guru Narmada handsome heartfelt tributes. Lalitha recalled her own The musicians Raghuramam (vocal), Shakuntala desire to learn from Guru Narmada the greatness of Raghavendra (nattuvangam), Kartik Satvalli (flute) and Varnams of Tanjore quartette. Though Guru Narmada Harsha Samaga (mridangam) gave excellent support did not pay much attention to or elaborate upon to the performances. abhinaya, these varnams offer even with minimal It would be very inspiring for the young generation to sahitya, so much scope for elaborate abhinaya, said choreograph on similar lines and perform with such Lalitha. Though she belonged to Mysore school of zeal combining their talents together. It indeed was Bharatanatyam having studied from unique performance and rasikas, connoisseurs shall Venkatalakshamma, Lalitha was curious to learn remember it for a long time. Varnams of Tanjore composers. And learning from

P 41 | OCTOBER 2017 10th Anniversary Vysakhi Nrithyotsav 2017: A Decade of Classical Dance Text: UNS Vijayshri himmering gates, huge cut-outs of classical dancers, men in traditional attire welcoming guests were the signature style of celebrations at the 10th edition of the Vysakhi Nrithyotsav, an All Indian Classical Dance Sfestival celebrated on the evening of September 15 at Kalabharathi Auditorium. The festival has been successfully organised for the last 10 years by Nataraj Music and Dance Academy (NMDA) under the guidance of its Founder President BR Vikram Kumar. It acquired a special place in the cultural fabric of India. NMDA, a member of International Dance Council in UNESCO and ISO 9001:2008 certified organisation, gave a good start to the programme.

As the clock struck 6:30 pm, compere Sai Bala welcomed the dignitaries, Commissioner of Income Tax BG Reddy, Additional Commissioners of Income Tax-I, Narayan and , Joint Commissioner of Income Tax, Aravindakshan and Assistant Commissioner of Income Tax, Saumya Pande for lighting the lamp to inaugurate the festival.

The packed hall then watched the opening of the programme by Sri BG. Reddy, IRS Sri S. Ravi Shankar Narayan, IRS performer, teacher and choreographer Deepak Mazumdar, a master of Bharatanatyam who has carved a niche in the world of Indian classical dancing with his expertise in 'Abhinaya'. Guru

Sri Manoj Kumar, IRS Sri Aravindakshan, IRS

Sri S. Rahul, Superindent of Prisons Smt. Soumay Pande, IRS

P 42 | OCTOBER 2017 NEWS Deepak had carved many individuals and nurtured Joy Krishnan Kerala Natanam performers for decades together. Nita Ambani, the wife of business tycoon Mukesh Ambani, veteran heroine and Raj Sabha member Hema Malini and others have been training under him for the last couple of decades.

Guru Deepak Mazumdar began the proceedings with his brilliant dance recital using all his expertise, setting the tone for the rest of evening. He performed two acts in which the first one depicted Krishna as a happy-go- lucky boy who prevails on his mother Yashoda to narrate an ancient story. She chooses to tell Rama's Trivandrum gave everyone a taste of Kerala with their story, which causes the young Krishna to react to the novelty. They performed three acts which started with story forgetting that he is not Rama but Krishna. The Ganesha Sthuti followed by an item in praise of Lord next presentation was about Nandanaar, an Markandeya Charitra. They concluded their untouchable bhakt of Lord Brihadeeshvara who was act by giving tribute to the Navaratri festival as they kicked out of the temple and insulted but was given depicted Goddess Durga, a form of Shakti. It was a darshan by the God by making Nandi move. His facial grand evening which was thoroughly enjoyed by the expression accurately synchronising with the body dance aficionados in Vizag. language and 'Chaksho-bhinaya' in a wonderful manner while performing the act mesmerised the The momentum and the spirit continued with a audience. He has an impeccable sense of rhythm spectacular display of Kathak; Bharatanatyam and coupled with subtle grace, which was thoroughly Odissi classical dances by accomplished artists who enjoyed by the spectators. cast a spell on the gathered audience on the second day. Artistes from Kalanand Nritya Sanstha from Sudagani Geeta Narayan, a Vizagite, captivated the Mumbai headed by Bhavana Lele began the audience with two Kuchipudi recitals, which included an proceedings with their Kathak recital on Day 2. Guru Abhinaya piece 'Sancharadadhara', an Ashtapadi, Bhavana Lele, Pallavi Lele, Jui Badle, Vaishnavi Gandhi, which was composed by Padma Bhushan awardee Yukta Nayak, Kavya Srikanth and Yashoda Pant Vempati Chinna Satyam, and Bhamakalapam which presented 'Dashavatar', a Mahakavya written by poet depicted the story of Satyabhama, the charming but Jayadev, composed by Pandit and jealous wife of Krishna and her love for her choreographed by Guru Bhavana Lele. Twirling the companion. Right from the entry till the exit, the Mrignayani captured the attention of the audience through her astonishing footwork perfectly synchronised with her 'Nayan-abhinaya'. She maintained her continuous eye contact with nuke and corners of the auditorium. The performances were marvellous with perfect expressions to portray the characters. The spectators could get the vibes of Satyabama effectively as she got involved with the character completely. Last but not the least, Kerala Natanam by Kalalaya group Deepak Mazumdar lead by Joy Krishnan from Bhava lele Kathak Bharatanatyam

P 43 | OCTOBER 2017 Tanmoy Pal and troop performing Manipuri special Debjani at Vysakhi Nrithyotsav Chaeetterj Bharatanatyam

pointed finger in the entire sequence to establish Lord last act portrayed the love for everyone and devotion Sri Maha Vishnu in every Avatar was selected and well towards life that can result in a divine energy. The exhibited by Bhavana Lele. The group gave a vibrant group's presentation was heart touching and performance which gave the viewers goosebumps. It connected very well with the audience. was followed by a Bharatanatyam presentation by The dignitaries on the second day of the function, Debjani Chatterjee and Group from Kolkata. Artistes customs and central excise commissioner (audit) D Sharmila Ghosh, Shubhecha Bhattacharya, Debsri Venkateswara Reddy, Symbiosis Technologies CEO O. Roy, Modar Chatterjee, Debashish Sarkar, Tuhin Naresh Kumar, additional commissioners of income Chatterjee, Sourav Bose and Nilay Mondal displayed tax S Ravi Shankar Narayan, artistes Deepak wonderful skill. They performed traditionally global, a Mazumdar and Kashmira Trivedi graced the occasion Bharatnatyam margam set in a world musical as guests for the ceremonial lighting of the lamp and arrangement. The performance was breathtaking and later presented the awards. Recognizing the efforts put their efforts to please the audience with a new way of in by Jagadbandhu Jana, festival director of presentation were triumphant. Debjani's different and Nrithyotsav from Odisha, in promoting art and culture, attractive performance during the show, especially her the Academy presented him the 'Vysakhi Excellency concluding item, Tilana - a tribute to Visakhapatnam Award' for the year 2017. remained like an unforgettable event. A disciple of Guru , Rina Jana's group presented The third day of the festival witnessed Manipuri and beautiful Odissi art form and showcased the sculptural Kutiyattam performances on September 17. The essence of the dance form. Artistes Paromita evening began with the traditional lamp lighting Mohapatra, Sweta Kundhu, Sangamitra Jana and ceremony by distinguished guests chartered Koushik Das were part of the group. They performed accountant, Velugula Sridhar; income tax officer, Sri three acts which started with Krishna Kirtanam to Vijay Kumar; prominent stage and light designer, Sai showcase the love and devotion towards Krishna. The Venkatesh and chief manager (public relations) of next act depicted the Dasavatara of Lord Vishnu. The Hindustan Petroleum Corporation Limited. Almost

Kalamandalam Ramith Rina Jana Odissi

P 44 | OCTOBER 2017 NEWS

Vysakhi Excellence Award being Deepak Mazumdar in action during Vysakhi Lifetime Achievement Award 2017 presented to Jagabandhu Jena the workshop organised at Vignan being conferred on Baratanatyam exponent Engineering College Visakhapatnam Deepak Mazumdar

Kuchipudi dancer Geetha Narayan receiving Kerala Natanam exponent receiving Debjani Chatterjee receiving Naatyasri award Naatyasri award in Vysakhi Nrithyosav Naatyasri award in Vysakhi Nrithyosav in Vysakhi Nrithyhotsav

Naatyasri Award being Naatyasri Award being International stage lighting design expert Sai presented to Kalamadalam Remith presented to Tanmoy Pal Venkatesh being Honoured during the festival

immediately, of Kutiyattam are based on the Ramayana, the Santiniketan group performed 'Jadayuvadham' from the epic. Angik and Artistes Kalamandalam Ramith Ramesh, Group from Kalamandalam Manjunath, Kalamandalam Nila and West Bengal Kalamandalam Midhun brilliantly presented the amused the whole episode spanning around 30 minutes. audience with Percussionists Kalamandalam Vijay, International stage lighting design expert Sai their soothing Kalamandalam Rahul on Mizhavu, Kalamandalam Venkatesh being Honoured during the festival and graceful Sudheesh on Idakka and Kalamandalam Aswathy Manipuri on Thalam accompanied the artists and made it an moves. They performed three acts which depicted epic performance. Kalamandalam Vyshakh did a Dasavatara of Lord Vishnu in their style. The acts were great job with Chutty (makeup). The three-day smooth and cheerful. Later, Kalamandalam Ramith and festival showcased some of the spectacular art group from Kerala presented Kutiyattam, one of the forms in India and it would be remembered for a oldest living theatrical traditions - a first of its kind long time to come. presentation in Andhra Pradesh. As most of the stories

P 45 | OCTOBER 2017 painting was very A Beautiful impressive. While Dharani Kashyap and group Amalgamation brought to life the characters of Ravana, Vikram Srinivas captured Text : Gopal Sagar them live on his painting. It ala Tripura Sundari Nruthyotsava 2017 was a beautiful contrast to organized by the director of Natya Ninaada watch motion and image of BBAcademy, Dharani Kashyap was a unique the motion in one space. It treat to the audience. It was heartening to see artists definitely did justice to the take such keen interest in promoting the art. Students incessant rain hit from three groups, Natya Ninaada Academy', 'Natya Bengalureans who dared to Sadana' and 'Rasagna Academy of Performing Arts' venture out to come and participated in the Nruthyotsava. The event started after view the performance. the customary prayers invoking the blessings on the The eminent guests praised the artists. Kendra divine followed by a dance from Rasagna Academy on Sangeet Nataka Akademi award winner Kala Krishna goddess Amba and Vinayaka, the remover of as chief guest encouraged the performers with his obstacles. This was followed by artists from Natya words. As an impromptu gesture of appreciation, he Sadana who performed dance depicting 'Astalakshmi' offered Dharani Kashyap his own shawl honouring her dancing the praise of the eight forms of 'Shri efforts. Guru Radha Sridhar and Guru P Rajeshwari Mahalakshmi' followed by the famous Annamacharya blessed the young talent with their encouraging words. Kruthi, 'Sri Alamelu Manga' and 'Swasti' depicting Lord Special Guest, LA Ravi Subramanya, MLA, Shiva. The highlight of the evening was 'Mandodhari Basavanagudi Constituency commended the efforts of Kalyanam' by artists of Natya Ninaada Academy. Dharani Kashyap for organising the event. The evening The beautiful amalgamation of traditional dance form concluded with guests handing over mementoes and with the graphical treat of contemporary canvas blessing all the artists.

P 46 | OCTOBER 2017 NEWS Sahachethana Natyalaya. The dance sequences A Classical Treat to seemed very agile and co-ordinated with elegant costumes and charming formations. The wonderful Shivamogga choreography by Nrutyaguru Sahana Chethan for the melodious and rhythmic songs praising Lord Rama Kalarasikas and Krishna together received huge rounds of Text : Gopal Sagar applause.

atyaradhana - 8, a national festival of dance organised by Sahachetana Natyalaya, came Nalive into the spotlight again at Rangamandira in Shivamogga, Karnataka. Sahachetana Natyalaya is a school of classical dance dedicated to training and performance of Bharatanatyam by Nrutyaguru Sahana Chethan. It has been promoting other classical dance forms of India by giving emerging artistes an opportunity to perform and experience the thrill of dance. It was successful in introducing Shivamogga Kalarasikas, the glimpse of various dance forms for the last 8 years.

The first day's presentation was based on the theme 'Saketa Madhuriya' performed by the disciples of On the second day, Nrutyaguru Sahana Chethan performed a solo recital to a devotional song "Hari Tum Haro" by saint Meera. The dancer appealingly depicted the avatars of Lord Krishna, rescuing his devotees in difficulty. The auditorium reverberated with a clap of thunder. The other performance was to the "Pyare Darushanu Dijo", a Meera composition. 'Ramabhaktisara' a dance drama based on Thyagaraja Ramayana - the students of Natyalaya as envisioned by Thyagaraja, portrayed the story of Sri Rama.

Day three focused on the performance of guest dancers. The Gurukul from New Delhi performed Mayurbanj Chhau dance exotically. The solo performance of Guru Rajesh Sai Babu was eye-catching. The Mahari recital by Guru Suhag Nalini Das and team, Guru Pankaj Charan Odissi Foundation, Bhubaneswar was enchanting. Mahari is a ritualistic dance form which was performed at the temple of Lord at by Devadasi dancers called Maharis. The attempt on recognizing the forgotten dance is commendable.

P 47 | OCTOBER 2017 Prastaar: Purvadhana Shree Beyond Boundaries

Text: Megha Shirodkar

he Gandharva Mahavidyalaya presented the Prastaar Festival, featuring young dancers from Tacross the country at Delhi's Kamani Auditorium, from September 15 to 17, 2017. One of the prominent meanings of the word 'Prastaar' is 'to extend' or 'to spread'. The festival attempted to promote young dancers, who can be the future torchbearers of the art form.

Prastaar as a special feature offered an interpretation of one common Sanskrit text, performed by all the dancers in their respective styles. The extract was a Sanskrit poem suggested by scholar Veejay Sai, from the Subhashitavali 1049 (Shringarapadhhati) compiled by Vallabhdeva in the 15th Century. The festival's renowned Odissi exponent Mudgal. It focused on the central theme was conceived and curated by solo dance format and its accompanying traditional values while simultaneously encouraging creativity and innovation from the young torchbearers of the Bhavanjan Kumar tradition. Reaffirming their belief in what they have chosen to pursue. This common text extended the capabilities of the participating dancers, their understanding of Sahitya, music and dance choreography. The piece aimed to inspire introspection and an artistic extension that was reflected in the unique conceptualisations of each dancer. The supremely talented lineup of dancers

Arushi Mudgal

P 48 | OCTOBER 2017 NEWS

Monsia Nayak Navya Natarajan

included Bhavajan Kumar and Navya Natarajan in Bharatanatyam, Sanjukta Sinha and Monisa Nayak in Kathak, Arushi Mudgal in Odissi and Purvadhanashree in . The flawless performances of their traditional repertoire were followed by their own take on the verse 'Ma Yaahi...' describing the manasthiti of a nayika as her beloved leaves.

This three-day festival connected these promising dancers with an enthusiastic audience comprising respected Gurus, acclaimed dancers, learned

Sanjukka Sinha

scholars, rasikas, music and dance connoisseurs, critics as well as students who gathered to support and encourage young talent, which is indeed a rare feat for a dance festival. The spell-binding performances by all the dancers displayed their sheer hard work, skill and innovative choreographies; acquired over years of training that has seen them blossom into individual artists moulded by their distinct styles. Prastaar with its unique sublimity gave the dancers an opportunity to showcase their art forms inspiring them to extend beyond prescribed boundaries. P 49 | OCTOBER 2017 Shringar: An Exhilarating Experience

t was an exhilarating experience for Bangalore and Kochi as they witnessed unique performances by IIman Das' Shringar in a hattrick concert from September 8 to 10. Shringar, a brainchild of Iman Das,

Sunayana Ghosh, the female tabla maestro whose the internationally acclaimed Patiala Gharana vocalist, is powerful strokes made the crowd cheer, amazed the a classical fusion group amalgamating vocal music audience. Iman's vocals which ranged from Ragas to and dance. The varied audience, consisting of both Ghazals, Bhajans to even little glimpse of Jazz left the veterans and youngsters, had some elements which audience awestruck and craving for more. Take 5 in each could relate to in their own way. Shringar, being Indiranagar, Omkar Music Trust in Whitefield and old wine in a new bottle, mixes Classical ragas, Changampuzha Park in Kochi hosted the three thumries, bhajans, ghazals and even popular numbers concerts. with various forms of Indian dance like Bharatanatyam, Kathak, Odissi, Mohiniattam and others. A classic mix of individual brilliance and jubilant jugalbandis kept the audience hooked to their seats till the very end. Leading the dance department was Snigdha Sinha, a disciple of the celebrated Guru Dr , who showed her prowess fusing various genres of North Indian with . Emelee Ghosh, an 'A' grade dancer of Doordarshan, played perfect foil for her teammates as she jammed with Saraswati Vandana and Taranas with equal ease.

P 50 | OCTOBER 2017 NEWS Rajbhasha Saptaah - 2017 Award Distribution Ceremony

o mark the 'Hindi Diwas', Waltair Division of East indispensable role of Hindi language in national Coast Railway observed 'Rajbhasha Saptaah- integration and asked everyone to use Hindi as their T2017' from September 7-14, 2017. It is prime language for all official work. He asserted that celebrated as an event every year on September 14 today Hindi is getting worldwide fame as it is easy to because the Hindi language (written in Devanagari understand. He applauded the efforts of officers and script) was first adopted by the Constituent Assembly employees for use of Hindi in the routine official work of India as the official language of the Republic of India of the organization. A skit on "Yeh Natak Nahi Hoga' on that day in 1949.Various Hindi competitions were was presented by Divisional Cultural Association and held during the week. The conclusion ceremony was two short films on Swachch Bharat and Green held on September 14, wherein 200 staff and officers Plantation were screened. Additional chief Rajbhasha were awarded 'Hindi Protsahan Yojana 2016-17' adhikari and ADRM Ajay Arora extended greetings to presented by Divisional Railway Manager Shri Mukul all the award winners and passed out candidates. Hindi Saran Mathur. In his address, he highlighted the officer M Rama Devi, officers and staff in large numbers were present at the occasion.

P 51 | OCTOBER 2017 27 Hours of Bharatanatyam Marathon

' anesa Natyalaya' led by Guru Saroja Vaidyanathan, New Delhi, came out in flying Gcolours in the record attempt of 27-hour Bharatanatyam dance marathon relay held from 10 am Students Performing Nitya Akandha Nrityam on September 23 to 1:30 pm on September 24. The event, 'Nitya Akhanda Nrityam', was organised to Half of the 100 performances were by schools other celebrate the Guru's 81st birthday. This has been than Ganesa Natyalaya which brought out the true recognised by the India Book of Records and Asia meaning of coming together of the Bharatanatyam Book of Records. 293 Bharatanatyam artistes took fraternity. The peak turnout was around 375 rasikas part from across India and overseas (4 continents, 8 with non-stop food, tea, coffee and snacks made countries). The record set was for 27.5 hours with a available for all. total break of 4 minutes (as declared by the judges), A senior colleague at Hitachi and a mentor of sorts, over the entire 100 performances. This translates to Yasunori Taga San, asked, "Why 27?" The beautiful less than 5 seconds break between performances. reasoning behind this number beside breaking the existing record was, 108 (= 27 x 4) the sacred number of Lord Nataraja, 81 (= 27 x 3) Guru Saroja is now in her 81st year, 54 (= 27 x 2) 1954 is the year Guru Saroja got married and 27 (= 27 x 1) the record hours set by her dance school Ganesa Natyalaya.

Bharatanatyam dancer Prachi Savi Saathi who was one of the participants from Mumbai said, "It is a mammoth task to be able to bring together so many Gurus and dancers from all over the world and attempt a Marathon relay of Bharatanatyam. The record has been made and it is a moment of pride for all of us who participated in it."

Chief guest for the event was Mridula Sinha, Hon'ble Governor of Goa. Along with her was the Guest of Honour Dr Mahesh Sharma, Hon'ble State Minister (Independent Charge) for Culture. Other guests who graced the event with their presence were Indubala (president, Delhi Tamil Sangam), Dr Ashok Chauhan and Amita Chauhan (Amity), Guru Shovana Narayana (Kathak exponent), GC Joshi (director-CCRT), Guru (Bharatanatyam exponent), N Manoharan (department of culture), Vaidyanathan (ITC P 52 | OCTOBER 2017 NEWS Retd.) and Prema Vaidyanathan (Delhi), Vaidyanathan, Priya Venkatraman Rajee (Gurgaon), Balasubramaniam Ratheesh Babu (Reliance), Rtn. (Bhilai) and the Kapil Dutta, Deepti disciples of Guru Omchery Bhalla (Delhi University), (Delhi), Guru Guru Vidha Lala Bhagyasri (Chennai) (Kathak and Guru performer), Alka Ranganayaki Nupur (Kathak Jayaraman performer) and (Chennai) shared the many Rotarians. stage along with upcoming artists. In this auspicious event, many renowned Bharatanatyam exponents like Vasundhara Senior Bharatanatyam artist Nandini Ashok said, "It was Doraswamy (Bangalore), (Delhi), Dr a great experience to see so many artists under one Saroja Vaidyanathan (Delhi), Radha Anjali (Australia), roof, a visual treat and really a memorable experience. Jamuna Krishnan (Delhi), Gopika Varma (Chennai), I was fortunate enough to perform with my co-artists Krishnamurthy (Delhi), Kanaka Sudhakar (Delhi), Roja from Mumbai Revathi Srinivasraghavan, Suman Kannan (Chennai), Sujata Nair, Abhai (Mumbai), Badami, Apeksha Mundargi and Sumedha Rane." Ananda Shankar (Hyderabad), Rashmi Jaiswal, Rama

Ganesa Natayalaya being awarded the Record Breaking certificate by the Asia Book of Records

P 53 | OCTOBER 2017 Ganesa Natyalaya being Awarded The India Book of Records for the Longest (27 hrs 30mins) Bharathanatyam Dance Marathon Relay

Saroja Vaidyanathan with Kashmira Trivedi

P 54 | OCTOBER 2017 NEWS

Swati Badle and Madhura Pawaskar, disciples of Kashmira Trivedi, Takshashila Nrityakala Mandir, Thane performed. Guru Kashmira Trivedi, who was also duly honoured along with her students, humbly said, "It was a wonderful experience for our institute. We are very fortunate to get this golden opportunity to meet a legendary personality and seek her blessings. We shall never forget what we have experienced here in our lifetime. May God give the great Guru a long and healthy life."

Bharatanatyam dancer Sujatha Nair Sanjay, daughter and disciple of Guru Jayashree Nair, Mumbai, expressed her gratitude saying, "The event has become a model for organizing a flawless programme. One could learn a lot. The cordial relation and hospitality shown by Saroja madam and family is understandable, but the affectionate warmth and the helping behaviour of the student volunteers was worth emulating by the new generation."

Students Performing Nitya Akandha Nrityam

P 55 | OCTOBER 2017 Classical Dance for Rivers

Text: Kala Srinivasan

ally for Rivers, an awareness initiative by Sadhguru, Rfounder of Isha Foundation, gathered momentum as it traversed through Maharashtra, where all for the movement than through dance. They roped in classical dancers of Mumbai came all the respected gurus of each dance style from together to generate awareness. The programme was Mumbai who wholeheartedly exhibited their support. held at the Navi Mumbai Municipal Auditorium on September 16, 2017 in the revered presence of Guru Jayashree Nair arrived with her students. Sadhguru . Numerous supporters and Latasana Devi, a Manipuri exponent, came with her well-wishers were an audience to the beautiful students from NCPA's CSR project. Renjish Nair, choreography and the message about our holy rivers renowned Kathakali performer, also came forward. and their importance were clearly expressed by all the Sujatha Nair most willingly offered her support through artists. Mohiniattam. Beej dance company's Sanjukta Wagh and Pranali Kakade came in with their students of The rally is an initiative to revive the dying rivers of our Kathak. Sarmistha Chattopadhyay with her students as country. It began on September 3, 2017 at Coimbatore well as Swapnokalpa's students performed Odissi. and passed 16 states, culminating in Delhi on October Prachi Saathi presented Bharatanatyam. A total of 60 2, 2017. There is a lot of support from all sectors of the dancers of 6 different dance styles converged together just like the different tributaries coming together to join into the ocean.

The complete concept was choreographed to Isha Foundation's music tuned specially for the Rally for Rivers. A truly memorable cause and event and a great opportunity for dancers in Mumbai to be a part of such a noble awareness campaign by Sadhguru.

country and everyone is coming together for this common concern in a big way.

This idea of welcoming the rally in Mumbai through dance was conceptualised by noted Bharatanatyam dancer Prachi Saathi with Odissi exponent Swapnokalpa Dasgupta. They decided to come together and support the rally for rivers. Being dancers, in what better way could they offer support P 56 | OCTOBER 2017 NEWS Onam Celebrated in Mumbai

Text: Kala Srinivasan

ome September and it is time for celebrations at God's Own Country, the Cbeautiful lush green Maaveli Naadu - Kerala. It is time for the harvest celebrations - Onam. Onam is celebrated all over by Malayalees. Celebrations were organized at Thiruchembur of Dance, Vikhroli, Mumbai, headed by Preetam Murugan Temple, Cheddanagar, Chembur, Mumbai, Sebastian; and Bharatanatyam by the students of as well by Sri Subramania Samaj on September 9, Shanmukha Arts choreographed by Kala Srinivasan. 2017. The temple was decorated with beautiful Pookalam (flower rangoli). Jayashree Nair, renowned Bharatanatyam and Mohiniattam teacher of the Samaj, was the convener.

The programmes started with traditional invocatory dance numbers 'Vandanam' and 'Legend of Mahaabali' choreographed by Jayashree Nair and were presented by students of Subramania Samaj and Upaasana combining both styles. This was followed by the traditional Kaikottikali, also known as Thiruvadirakali by ladies, choreographed by Savitr; The songs were Pushpanjali, Alarippu interspersed with Onam song in semi-classical style tuned to a Thirupugazh and Krishna Bhajan to mark the Krishna song by the students of Angel Academy Jayanthi celebrations that was coming up the following week.

P 57 | OCTOBER 2017 Text: Krishnaveer Abhishek Challa

s the world continues to shrink rapidly at an The methods that come under this approach are the exponential rate, the basic human need of "grammar-translation method" and the "audio-lingual A establishing connections with a broader range method". Both methods, because of their focus on of people tend to be evolving dramatically. While the language structure, lay major emphasis on technological means of establishing these connections memorizing and concept learning; two of the most are easily available, the linguistic barriers around the common concepts being grammar and vocabulary. interactions that facilitate them are just as unfavourable, 2) The Functional Approach bases its techniques on unless ofcourse, one makes a conscious effort to pull the assumption that successful language acquisition is down these barriers by learning a new language. reflected in a sound understanding of what the The field of language education broadly entails the purpose/functionality of the language is. The oral acquisition of a second or foreign language by the use approach, the situational language teaching method of three principal approaches: and the directed practice method come under this approach. As part of their execution, these methods 1) The Structural Approach bases its techniques on the demand that the language learner map all aspects of assumption that successful language learning stems in the language into assigned "situations" in which its understanding the structural elements of a language. functionality becomes evident.

P 58 | OCTOBER 2017 3) The Interactive Approach bases its techniques on the assumption that successful language acquisition occurs when one can successfully deploy it to create and maintain social relations and conversational exchanges. This approach makes use of the Direct Method, the Series Method, the Communicative Language Teaching Method, the Natural Approach, Teaching Proficiency through Reading and Storytelling and Music, to help the learner organize his perceptions into linguistic concepts.

The 3rd approach incorporates the Emotional aspects of the learners, motivating them to emotionally & culturally connect with the language. According to many studies, students are more stressed out in English language classroom as they are forced to communicate in a language which is completely foreign to them. But it is to be noted that English is India's official language, lingua franca and link language. This apprehension is justified owing to the ineffective ways we have adopted in teaching a second language.

There is a distinction between language learning and language acquisition. By learning, we mean Memorizing and Balkanizing, which makes it difficult to remember, sustain and retain for a long time. There have been several movements to annihilate English language from India but at the end, we had to succumb to its aurora and sway. English is vital to India's integrity and unity and is more than just a mere lingua franca. Most of the younger generation is being made to learn English language and also study core subjects in this medium as a result of its prospects. It's a proven fact that in spite of not being formally taught their mother tongue; Indian students are showing greater proficiency in their vernaculars. This phenomenon can be taken as an outcome of the emotional connection we have with our regional language and therefore we subconsciously make it our emotional language. We experience, we play, we think and we act in our emotional language. The English language has been concentrated to just being an intrapersonal translation encode which mostly distorts the defining elements of the message we intend to communicate. Indians are leading in terms of Intelligence but are failing when it comes to expression-oriented praxis. Anglicizing India won't help in this regard as our nativity overpowers this foreign entity. English is no more a foreign language, but as we know that language represents the culture and because it represents a foreign culture we are still not able to adopt it completely. This can be surmounted by Indianizing English language by teaching it through our culture and motherese. Motherese includes our bedtime stories which form the basis of our personality.

A more culture-integrated approach towards language teaching would definitely create wonders. We also need to build a digitally incorporated modern Gurukula system which creates a conducive and stress-free environment that is appropriate for acquisition. This approach would lead to Emotional Language learning, which is the prime focus of our recently inaugurated 'Lab for Skill Development' in . Our major objective is to make English as the Emotional language of our target group, which mostly includes students from rural areas. We don't want to replace their mother tongue, we just want to replenish the squarely important another tongue. We teach communication skills in a more interactive and activity based manner

P 59 | OCTOBER 2017 tormented. Their brains refuse to take in information anymore, as their cognitive processing is strained and drained. We have observed that Carnatic Music has a soothing effect on the listeners, which takes them to a poetic & rhythmic trance of melody and cleanses their thoughts making them calm and cheerful. At our Lab for which inculcates our culture & experiences and Skill Development, before beginning the class, we have promotes a sense of pride in our roots. For this, we introduced a 5-minute meditative session. During the have incorporated Indian Classical Music in our meditative session, we play Carnatic Music in the language classroom. background. We observed that when the students Music can be a creative way to enhance student meditate to the tune of Carnatic, they are more active, writing. We play soft music when our students are more effective, more interactive, more receptive and doing a writing activity. This helps to establish a calm more disciplined in the language classroom. The environment for students to focus and relax while they Psychological effect that Carnatic Music has on the organize their thoughts and choose their words. We've psyche of the language learners is remarkable, and we also used a variety of music to assist students in sincerely recommend this to all the Organizations.

expanding vocabulary and learning synonyms. For The human brain, which is one of the most complex example, we play a selection of soft classical music organic systems, involves billions of interacting and have the students write down all the adjectives that physiological and chemical processes that give rise to come to mind. When they finish writing, we have them experimentally observed neuro-electrical activity, which share the words they wrote down. Students often have is called an electroencephalogram (EEG). Music can quite a variety of words that they can share and teach be regarded as input to the brain system which each other. For more advanced students, this creates a wonderful opportunity to discuss the subtle nuances of words. For example, students discuss the difference between words such as, "sorrow" and "sad" or "calm" and "peaceful." We then introduce more varieties of music to elicit angry, excited, or happy vocabulary.

Most of the language classes are generally tabled for last hours of the College or School. By this time the students are already very tired and

P 60 | OCTOBER 2017 NEWS

influences the human mentality along with time. Since music cognition has many emotional aspects, it is expected that EEG recorded during music listening may reflect the electrical activities of brain regions related to those emotional aspects. The results might reflect the level of consciousness and the brain's activated area during music listening.

Music in India has great potential in this study because Indian music is melodic and has somewhat different pitch perception mechanisms. Western classical music, which is based on the harmonic relation between notes versus the melodic mode (raaga) structures in the Indian Classical

Music System (ICM) within the rhythmic cycle music, may demand qualitatively different cognitive engagement.

Researchers from multiple Indian institutes have concluded that listening to Carnatic music on classical instruments, or Indo jazz increases brain functions. A study demonstrated the enhancement of task performance aided by music. "The Indian classical instrument played was Malahari raga, which improved concentration, whereas Indo jazz played was Kapi raga, which improved attention; as revealed in the enhanced task performance.

P 61 | OCTOBER 2017 " utomatic synchronization of the body to music and reached his native village where he started working without any initiation or preparedness was in as a child labour in a textile mill. On receipt of A my veins and this makes me feel that it is information, Ramesh's father visited his native place god-gifted," acclaims Nritykara Ramesh Lakshman and took him back home with a promise that no one Koli. This has been his strength and made him would object to him fulfilling his wish. And thus the whatever he is today. journey continued parallel with academics. In his seventh class, his schoolteacher told him to learn Born on January 29, 1980 in Ambarnath of Thane classical dance from a guru to succeed but he did not district in Maharashtra, Ramesh Koli felt that it was receive any formal training initially. God's gift that right from his childhood, even during primary classes, he was dancing to the tunes of music He started learning Kuchipudi from MSR Murthy, a without the knowledge of any dance form. He used to senior disciple of Guru Vempati Chinna Satyam; teach his seniors at school and was noted as junior Murthy taught him dance dramas which led him to Kamal Hassan and junior . He felt good perform in India and abroad. He learnt Bharatanatyam about it though he never knew who they were. After from Dr Sandhya Purecha, who according to Ramesh observing his fascination, imagination and interest has changed his life from a dancer to an exponent. towards dance one of his schoolteachers showed him While associated with choreographer Bhushan the video from 'Sagara Sangamam', a Telugu movie Lakhandri, Ramesh performed many dance dramas starring Kamal Hassan and Jaya Prada. He became a where actresses like Hema Malini and Jaya Prada fan of Kamal Hassan and it became a point of played lead roles. When Ramesh worked with Jaya inspiration for him which attracted him towards the art Prada in her dance drama it was like a dream come form. It later made him determined to pursue dance as true because the actress had performed with his a career. Sudha Chandran's movie "Mayuri" inspirational hero in a movie. strengthened his desire to become a dancer. His Ramesh attended many workshops of Pandit Birju dance journey began and he learned art forms like Maharaj (Kathak) and Kelucharan Mahapatra (Odissi). Kuchipudi and Bharatanatyam and even performed in He got many awards like Natya Kumara, Natya many dance dramas. Gaurav, Nrithya Visharadh, Nritya Shivali, Natya Natraj Coming from a business family (construction field), and Kalphashri Natya Ratna. Ramesh's attachment with dance was not at all well He feels proud of the fact that he is the only classical accepted. Still, he progressed against the wish of the dancer in his family. He says that it is a challenge to be family. At a stage, he could not handle high- a male dancer and not have a godfather in this field. He handedness of his family members and he ran away wants to establish a good dance institute to inculcate from his house. But accidentally, he boarded a train knowledge about the art forms in every person.

P 62 | OCTOBER 2017 empati Chinna Satyam was an Indian dancer and a master of the Kuchipudi Vdance form. He was born in the illustrious Vempati family at Kuchipudi, Andhra Pradesh. His contribution to Kuchipudi has been outstanding; he refined his art by studying under Tadepalli Perayya Sastry, Pasumarti Kondala Rayudu, his elder cousin Vempati Pedda Satyanarayana and Vedantam Lakshminarayana Sastri. He was successful in popularising the Kuchipudi dance form all over the world. Today there is no doubt that 75 percent of Kuchipudi artists worldwide are following his style. He brought revolutionary changes in Kuchipudi tradition for more than half a century and worked hard to provide classical dance status to Kuchipudi with the recognition of the central government Sangeet Natak Akademi.

P 63 | OCTOBER 2017 Text : Sai Venkatesh uru Jyothi Manoj presented Kumari Sindhu, her first student, to Gthe professional field of classical dance. Sindhu, who is doing her master's degree from Jain University in dance made her Bharatanatyam Ranga Pravesha on September 23, 2017 at Seva Sadan Auditorium in Bangalore.

The young dancer has the potential of becoming an accomplished Bharatanatyam exponent. The energy and confidence she carried from the beginning to the end demonstrated her dedication and professional training. She deserves to be watched through her career.

Swara Guccha, a neat choreographic presentation, Padavarna - 'Neela Megha Shyama Sundara' an elaborate 45 minutes performance showcased the intricacies of Lord Krishna. It was well presented with blameless jaties and neat nritta. The act was brilliant and nattuvangam by Guru Jyothi Manoj gave it a holistic touch.

Rest of the items performed by the artist were also up to the mark. The programme was blessed by the presence of Guru Kalamandalam Usha Datar.

P 64 | OCTOBER 2017 Ritha Devi

minent dancer, scholar, teacher and critic, Ritha Devi was one of the few Indian dancers to study and perform all the EIndian classical dance styles in their orthodox and original form. A contemporary of legends like the Indrani Rehman and Shirin Vajifdar Yamini Krishnamurthy, Ritha Devi is passionate about the art form. Her passion for dance kept her going despite setbacks in life. hirin Vajifdar, 92, Kathak She is the daughter of a senior councillor of the then Baroda state exponent and wife of Dr in pre-independent India; she was related to SMulk Raj Anand, passed and Lakshminath Bezbaruah, the father of modern Assamese away on September 29 peacefully literature. She has graduated from the University of Bombay. in Mumbai. She had earlier trained Inspired by the performances of and Rukmini Devi, in Kathak under Jaipur Gharana Ritha Devi fell in love with dance and decided to be a dancer, even Sunder Prasad. She further at the cost of suffering the wrath of her father and sacrificing the studied Kathak at Madam marital relations with her better-half, only because of the belief that Menaka's Nrityalayam at "dance is not something that girls from decent families do". Khandala. She was a pioneer Resisting all odds, Ritha Devi continued to learn different dance among Parsi community to take to styles from some of the best exponents of her time - Manipuri classical dancing. With her from Howbom Athomba Singh at Kolkata, Bharatanatyam from younger sisters, Khurshid Pandanallur Chokkalingam Pillai in Chennai, from Chavada and Roshan Vajifdar, Kalamandalam Lakshmi and Kathakali from Asan Karunakaran they were known as ‘Vajifdar Panikkar in Mumbai, Odissi from in Puri and Sisters’ and were popular Kuchipudi from Vempati Chinna Satyam besides learning Kathak dancers. Shirin wrote as a dance and Sattriya. critic for the Times of India. May Ritha Devi (93) passed away in the early hours of 12 September her soul rest in peace. 2017 in a private hospital in Pune. She was hospitalized on 30 July with a complaint of paralytic stroke and was undergoing treatment when she breathed her last at around 2.30 am.

P 65 | OCTOBER 2017 P 66 | OCTOBER 2017 CLASSIFIEDS

Atharva School of Fine Arts KUCHIPUDI Teacher : Mrs. Shamal Pawar C-1401, Gulraj Tower, Nehru Nagar, Nataraj Music & Dance Academy Kurla (E), Mumbai – 400024. Teacher: K V Lakshmi +91 99690 23246/ 9869272392. 50-1-50/1, ASR Nagar, Seethammadara Bharatanatyam and Folk Dance Classes, Visakhapatnam, Andhra Pradesh, India Website-www.atharvaschool.com, Contact No: + 91-9553222969 [email protected]

BHARATANATYAM KATHAK

Geeta Nritya Vidyalaya Teacher: Girija Nair Nritya Tapshya Kathak Dance Academy 'Gurukul' 32/2 Powai Chowk behind Teacher: Chetan Saraiya. MA, Kathak. Shastri Nagar, Vasai Nallasopara, Kandival. Grand Road Saibaba Temple Mulund Colony Pune, Maharashtra, India West Mumbai - 82, Maharashtra, India Contact No: +91-9821138190 Contact No: + 91- 9867234249 Nritya Darpanan Foundation Takshashila Nrityakala Mandir Teacher : Paullumi B Mukheerjee Teacher: Kashmira Trivedi Alap C.H.S. B woing, Plot No 173 A - 405, Asawari Co. Op. Hos. Soc. Sir Bhalchndra Road, Pokhran Road No - 1, Varkat Nagar, Opp. 2nd Lane Hindu Colony, Dadar (E) Thane (W) - 400606, Maharashtra, India Mumbai - 400014 . Contact No: + 91- 9820649671 Contact No. 9821583004

Sri Krishna Kala Mandir Kalanand Nritya sanstha Teacher : Gayathri Gopinath Teacher : Bhavana Sanjiv Lele No 5-469 .18th St Sathuvachari Phase - 2 Shop No-2,3,4,5 Rosewood Building Vellore - 632009, , India Prestige Residency, Dongripada Contact No : 98945 29708 Waghbil Naka,Ghodbunder Road Shanmukha Arts Institute of Performing Arts Thane West, Maharashtra Teacher : Kala Srinivasan Contact No : 9223440605 D-309 , Usha Nagar, Village Road Bhandup West, Mumbai- 400078 Contact No : 98671 14223

Nitya Veda Academy Teacher : Vidya Sriram E - 404, Krishna bldg. Vasant Sagar Complex Thakur Village Kandivli (e) 400101

Note: Do you want your cultural festivals and events covered by The Dance India? Send your invitation to [email protected]

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