P 2 | APRILDECEMBER 2018 2017 Contents Volume 2, Issue 10 | April 2018

Editorial Team 04 Cover Story 32 Annamacharya Editor’s Note 05 The father of Telugu Poetic Literature Cultural Bulletin 06

Awards 13

Torch Bearers 18 The mogul of 'Devotional ode': Anoop Jalota Reviews 52 'The Dance ' honors dance exponents on Inter- national Women's Day Beacons of Light 42 Celebrations is her innate finesse: First Edition of the 'Shimla Sujata Mohapatra Classical Dance Festival' Reports 60

Dance in India 24

Kindled Spirit 62 Rays of Hope 48 A pioneering dance catalyst Tributes 64 across borders:Roopa Kiran

P 3 | APRILDECEMBER 2018 2017 Editorial

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

Articles may be submitted for possible Editor publication in the magazine in the following BR Vikram Kumar manner. • Send in your articles to Editorial Team [email protected] V Sandhya Parimala Please include your full name, contact information (address and telephone D Praveena number) and a short bio data. • Articles are published in the magazine only Ch Nikhitha on the condition that the author agrees to the terms of the Copyright Statement and RMK Sharma Policy M Jyothirmayee Reddy Coordinators KV Regd. Office: Trivikram Publications, (News, Advertisements & D.No. 50-01-50/1, ASR Nagar, Seethammadhara, Visakhapatnam - 530 013, A.P. K Bhanoji Rao Subscriptions) Tel: +91 8897987445 Sai Venkatesh Karnataka V Srinivas The opinions, beliefs and viewpoints expressed by the various writers in the articles and Kashmira Trivedi Maharashtra reviews do not necessarily reflect the opinions, beliefs and viewpoints of the editorial team or Alaknanda Noida official policies of The Dance India. Lakshmi Thomas All rights reserved. © April 2018 - The contents published in The Dance India Parinithi Gopal Sagar magazine are an exclusive copyright of Trivikram Publications. No part of the magazine Girija Chandran Kerala may be reproduced in whole or part without the written consent of Trivikram Publications.

GV Chari New All disputes are subject to the exclusive jurisdiction of competent courts in Dr. Kshithija Barve Visakhapatnam only. Goa and Kolhapur Anand Sharma Pathankot (Punjab) Edited, Published and Owned by Bathina Ranga Vikram Kumar, Mobile No. +91-9848137445, on behalf of Trivikram Publications from D.No. 50-01-50/1, ASR Nagar, Seethammadhara, Dist. Visakhapatnam - 530 013, A.P. and Technical Advise and Graphic Design Printed by G. Sangameswara Rao, at Follow us on Sri Lekha Power printers D. No : 30-20-30 &31, Nehuru Sreet Seetarampuram, Elluru Road Vijayawada (AndhraPradesh) thedanceindiamagazine Editor: Bathina Ranga Vikram Kumar P 4 | APRILDECEMBER 2018 2017 BR VikramKumar, BR VikramKumar, Editor BR VikramKumar, BR VikramKumar, BR VikramKumar, bank tocontributethepolitics andareoftheconcern. politically seen,artistfraternities alsodohavesomesayinvote provide thebasicservicesand benefits toartistsaswell.Even great help,ifthegovernmentandconcernedofficialscould However, betterlatethannever, butitwouldbeappreciableandof as asituationofbiastowardsindividualsthesamenation. is Rs.500to3500/-onlyandnootherextrafacilities.Thisshows single thatisequivalenttoairfare,whereaswhatgivenan artist 20,000/- plusACTwo tiertravelwithcompanionorACfirstclassif public servantsandrepresentative,getaminimumofRs. capacities, andthisfacilitydoesnotapplytotheartists.Still, disproportionate earningsthroughvariousmodesusingtheirofficial unofficial, thatforboththeearlierhasamplenumberof services orafterattainingtheageofretirement.Secondand pension afterservice.Butartistsareneverofficiallyfacilitatedforhis representative getwagesandperksfortheservicerendered medium. Firstandofficial,thatpublicservants discrimination. Whenseenasservicetothenationthroughany But thesaddeningpartisthatthereshowndisparityand same nation? discrimination made,whenpublicservantsandartistsworkforthe at themercyofofficials,bureaucratsandpoliticians.Whyissuch these aregrantedthroughvariousprocesses, fellowships andmonthlypensions.However, schemes like'PensionandMedicalAid' issuing identificationcards,allocatingfundsfor initiatives likerecognisingofartistsnationwide, concerned aretobeappreciatedfortaking where theUnionGovernmentandMinister a needtoextendhelpinghandtowardsthem them areinverypatheticconditionandthereis art andartistsexistinginthecountry. Mostof has atleastnowthoughtaboutthefraternityof It iswelcomingthattheGovernmentofIndia essential? Is magnifying P 5|DECEMBERAPRIL 20172018 Editor’s Note NCAA becomes World's First Trusted Digital Repository

ational Cultural Audio-visual Archives (NCAA) project of the Ministry of Culture, NGovernment of India, implemented by Indira Gandhi National Centre for the Arts (IGNCA) has been certified as the world's first Trusted Digital Repository as per ISO 16363:2012 standard, granted by Primary Trustworthy Digital Repository Authorization Body Ltd. (PTAB), United Kingdom. Leveraging this historic achievement, the plan for the next phase is to integrate about three lakh hours of audiovisuals materials, a corpus estimated based on a scoping survey conducted in 25 cities across the country, on this platform over the next five years, informed the Minister of State for Culture, Dr. Mahesh Sharma. He further said that the primary objective of the NCAA (ugu\bÁ¬Æ) which is developed by C-DAC Pune in is to identify and preserve the cultural heritage of India compliance with Open Archival Information System available in audiovisual form through a process of (OAIS) Reference Model ISO 14721:2012. digitization and making it accessible to the people. By At present, NCAA has a total of twenty-one (21) March 2018, a corpus of 30,000 hours of unpublished, Partnering Institutions from across the country, non-commercial audio & video recordings will be covering eleven governmental and ten non- made online at , out of which approximately 15,000 governmental cultural organizations. The digitization hours are already hosted online along with contextual and metadata standards followed by the Project are in metadata, representing the cultural diversity of India in parity with international standards within the overall the broadest sense. Over 23,000 hours of unpublished framework of the OAIS model. The digitization audiovisual recordings have already been digitized. standards are in concordance with those prescribed NCAA pilot digital repository was developed in by the International Association of Sound & Audiovisual collaboration with the Centre of Excellence for Digital Archives (IASA) and the metadata schema is extended Preservation by C-DAC, Pune. NCAA digital repository Dublin Core, followed by galleries, libraries, archives is established with and powered by DIGITALAYA and museums worldwide, said Sharma. - Source from PIB

P 6 | APRILDECEMBER 2018 2017 CULTURAL BULLETIN Rs. 37 crores for Cultural Infrastructure

he Proposed Budgetary allocation in 2018- Municipal Corporations etc. for creation of 2019 for "Scheme of Financial Assistance for appropriately equipped training, rehearsal & TCreation of Cultural Infrastructure" is Rupee’s performance spaces, various cultural spaces, studio 37 crores. The Scheme has two components- theatres, Tagore Cultural Complexes etc. for artistes to Component-I : Financial Assistance for Building propagate, disseminate arts and culture and foster Grants including Studio Theatres. Component-II: multi-dimensional interest in creativity and cultural Financial Assistance for Tagore Cultural Complexes expressions in the country. (TCC). The implementing agency of the projects under the During financial year 2017-2018, as on 14-03-2018, Scheme at State/UT level is State Govt. /UT total of Rs.2.34 crores have been utilized under both Administration or the applicant not-for-profit cultural the scheme components. All applications received organizations etc. under the Scheme have been processed as per Ministry of Culture releases the grant to eligible guidelines of the scheme and no application is lying projects recommended by the Expert Committee unattended. constituted under the Scheme, informed the Minister of Central financial assistance under the Scheme is State (IC) for Culture and Minister of State for provided to reputed not-for-profit cultural Environment, Forest & Climate Change Dr. Mahesh organizations, State Governments/Union Territories, Sharma intended in a written reply in Lok Sabha. Central/State Govt. agencies/bodies, Universities, - Source from PIB 97 crores sanctioned for modernization and development of museums

here are six national level museums, namely National Museum (New Delhi), National Gallery Tof Modern Art (branches at Delhi, Bangalore, and ), Indian Museum (Kolkata), Victoria Memorial Hall (Kolkata), Salarjung Museum (Hyderabad) and Allahabad Museum (Allahabad), which are under the administrative control of the Ministry of Culture. These museums are providing visitor friendly facilities such as sitting arrangement, drinking water, cafeteria, toilets, lifts, ramp, wheel chairs Salarjang Museum for disabled persons etc. Ministry of Culture has no Children museum under its administrative control. Ministry of Culture operates "Museum Grant Scheme", under which financial assistance is provided to State Up gradation and modernization of the museums Governments, voluntary institutions, Societies and under the administrative control of Ministry of Culture is trusts registered as a society under the Indian taken up on a continuous basis to maintain them in Societies Act of 1860 (XXI) or a similar legislation of the good condition. The government has taken a number state governments for modernization and of steps to keep the museums at par with the development of existing museums. museums across the world.

P 7 | APRILDECEMBER 2018 2017 The public awareness campaign is being carried out appreciation courses, Special weeks etc. which are by museums under the administrative control of publicized, the Minister of State (IC) for Culture and Ministry of Culture to attract younger generation to visit Minister of State for Environment, Forest & Climate museums through their website and Social Media like Change Dr. Mahesh Sharma intended in a written reply Face book, YouTube, Twitter etc. The museums in Lok Sabha. organize programmes for youth and children such as - Source from PIB Summer Camps, Workshops, Seminars, Art ASI identifies 100 monuments for upgrading roviding basic facilities/amenities to tourists facilities/amenities is a continuous process. Basic visiting centrally protected temples and public facilities are available at all World Heritage Sites Pmonuments and sites are the regular activities and ASI's ticketed monuments, as also at majority of which the Archaeological Survey of India undertakes. those protected monuments that are visited by a large Improvement and up gradation of these public numbers of tourists. Further, Archaeological Survey of India has identified 100 monuments as "Adarsh Smarak" for up gradation of existing facilities/amenities on the basis of actual requirement and feasibility on case to case basis. Archaeological Survey of India has deployed regular watch & ward staff (Monument Attendants) at centrally protected monuments/sites. Further, private security guards, Armed Guards and CISF personnel have also been engaged at select monuments for safety and protection, informed the Minster of State (I/c) for Culture, Dr. Mahesh Sharma intended in a written reply Queen Victorias Pavilion in Lok Sabha. - Source from PIB

25,000 artists participated in 8th International Theatre Olympics

he National School of Drama (NSD), an as part of these workshops. NSD has also opened autonomous body under the Ministry of Culture centers in North -East at Sikkim, Tripura and Tis taking various steps to preserve, develop, Bangalore. As part of the curriculum, the students of protect and rejuvenate the culture of India. For this the NSD also visit various regions of the country to purpose, NSD, is taking various steps through the perform research and develop theatre forms prevalent medium of theatre in this direction. Some of the steps in the regions, which are quite diverse in nature. This taken/ being taken are: Under the Out-reach/Extension helps to make the people aware of various dramatic Programme, production oriented theatre workshops arts prevalent in these areas through the medium of across the country are conducted in collaboration with Theatre. Apart from the above, NSD also organizes the local theatre groups and plays are also performed, theatre festivals like Bharat Rang Mahotsav (annually)

P 8 | APRILDECEMBER 2018 2017 CULTURAL BULLETIN at Delhi and in few selected cities of the country , in which Theatre groups from foreign countries also participate. NSD's Sanskaar Rang Toli (TIE Company) has a biennial event called "Bal Sangam". This is a festival with a focus on Indian performing folk and traditional arts presented by children practicing these arts, from different regions of the country including rural areas. Similarly, a Poorvottar Theatre Festival is also organized in the North-East region from time to time with a focus to preserve and promote traditional theatre practices of the North-East region, among 25 countries are participating with above 25000 artists other practices. Plays from other parts of the country with the theme of "Flag of Friendship. are also showcased in this festival. This helps in There is no criterion for nomenclature of different introducing the Indian cultural traditions etc. to the cultural committees. NSD is the only autonomous people as well as in promotion/rejuvenation of the organization under Ministry of Culture promoting country's old age practices and traditions through the theatre, informed the Minister of State (IC) for Culture medium of theatre. and Minister of State for Environment, Forest & Climate In addition, NSD has organized the 8th Theatre Change Dr. Mahesh Sharma intended in a written reply Olympics from 17thFebruary to 8th April, 2018 in which in Lok Sabha. - Source from PIB

Measures to Improve the Quality of Cultural Training Institutes

inistry of Culture through its attached/ Survey of India at Noida with State of Art Building subordinate/autonomous organizations including Library, Museums, Laboratories, Mare functioning for promotion and Auditorium, Hostels, Guest-house, Residential development of culture in the country. The main culture Complex and play ground etc. has started, related training institutions are Institute of Archaeology (ii) Construction of National Museum Institute of (Archaeological Survey of India), School of Archival History of Art, Conservation and Musicology at Studies (National Archives of India), National Museum new campus of Noida has also started, Institute of History of Art, Conservation and (iii) Board of Studies under School of Archival Musicology. Studies of National Archives of India are regularly To improve quality of training and research following evaluating and examining the course curriculum steps have been taken: of the training programme, informed the Minister (i) Construction of a well equipped campus of of State(I/c) for culture, Dr. Mahesh Sharma Institute of Archaeology under Archaeological intended in a written reply in Rajya Sabha. - Source from PIB

P 9 | APRILDECEMBER 2018 2017 UNESCO's Representative List inscribed with Cultural Heritage elements from India

total of 13 Intangible cultural heritage (ICH) element for UNESCO in the National Inventory/Register elements from India have been inscribed till etc. of the applicant member state is also a pre- A date on the UNESCO's Representative List of requisite for inclusion in the UNESCO's Representative the Intangible Cultural Heritage of Humanity. List of ICH. For inclusion of an element in the UNESCO's The Ministry of Culture makes regular Schemes as well Representative List of Intangible Cultural Heritage, the as organizations make efforts towards preservation, state parties are required to submit nomination dossier protection and promotion of intangible cultural heritage on the relevant element for evaluation and examination in the country. Various autonomous bodies under the of the UNESCO Committee. Ministry of Culture have comprehensive mandates in The Ministry of Culture has appointed the Sangeet this regard and are functioning in various spheres of Natak Akademi, an autonomous organization under preservation and promotion of intangible cultural the Ministry of Culture, as nodal office for matters heritage and diverse traditions of the country. Some of the major organizations involved in preservation of propagation of ICH are named -Sahitya Akademi, Lalit Kala Akademi, Sangeet Natak Akademi, Indira Gandhi National Centre for the Arts, National School of Drama, Centre for Cultural Resources & Training, Zonal Cultural Centres (seven in number), Indira Gandhi Rashtriya Manav Sangrahalaya, Anthropological Survey of India Apart from these, there are a number of schemes under the implementation of the Ministry of Culture for providing financial assistance to artists & institutions involved in promotion/propagation of the various Dr. Mahesh Sharma forms of the intangible cultural heritage. In addition, the Ministry of Culture implements, since the year 2013-14 relating to the intangible cultural heritage including for also, a scheme titled "Scheme for Safeguarding the preparation of the nomination dossiers for the Intangible Cultural Heritage and Diverse Cultural Representative List of UNESCO. Traditions of India" with the aims and objectives of The Sangeet Natak Akademi (SNA) accordingly makes professionally enhancing awareness and interest in necessary interaction with the stakeholders, experts/ Intangible Cultural Heritage (ICH), safeguarding, officials etc. prior to finalization of the dossier in promoting and propagating it systematically, informed respect of element identified for the nomination. Being the Minister of State (I/c) for Culture, Dr. Mahesh the nodal office the SNA maintains a National Inventory Sharma intended in written reply to Lok Sabha. of ICH elements and the inclusion of the identified - Source from PIB

P 10 | APRILDECEMBER 2018 2017 CULTURAL BULLETIN The Artistes Welfare Fund and Pension Scheme benefits More than 12,000 artists

ational Artistes Welfare Fund and Artistes Pension Scheme and Welfare Fund were Ningredients of a single Scheme titled "Artistes Pension Scheme and Welfare" being administered by Ministry of Culture. Subsequent to review of the Scheme beyond 12th Five Year Plan in 2017 the nomenclature of the Scheme has been modified as "Scheme for Pension and Medical Aid to Artistes". The purpose of the scheme is to improve financial and socio-economic status of the old artistes and scholars who have contributed significantly in their specialized fields of arts, letters etc. in their altogether will not exceed Rs.4000/- per month per active age or are still contributing in the field of arts, beneficiary. letters etc. but due to old age they have to lead a miserable life or are in penury condition. The Scheme has also provision to provide medical aid facility to these Artistes and his/her spouse by Under the scheme, financial assistance from the covering them under a convenient and affordable Government is provided in the form of monthly health insurance scheme of the Government. Total of allowance to the artistes recommended under the Rs.52.54 Crores has been released by the Centre-State Quota on sharing basis, with the latter Government under the erstwhile "Artistes Pension paying a monthly allowance of at least Rs.500/- per Scheme and Welfare Fund" from 2014-15 to 2016-17, month per beneficiary. The monthly allowance informed the Minister of State (I/c) for Culture, Dr. contributed by the Central Government in such cases Mahesh Sharma intended in reply to a question in shall not exceed Rs.3500/- per month per beneficiary. Rajya Sabha. In any circumstances the contribution of Central Government and State Government/UT Administration - Source from PIB

Centrally protected monuments/sites under the ASI

here are 3686 centrally protected monuments/ funds for various amenities related works. Similarly, sites under the Archaeological Survey of India under Adopt a Heritage Scheme recently launched by T(ASI). The conservation and maintenance of Ministry of Tourism, Public and Private Sector these monuments, including forts and temples, is done companies have been invited to adopt a monument for regularly as per the availability of resources. They are providing visitor amenities and their maintenance, in a good state of preservation. informed the Minster of State(I/c) for Culture, Dr. Under the National Culture Fund (NCF) several PSUs, Mahesh Sharma intended in a written reply in Lok financial institution, etc. have come forward to provide Sabha. - Source from PIB

P 11 | APRILDECEMBER 2018 2017 Project National Mission for Preservation of Manuscripts

he project National Mission for Manuscripts (NMM) was launched by the Ministry of Culture Tin the year 2003 with the objectives to survey, document, and conserve/preserve, digitize and publish the Indian Manuscripts and establish a digital manuscripts library at Indira Gandhi National Centre for the Arts (IGNCA). The budget allocation for the financial year 2018-19 has been increased to Rs. 1500 lakhs against the budget allocation of Rs. 1200 lakhs for the financial present, only 6 pages (first 3 pages and last 3 pages) year 2017-18. can be viewed by the user. To resolve the copyright The final objective of the Mission is to establish a digital issue, Ministry has constituted a committee to draft a National Manuscripts Library at Indira Gandhi National Bill regarding accessibility of Manuscripts, informed Centre for the Arts (IGNCA) at which scholars and the Minister of State (I/c) for Culture, Dr. Mahesh researchers can view the digital copies of the Indian Sharma intended in a written reply in Rajya Sabha. Manuscripts. As the copyright of the manuscripts is - Source from PIB reserved with the owners of the manuscripts, at NMM documents and digitizes lakhs of manuscripts ational Mission for Manuscripts (NMM) is National Mission for Manuscripts (NMM) obtains engaged in documentation of Indian manuscripts data in soft copies from the Manuscripts Nmanuscripts. The documentation of Resource Centers (MRCs) established in State manuscripts is done without any distinction between Archives, Universities and Institutions having large rare and common manuscripts. The manuscripts are deposits of manuscripts. The soft copy of metadata possessed by the owners of the manuscripts. The furnished by the MRCs is restored in NMM server and after verification of data it is uploaded on the website of NMM. During the last decade only one case was reported. As per the provisions of Antiquities and Art Treasures Act, 1972 administered by the Archeological Survey of India (ASI), the cases of stolen manuscripts are dealt with. Till date NMM has documented 43 lakh manuscripts (including rare manuscripts) and digitized 2.85 lakh manuscripts containing 2.95 crores pages which are stored in DVDs and hard disks, informed the Minister of State(I/c) for Culture, Dr. Mahesh Sharma intended in written reply in Lok Sabha. - Source from PIB

P 12 | APRILDECEMBER 2018 2017 PAWARDS 13 | DECEMBER 2017

"Shreshta Kala Pracharak Award" awarded to Padma Bhushan Vannadil Pudiyaveettil Dhananjayan

he awards committee of one of the prestigious dance Tinstitutes of New Delhi, Ganesa Natyalaya, which was founded by Padma Bhushan Dr. has announced that Padma Bhushan Vannadil Pudiyaveettil Dhananjayan has been awarded the "Shreshta Kala Pracharak Award, 2018". Dr. Saroja Vaidyanathan said that,"Every year on the occasion of annual day celebrations of the institute, Ganesa Natyalaya, it honours the prominent personalities and legends that are influential in promoting the arts, ever since the award was constituted in 2008. The award will be given on the 44th annual celebrations of Ganesa Natyalaya on April 9th, 2018 at Tamil Sangham, RK.Puram in New Delhi.

P 13 | APRILDECEMBER 2018 2017 Chief Minister of Andhra Pradesh honours eminent personalities with KALARATNA and HAMSA Awards

s a pleasant gesture of appreciation along with A welcoming, the Telugu New Year '', Sri Vilambi Naama Samvatsara', the Chief Minister of Andhra Pradesh, Nara Chandrababu Naidu honoured eminent personalities from various walks of life with awards like Kala Ratna, Hamsa and Ugadi Puraskarams at an event organized by the Department of Culture and Language and Endowments at Tummalapalli Kshetrayya Kalakshetram in Vijaywada on 19th March, 2018. As many as, forty seven eminent personalities were awarded 'Kala Ratna' and 'Hamsa' awards and ninety nine people recieved 'Ugadi'Ugadi Puraskarams' received the awards on the occasion. Addressing the gathering on the occasion, the Chief Minister, Chandrababu Naidu said that, 'Vilambi Nama Samvatsara' would bring prosperity to the people of Andhra Pradesh. He recalled that agriculture budget was introduced to make farmers happy and wealthy.

P 14 | APRILDECEMBER 2018 2017 PAWARDS 15 | DECEMBER 2017

Distinguished personalities like Sirivennela Seetarama Sastry for his contribution to literature, MM Srilekha for music and Indira Dutt for her contribution in the field of social service. Dr Sashidhar for his service in medicine, Manjula Naidu in Doordarshan, Dr Vedantam Ramalinga Sastry for Kuchipudi dance, Dr Emani Siva Nagireddy for History and Epigraphical research, Gummuluri Prasad (Rambabu) Ugadi Puraskaram on 18th March at Vijayawada for propagating Hindu in remote villages and agencies were felicitated and awarded with 'Hamsa' Award. Special Chief Secretary, Manmohan Singh welcomed the guests and cultural artistes. Ministers, Devineni Uma Maheswara Rao, Kollu Ravindra and Bhuma Akhila Priya, Member of MM Srilekha receiving Kalaratna award. Parliment Kesineni Srinivas, Women's Commission chairperson, Nannapaneni Rajakuimari, Endowments Commissioner Anuradha, ZP chairperson Gadde Anuradha, Mayor Koneru Sridhar and others also graced the event with their presence.

P 15 | APRILDECEMBER 2018 2017 A new start for the renowned artists, 'UgadiPuruskar' Awards 2018

he District Administration along with the Followed by this, the minister felicitated Department of Language and Culture Desikacharyulu, Classical vocalist K. Saraswathi TGovernment of Andhra Pradesh has Vidyarthi, Kuchipudi Dancer, teacher and Principal organized the Telugu New Year, Sri Vilambi Naama of Nataraj Music and Dance Academy, K.V. Samvatsara celebrations at VUDA Children's Lakshmi and the Head of the Department of Arena, welcoming the New Year. The Human Telugu, Andhra University, M. Jayadev. Resources Development Minister, Ganta Srinivasa Earlier, folk artistes performed various cultural Rao was the Chief Guest of the function. events like Tappetagullu, Kolatam, Teenmar, The celebrations started with the reading of Puliveshalu and Dappu Nrutyam. Member of almanac(PanchangaSravanam) describing the Parliament from Anakapalle, Muttamsetti Srinivasa predictions for the year as per the horoscope by Rao, Zilla Parishad Chairperson Lalam Bhavani, the Chief Priest of Sri Kanaka Mahalakshmi Joint Collector G. Srijana, VUDA Vice-Chairman Ammavari Devasthanam, Brundavanam Basant Kumar, GVMC Commissioner M. Desikacharyulu. Harinarayanan, JC-2 A. Siri, and others were Addressing the gathering on the occasion, the present. minister has expressed the view that Ugadi will It was observed that people preferred in dressing usher in growth and prosperity for Visakhapatnam in the traditional attire to enhance the festive mood. in the form of all round development especially through Information Technology (IT) and Tourism.

P 16 | APRILDECEMBER 2018 2017 PAWARDS 17 | DECEMBER 2017

NMDA Principal, K.V. Lakshmi conferred with 'Ugadi Puraskar'

renowned name in the field of Kuchipudi Minister For Human Resources Development, Dance Form in the City of Destiny, Vizag Government of Andhra Pradesh, at an event A and one of the best masters who serves "Ugadi Sambaralu" organised on the eve of without high expectations, Principal of Nataraj Telugu New Year by the District Administration Music and Dance Academy, K.V. Lakshmi, was of Visakhapatnam in association with the honoured with 'Ugadi Puraskar' award for the Department of Language and Culture. The year 2018. recognition was for Lakshmi's dedication and The award was given by Ganta Srinivasa Rao , perseverance towards the art form.

P 17 | APRILDECEMBER 2018 2017 versatile personality, a musician in Hindustani classical vocal () singer, a music Acomposer, a music director, an actor, a producer, a presenter and above all these roles, Anoop Jalota is a humble and down to earth individual. His first 'bench mark' album "Bhajan Sandhya" not only made him an eminent personality in the music field, but also honored him many accolades. With such accomplished work, Anoop rose to become a 'Bhajan Samrat' and contributing to the world of music. A few verses in Hindi as described by Pandit Vinod Sharma as Anoop's innate talent

P 18 | APRILDECEMBER 2018 2017 "Bhajan- ; Sangeet ka saaransh hai. Jab koi bhakt apne sarjanhaar ka stuti gana shuru karta hai, Toh chahe woh ghar ho ya jangal mein, mandir ka sa vatavarn, Ek pavitra maahol paida ho jaata hai.

Lagata hai ki maano aas-paas ke sabhi cheez non-living), echo or synchronies with the voice. Even uske aawaaz ke saat aawaaz milane lagta hai. the wind dances to the tunes of the music and Uske sangeet ke lehroan ke saath hawaien uncountable fantasies appear. One such melodious, jhoomne lagti hai aur aakhaon ke saamne attractive, mesmerizing voice is of Anoop Jalota which anginat drishya ghoomne lagta hai. Tulsi ke stands on equal pedestals of poetry of giants like Tulsi chhand ho ya ke dohe, Meera ki baani Das, Kabir Das, Soor Das or melodious voice of aur Soordaas ki panktiyan Meera Bai." Aisa hi madhur aur manmohak aawaaz hai Born on the 29th July, 1953 in Nainitaal, Anoop is the Anoop Jalota ki" second son to the eminent bhajan singer Late Sri. Meaning: "Bhajan is the compendium of Devoutness hailing from Sham Chowrasi and science of music. When a devotee eulogizes or Gharana of Punjab. Having come from a classical sings hymns to praise the god, then no matter the music background family, Anoop had music in his place is home or forest, one will feel it like a place of genes, which established him as an 'Emperor of worship with a purified atmosphere which forms Devotional Music'. He has reached great heights and automatically. It fills the entire surroundings (living and achieved remarkable positions in all fields ventured.

P 19 | APRILDECEMBER 2018 2017 in dual shades, visibiliysmiling and invisibilly seriously thinking.

P 20 | APRILDECEMBER 2018 2017 Chunariya', 'Jag Me Sundar Hai Do Naam', 'Tere Mann mein Ram Tan mein Ram rom rom mein Ram re,' 'Kabhi Kabhi Bhagwan ko bhi bhaktoan se kaam padhe jana thha ganga paar prabhu Kewat ki Naav chaddhe', and 'Prabhuji tum chandan Hum Pani'. Anoop was equally popular in ghazals. Some of his popular ghazals are ♦ Chaand Angdaiyaan Le Raha Hai, ♦ Tumhare Shahar Ka Mausam, ♦ Main Nazar Se Pee Raha Hoon, ♦ Hum Se Achi to Kahin Aaine ki Khismat Hogi, ♦ Rukh Se Parda Hata De, ♦ La Pila De Saqiya,Noorani Chehra, ♦ Mere Kabr Par Pate Huye, ♦ Tum Kya Samjho Tum Kya Jano, ♦ Kategi Ye Zindagi Ab Rote Rote, ♦ Laga Chunari Mein Daag Mitawoon kaise, ♦ Suraj ki Garmi Se. He associated with Jagadguru Shree Kripaluji Maharaj and agreed to release several CDs of his compositions. Also, he recorded the title song "Golden Memorable Yaadein" for the CD "Noorani Chehra", Bhajan Samarat, Anoop Jalota receiving Padmashree Award from the President of produced by Shaukat (Sam) Kassam to India, Pratibha Singh Patil in New Delhi. commemorate the Golden Jubilee of the Aga Khan in 2008. Apart from being an arts graduate in academics from , Anoop has attained the basic qualification in Hindustani form of classical music from Bhatkhande Sangeet Mahavidyala, Lucknow,Uttar Pradesh, popularly known as City of Nawabs. His first job was in 'aakashwani' (All India Radio) as chorus singer which was the prime step for his success. As a santoor player, dholak player, sarod player, sarangi player, violinist, sitar player, tabla player and guitarist, Anoop started his journey and enlisted himself in the category of successful personalities with several achievements. Anoop Jalota with his Mother Some of his popular and evergreen include Smt. Kamala Jalota and Father Padmashree Shri. Purshottam Das Jalota 'Aisi Lagi Lagan, Main Nahi Makhan Khayo', 'Rang De

P 21 | APRILDECEMBER 2018 2017 Anoop's initial popularity in the concert circuit was with He was later married to Medha Gujral, who his association with Sonali Sheth, a Gujarati woman, unfortunately died on November 25, 2014 at a hospital who was his first wife. They soon became popular as a in New York City of liver failure following a second heart ghazal duo just like ghazal masteros 'Jagjit and Chitra and first kidney transplant. Anoop has a son, Aryaman Singh'. born in the 1996.

Both Samrats senior and junior at Riyaz practice session.

P 22 | APRILDECEMBER 2018 2017 For his contributions towards music, the Government of India has conferred one of the highest civilian awards - 'Padma Shri' on Anoop Jalota in 2012 in the field of arts (Indian Classical Music-Vocal). Apart from this, he has earned a record number of 100 certified gold, platinum and multi-platinum discs. Anoop with aspirations to expand his horizons, he left no field untouched following his principle that 'every person wishes to establish his own brand of trademark, like the dream of a trader to become a manufacturer, journalist to establish a newspaper and become an editor. He tried his hand in both movie and television fields also and was successful as an actor, producer, director, musician, and composer. Though, Anoop is keen on composing music for films, he was unable to devote time because of his prior singing commitments in career. He has been able to live his childhood ambition to produce a film, for which he has produced two Hindi films "Hum deewane pyar ke" and "Nishaan" and another four films in under production. His maiden venture as a producer 'Hum Deewane Pyar Ke' starring Ronit Roy and Harsha Mehra has just been released, with Amitava Bhattacharya as the director. Anoop has not only composed mellifluous music for the film, but also makes a guest appearance in it. Anoop's inclination towards mankind and godliness through his devotional bhajans, makes him a true 'Torch Bearer'. His bhajans are popular all over the world making him an iconic singer. He feels glad that he has been making and producing clean, entertaining musical without any compromises.

P 23 | APRILDECEMBER 2018 2017 P 24 | APRILDECEMBER 2018 2017 movements in it because of the feminine aspect and shringara rasa of the dance form.

Between the 6th and the 10th centuries A.D. India saw the phenomenal upsurge in personalized devotion to God in the form of Bhakti. With Jnana and , Bhakti formed the third marga, or path to achieve , the Absolute release. 'Bhakti marga' extols the achievement of this spiritual union with God through pure love resulting in a great yearning in the soul of the bhakta (devotee).

In South India, this marga caught the imagination of the masses. There arose an order of , who were of the conviction that the best way to express bhakti was through the combined arts of music, dance and drama. Thus, they initiated a tradition whereby the bhakta began to approach his God by singing, dancing and acting. Being predominantly, a vaishnavite dance form in its approach, Kuchipudi focuses on eulogy of the virtues and great deeds of Lord and follows the uchipudi is a dance form from the Maha Bhagavatam. southern state of Andhra Pradesh. It can Kbe rightly called a dance drama. Kuchipudi, in effect, is the concept of total theatre where you have the combination of all the four abhinayas like 'vachika' - words spoken, 'angika'- the physical movements, 'satvika' - that which has to do with the sentiments, human, emotions and 'aharya' - the costumes.

Kuchipudi is a small little village in the district of Andhra Pradesh. The dance style or dance - drama is traditional practiced by very high caste . It is believed that it was created in the l5th century A.D. and later on it was Siddhendra who is credited with bringing in a lot of vim and vigour into the dance style. The most characteristic feature of this dance style is its scintillating, vivacious footwork and body movements. It has a lot of coquette

P 25 | APRILDECEMBER 2018 2017 TRIO - KUCHIPUDI EXPONENTS

Chinta Venkataramayya, Vedantam Lakshminarayana Vempati Venkatanarayana a disciple of Venkataratnam Sastry

In Kuchipudi traditionally, women are not allowed to of loving devotion to God, permeating every facet of take part and the female roles are enacted by nubile their technique. These dance-dramas helped to arouse boys. It is also a composite art in the sense in the minds of the people a great consciousness of that different actors enact different roles but no art can God's greatness. be static. In the past three or four decades, solo items In the development of Kuchipudi, two yogis appear to have been created and are still being performed. The have played a key role. These are ' Narayana Yati' same tradition gave rise to a similar form of dance- and his disciple 'Siddhendra Yogi'. Both of them were drama called 'Bhagvat Mela Natakam' in the adjoining devout bhaktas of Lord Shri Krishna. Their great love state of Tamil Nadu. Both these arts have the sentiment

Padma Bhushan Guru Dr. Vempati Chinna Sathyam Vedantam Satyanarayana Sarma as Bhama

P 26 | APRILDECEMBER 2018 2017 A group photo of traditional gurus and exponents of Chintavari melam at Kuchipudi Village

manifested into The technique of outpouring of exquisite Kuchipudi exhibits a fine bhakti literature. Tirtha balance nritta, nritya and Naryana wrote the natya elements-the last Krishna Lila Tarangini in preponderating in the the form of a musical 'vachika abhinaya'. opera. His disciple Thus, the Kuchipudi Siddhendra yogi wrote actor or dancer not only the famous 'Shringara sings his pieces and Pasumarthy Krishnamurthy kavya dances them but also Pasumarthy Venugopala Parijatapaharana'. While presenting this in the form of utters the dialogues. It Krishna Sarma dance-drama, he shunned the devadasis and, instead, must be mentioned that selected nubile Brahmin boys to enact the roles. This though Kuchipudi is a dance-drama, there are some dance drama is performed even today and stands as items which can be and are performed as solo items. a master piece in this genre. The nritta is made up, as in Bharata Natyam, of brass plate. She balances a jar on her head which is full to the brim with water. It is breath taking to watch the dancer translate different tala patterns recited by the guru who is accompanied by the chief percussion instrument Anupama Mohon, a Kuchipudi Exponent mridangam.

naturally the rhythmic syllables shollus - also must As the dance have these same qualities and there is created a progresses the bubbling confluence of recited shollus and vivacious intricacy of the shollus dancing resulting in an audio-visual cascade. The multiplies. There is Padmabhushan adavus for men and women are performed in also a question- Dr. Swapna Sundhari distinctly different manner highlighting the clear answer session where demarcation between tandava and lasya. the guru recites a particular sequence of the nritta Today the over the world, the mention of Kuchipudi portion and immediately the dancer translates it by her instantly conjures up a delightful image of a vivacious foot-work performed on the rim of her plate - the dancer dancing by balancing herself on the rim of a sound of the 'ghunghroos' and thumping of the plate

Manju Bharghavee adavus. Since Kuchipudi is a dance- drama the nritta sequences or even items are used to decorate the dramatic sequences of the play. The nritta still retains some elements of its original rustic flavor and so has quicksilver jumps and glides in its performance. Very

P 28 | APRILDECEMBER 2018 2017 Vedantam at 24 with Rukminidevi Arundale, scholar Banda Vedantam Raghavayya Kanakalingeshwar rao and Chinta Krishnamurti

on the ground creating a cascade of rippling mnemonic reminiscent of a bubbling stream. Above all, throughout the dance performance the water in the jar never spills over. This requires tremendous mental concentration to ensure that the water does not spill and the dancer's technical ability and command over tala.

Vedantam Rattayyasarma

Vempati Pedasatyam Yamini as goddess Saraswathi in Kuchipudi

P 29 | APRILDECEMBER 2018 2017 Padma Shree Dr. Sobha Naidu

The nritya is made up chiefly of items like shabadam, shlokam and padam. Out of these, traditionally, the shlokam is performed in sitting Popularly known as the Dancing couple position. Like the padams are Padma Bhushan Reddy and Raja devotional love songs, those written by the great Reddy performing Kuchipudi composer Kshetrajna being very popular. Other compositions which are popular for solo Scholars attribute a philosophical meaning to this expressional presentation are the kritis of the saint- feat - the dancer's concentration indicates her poet . complete mental detachment from the mundane world, her gaze turned towards the supramundane Siddhendra Yogi has composed the most famous like in a Yogic Samadhi, while her constantly dancing dance-drama known as Parjitapaharanam for feet denote the acknowledgment of her mundane Kuchipudi. This is more commonly known as (worldly) existence beating out the eternal cycle of Bhamakalapam which has an elaborate treatment rhythm of life. This dance is called 'Tarangam' (the of the character of Satyabhama one of Krishna's wave). consorts. This play is a masterpiece and is most popular for presentation.

In Golla Kalapam Dr. Devi & Sethuram S. Geeta Narayan, Kuchipudi Dance

P 30 | APRILDECEMBER 2018 2017 Bathina Sisters As Ugra Narisimha BR Vikram Kumar

Vedantham Ramalinga Sastry Tekumalla Shyamala

Two very characteristic facets of Kuchipudi performance are the character of the 'sutradhara' -the conductor of the performance K.V. Lakshmi, and the 'praveshadaru' - a small composition of Kuchipudi dance and song whereby each character Teacher announces him or her and reveals his or her identify in the most skillful manner.

Another special feature of the presentation is 'pagati veshamu' which is a comic sequence in a play but which is not from the original text. This is added to relieve the seriousness of some of the original sequences and is acted out impromptu. The music is classical carnatic system, sung by the chief singer being the 'Sutradhara' himself.

P 31 | APRILDECEMBER 2018 2017 P 32 | APRILDECEMBER 2018 2017 allapaka Annamacharya, popularly known the first, who paved way to sing in ode of common as 'Anamayya', bearing title as the 'Pada man unlike others who only praised the kings and the TKavitaa Pitamaha' of telugu poetry was a erudite. devoted worshiper who sang thousands of Annamayya is remembered for his saintly life, and is sankeertanas in ode of Sri Tirumala Venkateswara honored as a great devotee of Vishnu by devotees Swamy. He was a reputed singer and an eminent and saintly singers. He was one of the few who poet who gave life to the Telugu song and lyricism amalgamated the folklore and propagated and a saintly emperor of words who blended the '' among common people. Telugu 'andhra vedam' to the understanding of common man's from within the summary of He appreciated every phase of life through his songs 'Sanskrit '. which include the moon, the temples, birds, flowers, lullabies, praises, austerity, awakenings, tributes and Annamayya was born as the first vocalist of South many other folklore activities. He espoused on India to Lakkamamba and Narayana Suri in on subjects such as morality, dharma and righteousness 22nd May 1408 B.C. at Tallapaka village, Rajampet and was one of the first few who opposed the social Mandal, Cuddapah district. He stands as a stigma towards the untouchable castes in his era, with legendary singer who sang around 32,000 his sankeertanas explaining that the relationship keeratans in worship of the Lord to find the way to between God and human is the same irrespective of salvation. the latter's color, caste and financial status. In the era, where they were numerous foreign poets Annamayya's wife Timmakka also is the first poetess in reigning over the literature times, Annamayya was Telugu literature. She composed 'Subhadra kalyanam'.

An Arch in memory of Annamayya at the entrance of Tallapaka Village

P 33 | APRILDECEMBER 2018 2017 Tallapaka Venkata Nagabushan, the 12th generation decendent of saint poet Annamayya still Hierarthical chart of Annamayya recites hymns at Tirumala.

The sons and grand children of Annamayya were all has sung about the importance of Annamayya born poets who continued their writings in the sankeertanas throughout all over the world. footsteps of Annamayya. Kadapa district's name is glorified by the efforts of Annamayya words are considered vedic equivalent by 'Tallapaka Poets'. Dhyana Mandiram was constructed their family. Annamayya's son, Pedda tirumallayya has in memory of great Saint Annamacharya, at Tallapaka. made all the vedic transcripts into sankeertanas and The Chennakesava swamy temple is located near the explained the greatness of Annamayya to everyone. Annamacharya temple in Tallapaka. Annmayya died on Similarly, Annamayya's grandson, Chinna tirumallayya 4th April 1503B.C. at the age of 94 years at Tirumala.

P 34 | APRILDECEMBER 2018 2017 Annamayya's Poetic Glory Contributed by : Gandham Sankara Rao iving into Annamayya's magnificent compositions, a song which every Dtelugu-born mother would sing to her infant at dusk, feeding him morsels of food, by showing the alluring moon is scripted as "Chandamamaa ravo, jaabilli raavo Manchi kundanapu vendikora venna paalu taevo" Later, she cradles the infant by singing a lullaby "Jo achyutananda jojo mukunda Rave paramananda rama govinda" The baby slips into fast sleep by the sweetness of nectar in the songs of Annamayya and the eternal love of the mother. Annamayya's songs have been entertaining and enchanting the Telugu folks over generations as a blessed boon. A pencil sketch of Annamayya by a devotee

Annamayya preached the philosophy though Parahbrahmamokkate", "Tandana aahi, Tandana na songs such as "Brahmam Okkate purae". He also advocated equality though folk song verse as below. "Nindara Raju Nidrinchu Nidrayu Nokkate Andane Bantu Nidra Adiyyu Nokkate Andariki Sriharae antharaatma" Which meant, that 'the king sleeps the same way as the slave sleeps, which proves that the Lord is one for and equal for all. 'He also used singing as a medium to convey to the village folks that the 'Lord Srihari' is beyond caste and creed which is scripted as "E kulajudemi evva dainanemi akadanatade hari nerigina vadu" He also spread the message that 'One who possessed character qualities like truthfulness, justice, and kindness would be the gem among men'. He also scripted many songs the wife of Lords Sri Venkateswara Swami, Goddess 'Alivelu manga'. One among such is where he extols the Annamacharya statue at Dwaraka eternal beauty of the Goddess. The telugu song Tirumala, AP

P 35 | APRILDECEMBER 2018 2017 other women while Krishna's birth. Annamayya also enlightens naturalism in the song with the dusk moment, bloom of lotus and the donkey braying. Sankranthi is one of the prime festivals which signifies the Telugu folk culture. The festive indicates a transition of the winter solstice to summer solstice. We come across many distinctive moments connoting the Telugu folk culture such as ' bhogi mantalu, haridasu's keertanas, bulls dressed and decorated with bells and danced to the tunes of shehnai's, and the blabbering tunes of 'pittala doras', Young lasses decorate rangoli with flowers, colors and small, hand-pressed piles of cow dung, called

Annamayya singing in praise of Lord Venkateswara has a serene flow of words with charm, tenderness and naturalism. "Chakkani talliki changu bhala tana chakkera moviki changu bhala" While strolling through villages, we have sights of Annamayya’s sacred inscriptions women pounding the rice on rice-pounders singing 'Suvvi Suvvi' hymns of the bustle. As they pound the "gobbemma" creating a worm-free environment in the rice, women make a hissing sound which on sound house. They join at each house to sing and dance transition translates into ' Suvvi Suvvi'. Annamya sings around the rangoli singing 'Gobbillo, Gobbillo'. 'Suvvi Suvvanu Devaki nandanu ganiyae' praising the Annamayya also scripted on the moment in the below birth of Krishna, where Devaki the mother of Lord verse Krishna doesn't experience maternity pains like any "Kolani dopariki gobbillo, yadukulamu svamikini gobbillo" Annamayya adroitness is also visible when he sings wit-fully on the quirky relationship between a mother-in- law and a daughter-in-law in similarity with syrupy tussles between Goddess Lakshmi and Goddess Saraswathi in the below verse. 'Rave kodala rattadi kodala', says Goddess Lakshmi to Goddess Saraswathi, 'Pove pove attayya, pondulu nito calunu', replies Annamacharya Dhyana Mandiram at Tallapaka Goddess Saraswathi wit-fully.

P 36 | APRILDECEMBER 2018 2017 Sankeerthana bhandaram at Tirumala Annamayya also sings about the 'Dasavataaras- Ten incarnations of Sri Maha Vishnu' as below Sri Annamacharya statue at "Arudai thoorupu konda-naa-ra-ga- Anakapalle, AP bandina panta" The whole song goes in the similar humoristic- Annamayya is presented in the folk songs of conversation manner between them. Annamayya Sri Dhamma Vishnu. The below song goes as also sings about Lord Venkateswara's lovable a riddle sung by annamayya. moments of joy playing the spring festival with "Siruta navvula vade sinneka flowers and rose-scented water along with his Polasumenivade ani matsyavataranni charming girlfriends Boravipuvadu ani kurmavataranni "Jagadapu chanavula jajaraa, Selasumoravadu ani varahavataranni Saginala manchapu jaajaraa" Golusula vankala koralato bumi He also emphasized on the large black carpenter Velasinadu ani narasimhavatataranni bee in the below verse Meti kurachavadu ani vamanavataranni Sitakalavadu ani balaramavataranni "Tollinti vale gavu mam'mu tum'meda! Atadani basi adavilo rakasi vetaladi ani Inka nolla vuga mam'mu vo tum'meda! ramavatarani He also blazoned with lyrics on the elements of Binkapu motala pillagovi vadu ani nature, in which the sun and the moon were krshnavataranni compared with Lord Venkateswara's eyes. With Hrudyanga a varnistadu annamayya" the glory of Telugu language and richness of Telugu words, Annamayya penned the below describing the splendor of the moon "Sandekada puttinatti chayala panta yenta. Chandamaya chudaram'am chandamama panta" Describing in the tone of folk, Annamayya sings about the moon that it intensifes and cools down a person of any kind as above.

P 37 | APRILDECEMBER 2018 2017 On the nomadic folk, who run the puppet show in various places, he sang as below aatavari guditaura atavari gudi annichotla bomma lata ladincha nadhikundavaitivi

gurutaramagu pedda kottamu lopala tiramaina penu tera gatti araya najnanamu lavi yaddamuga jaesi Annamayya Copper Plates inscriptions paraga sujnana dipamulu muttichi tolubommala dorakoni gadiyinchi Annamayya used his folk songs to emphasize on gallicheta vani gadalinchii agriculture as well tuleti rasamulu tommidi gadiyinchi 'Pottula'Pottula pampamanetipampamaneti podupodu narikinariki vesivesi naalugu mukhamula naluvuna naadincha Chittamaniyedu chenu chenuga dunni ninnae metturugani nikaemi nilaeru Mattili santamane manic vana padanuna manninchu datalu mari laeru Vittuduru hari bhakti vivekulu. yennaga tiruvaenkateswara ni dasu Kamakrodhadulane kalupu cesi lunnatulai ninnu nubbinaci pogadaga Vemaru variragyamane velugu vetti Annamayya's singing emphasized and echoed on Domati nacaravidhula yeruvulu vesi various folklore lifestyles by singing. For example, Vomucunnaru jnanapu pairudyaga janulu." "Tirumalayya vindu manchidae undantae Annamayya's below composition emphasized untinamma, saravilaeni chenchuvaari on the traditional weavers and their business style sangathaelaa tanaku ani girijanula nirmala "Vadala vadala venta vadevo vadevo, bhaktini, neyyamulallo naerellalo, oyyana nidanundi chiralam'me neta behari" vooredi vuvillalo"

This song emphasized on the novelty of real happiness. As a folk lover, the real essence of a sweet lullaby was in this below verse sung by him 'Laali'Laali laalilaali laalemmalaalemma laali' Annamayya was evidently an observer of life around him, though he looked at it only in relation to his deity Venkateswara. It would Postal Stamp Annamayya Pada Yogamu be no exaggeration to released on Sri say that it is impossible Annamacharya in the year 2004

P 38 | APRILDECEMBER 2018 2017 Annamayya’s music and composition devotes all to Lord Venkateswara Annamayya’s sacred inscriptions to write about the various social mores, religious Madanuni talliki mangalam - madagaja festivals, customs, practices and activities that gamanaku mangalam //pallavi// Annamacharya managed to incorporate into his kannjadalakshiki kappuragandhiki - songs. Annamayya was a forerunner of composers manjulaaniki mangalam such as and Tyagaraja. manjarikucakunu madhukaraveni(ki) - Annamayya stands remarkable in the Telugu folk manjulapadakunu mangalam//1// history today as a great poet and singer who dedicated all his sankeertanas to Lord Venkateswara induvadanaku(nu) ibharipumadhyaku - and also nourished the folk through his music essence mandasmitakunu mangalam and knowledge. kundaradanakunu gurunitamba kabja - A special verse of 'mangala'mangala haarathi'haarathi' is below, mandira kepudu(nu) mangalam//2// which was found in the research of Annamayya's anganamanikini ambujapaniki - compositions signifying as an ode to Annamayya's mangalavatikini mangalam contribution and dedication towards the folk music, ranguga vekataramanu niyalamae - lmangaku Telugu language and his devout towards Lord neppudu mangalam//3// Venkateswara. Today, they are an integral part of Carnatic concert repertoire even as scholars continue studying and pondering over the lyrics. At times, one can only wonder at the ways of providence and the genius of Annamayya With growing interest in Annamayya and his life, there are sure to be many more books that will bring him closer to the people than ever before. For someone who had such a powerful influence on the richest temple on planet - but was mysteriously forgotten for many centuries - there is bound to be a fresh wave of enthusiasm in every generation in the foreseeable future. We 'The Dance India' consider this feature as an iota of efforts in portraying the magnanimous life of Annamayya and his musical compositions. Annamayya statue at a temple

P 39 | APRILDECEMBER 2018 2017 Annamayya, an ardent vocalist of Lord Venkateswara

he The 'Vibhava', incarnate aspect is related to his Sangitaratnakara descent into the world in physical form. In the Tof Sarngadeva 'Antaryamin', immanent form, he dwells in the observes that man can hearts of all beings regulating their feelings. And achieve all the four finally in the 'Archa', iconic form, he becomes objectives easily accessible to his devotees and receives (Purusharthas) in life ritualistic worship from them in temples and through music, but Text Contributed by homes. devout composers of Dr. Anupama Kailash, Among the five, the 'Archa' is the most sought hymns have treated it as Kuchipudi Exponent after form by devotees as it enables them to a means to attain only enjoy the beauty and splendor of the Lord here religious merit (dharma) and salvation (moksha) and now. That is why several saint poets have Annamacharya is to be reckoned as the first expressed their wish to be born again and again among the hymno-graphers in Telugu, not only in the mortal world if only to experience the bliss from the view point of chronology but also for his of beholding Vishnu in their favorite iconic form. superb artistry and range of feeling and thought. The medium favored by all these saint poets to He was a pioneer in the field who could handle worship their favorite deity was song or both amorous and devotional strains with equal 'Sankeertana', as it is the most effective medium felicity. The eroticism evident in Kshetrayya's love to reach God in Kaliyuga. It also appeals to the lyrics and Thyagaraja's rapturous praises of the imagination and interest of the common man, glories of Rama are undoubtedly reminiscent of amongst whom these saint poets wished to Annamayya's treatment of these elements in his propagate their path of Bhakti or devotion. hymns. Annammayya pioneered singing of Pada or The synthesis of Vishnu of the with the Sankeertana in Telugu language. Annamayya cosmic God Narayana of the 's ,and seems to have started composing lyrics at the then with the popular deity Vasudeva Krishna, in age sixteen, when he was fascinated by his due course ,resulted in the emergence of devotion to Lord Venkateshwara. This devotion Vaishnavism. The religion holds Vishnu to be the is called Madhura Bhakti because it is 'Godlove',in Supreme God and devotion to him the main which the devotee is the beloved or 'Preyasi' or objective of human existence. According to Jeevatma, and the 'Lord God' is the supreme Vaishnava theology, descent or incarnation is only hero or Paramatma. Alamelumanga and one of the five forms through which Vishnu Venkateshwara represent Radha and Krishna in manifests himself. In the 'Para' transcendent form, Vaishnava parlance and they stand for 'Prakriti he is Vasudeva, the supreme being, beyond the and Purusha' in Sankhya terminology. The same reach of human experience. The 'Vyuha', divine pair represent 'Sakti and Siva' in Saiva emanative form is his functional manifestation as a parlance. creator, sustainer and destroyer of the Universe.

P 40 | APRILDECEMBER 2018 2017 A painting of Annamayya

After the Saivite Naayanars of 3rd Century and 12th Century, Jayadeva of the 11th Century, Vaishnavite Alwars between 7th and 12th Century, we Chandidas, Vidyapati or Annamayya, they chose to have Annamacharya, the earliest composer of lyrics in compose lyrics of God love with predominance of Telugu in the 15th Century. eroticism in their compositions. Their songs had a desi milieu and deserved no reproof from any quarter. Annamacharya was greatly influenced by the legacy of Those were the "limits of permissiveness' as observed the God intoxicated poet composers, the Alwars. The by the liberators, painters and architects as part of the term Alwar means, "One who is immersed". In the Indian ethos of the Middle Ages". present context it denotes an ardent devotee ever immersed in God. Twelve such devotees of Vishnu On one side was the highly evolved who lived between the sixth and ninth century in the concept of a 'Saguna Parabrahma '. Divine love of Tamil speaking region of South India are traditionally Gods and their consorts, their union and separation recognized as the Alwars. The Alwars are held in such was used as a medium to express exalted Bhakti, and high veneration by the Vaishnavas that each of the 108 on the other side, the synthesis of Muslim and Hindu places they sang about has consequently come to be thought, gave rise to lyrics extolling the unity of regarded as a divine place. Annamacharya was well mankind and censure towards caste system. acquainted with the hymns of the Alwars for at least two Literature was written to reach the hearts and minds of reasons, one, he was himself a latter-day Alwar, the common man and instill values, righteousness and secondly, the foremost exponent of the Vishishtadvaita devotion in them. What with devotional fervor at its school of Vaishnivism, , rightly thought that height, and gradual, political instability, creating the "the real proof of the being of God is the being in God", need for spiritual counseling and healing, the scene and accepted the utterances of the Alwars as was just right for the arrival of Annamacharya, whose authoritative, as the word of God in the Vedas. emotional and devotional fervor, skill and artistry, As a convert to the Vishishtadvaita sect, probably surpasses that of any other poet, before or Annamacharya had devoted many years to the study after him. Writing in lucid Telugu, and with the constant of it's theology. Therefore he shared the emotional refrain of Bhakti to Lord Venkateshwara and mysticism of the Alwars as well as their intense love for Alamelumanga, Annamacharya was the brightest star the God of the seven hills. Be it Alwars of the 7th to in the firmament of poet luminaries. P 41 | APRILDECEMBER 2018 2017 heavenly belle, dedicated to perform for the world with her mesmerizing dance, A grace and perfection of the dance form, Odissi. She enchants and makes the audience spell bound with her innate born talent and exhilarating elegance.

In an exclusive for “The Dance India”India”, Sujata Mohaptra, a renowned practitioner of Odissi, a multiple accolade winner, a charm personified and a cool priestess; above all, she is a devoted disciple, a doting daughter-in-law, a compassionate spouse, a lovable mother, who equally manages in doing justice to all her roles, facing every minuscule challenge with humongous steadiness and commitment.

Born in the year 1967, in , , Smt. Sujata Mohapatra made her initial foray into the dancing arena in her early childhood. Born into a rich cultural background, she grew up in an artistic environment that delicately nourished her creativity and brought out her innate interest in dance.

Her introductory revelation to dance was from her mom, Smt. Kumudini Mohanty who was also a dancer.

P 42 | APRILDECEMBER 2018 2017 At the age of four, supported by her mom, she was persist the legacy of the dancing legend. The admitted into Nrutya Sangeeta Kala Mandir in teachings and knowledge, Sri Kelucharan has offered Balasore and learnt the dance form until her them stands as precious lessons and needs to be bachelor education. carried forward, following his footsteps spreading the dance form all over the world. Relocating to Cuttack, Odisha she continued learning dance under the guidance of Guru Sri Not only representing their family legacy, the Raghunath Datta, while simultaneously pursuing a Mahopatra's also share the responsibility with artists Masters degree in Oriya Literature, at Revenshaw College. Subsequent to her literature degree, she was introduced by a celebrated dancer, to Guru Padma vibhushan to join his esteemed tutelage at Odissi Research Center, Bhubaneshwar.

A dual master degree holder in Literature and Odissi dance, Sujata Mohapatra has emerged as eminent Indian classical dancer and teacher of Odissi dancing style, a disciple and daughter- in-law of Sri Late Guru Padma vibhushan Kelucharan Mohapatra and wife of Sri who is a dancer, percussionist, choreographer and archivist of Odissi.

As a disciple and daughter- in-law of the legendary exponent of Odissi, she is blessed to inherit his ardent devotion and blind passion for the classical dance form. Eighteen years of rigorous training under the guidance of her Guru, had eventually moulded her into a poised performer from a devoted and diligent disciple.

She strongly believes to be specially blessed to have become such an artist in guiding paths drawn by the Almighty and her guru Sri Kelucharan which makes her life, a perfect blend to do the service to the Odissi dance form.

Leading the dance legacy along with husband Ratikant Mohapatra

Under the exquisite guidance of Late Guru Padma Vibhushan Kelucharan Mohapatra, Sujata and her husband Ratikant possess a great responsibility to P 43 | APRILDECEMBER 2018 2017 and disciples of the renowned guru Sri Kelucharan and Gifted with a resilient body, an amazing stamina, and the Odissi dance community around the world. large luminous eyes, Sujata has a compelling stage presence. Her dance has a striking sculpturesque Her beloved mother-in-law, Guru Maa Smt. Laxmi Priya quality that is at the core of her immense appeal. was also the first Odissi dancer who performed Odissi on stage. In her view, Odissi, stands as a significant beauty in the adding an essence of its own to Her daughter Preetisha, who is also an Odissi dancer, the Indian culture. Odissi with its ethereal grace and represents the next generation torch bearer following eloquence reflects the spirit of the region Odisha, the footsteps of this family tradition. The family wishes known as the temple state, Mahari tradition as its asset. to contribute in all possible ways to elevate the dance The dance form represents the mythology and ancient form, honoring legacy of legendary guru Sri texts in a simple and fulfilling way catching the attention Kelucharan. of the audience. Odissi and its style representing Odisha Inspiration and Contribution A rare combination of intensity and spontaneity, Sujatha draws inspiration from her revered guru, her Sujata's dance is noted particularly for its strict mother land's traditional culture and her parents who adherence to Guruji's style, which is known for its stand as towering support. She also rejoices in other grace, depth of expression, and technical exactitude. dance forms which boost her to find the depths of the Sujatha also strives to follow the style of Guru dance form, Odissi. Kelucharan, as it cleanses one's soul practicing the dance form and enables a divine realm in the audience.

P 44 | APRILDECEMBER 2018 2017 The Dance India Magazine presented Torch Bearer's award to Odissi exponent Sujata Mohapatra on International Women's Day

Apart from being an excellent performer; Sujata is also Everyday regime, challenges and memorable actively involved in teaching Odissi. Presently, she instances holds the designation as the Principal of 'Srjan' (Odissi Her day begins with a quick stroll of few kilometers and Nrityabhasa), a prime Odissi dance institution founded then indulging in ritual activities at home. Post by Late Guru Padmabibhushan Kelucharan breakfast, she practices for a while and then conducts Mohapatra. In July 2011, she opened an Odissi dance classes. This stands as her routine when she is Institute - Guru Keerti Srjan, in her hometown, Balasore not on a spree of performances. She spends her Sujata also serves as the Artistic Director of Guru leisure indulging in hobbies like floor painting, running, Shradha located in California, and is responsible for and cooking. determining and implementing the institution's overall One of her beliefs is that ''sadhana bringsbrings siddhi',siddhi', artistic vision. Guru Shradha's students are extremely which loosely translates that daily practice is essential fortunate to receive direct instruction and input from to achieve perfection. She strongly supports that Smt. Mohapatra, one of the most highly sought-after practicing is the key to create a mesmerizing Odissi teachers in India. performance.

P 45 | APRILDECEMBER 2018 2017 While creating a mesmerizing performance, challenges may be a part of it. One such challenge Sujata faces is while performing, in representing the authentic dance culture attaining to the expectations of the audience in inter-state cultural dance festivals.

Her best moment in her dance journey was being a disciple under the mentoring of her Guru Kelucharan. Learning, performing and practicing along with him always was sanctified for her.

Speaking about the fusion contour of the dance form, Sujata believes that there is minimal chance of flawlessness in performing a traditional form rather than recreating or amalgamating it to the current trend. It affects the authenticity of the dance form and may lose its lucidity.

Imbibing the roots of the dance form from her legendary guru, she has always experienced the impact of traditional dance in aspects of foot work, grace, expression and movements. These carry much value than experimental fusion of the dance form.

Professional career and passion towards arts

Being a professional dancer surely creates her significance in the society around her as she considers that, when your passion and career are alike, one experiences bliss than any other.

She also claims that being a dancer is one of the 'marga' to create a connection with the divine power and build up a pious bond with the art forms, which may likely not be visible in any other profession. It creates an inner peace within oneself and makes you experience splendid pleasure of performing.

P 46 | APRILDECEMBER 2018 2017 Attributing the value of arts in society and environment, Sujata believes that art forms give a perfect chance for individuals to elevate their tired souls from their mundane lives. Art forms create a positive energy within the hearts of people. She also adds that dance as an art form represents a kind of which generates optimistic energy and vibrations in motivating people.

Honourable Awards

Suajata Mohapatra's delightful dance performances dedication has been acknowledged by the numerous awards and respect. Some of her notable accolades are the Nrutya Choodamani award from Krishna Gina Sabha, Chennai, Nrutya Sagar Award from Cleveland, USA, Aditya Birla Kala Kiran Award, from Mumbai, Raja Award from Raja Foundation, from Delhi, Pandit Award, from Mumbai, The 2nd Award from Washington DC, USA

She has also been awarded the prestigious Mahari Award from Pankaj Charan Foundation, Bhuvaneswar Orissa

In her opinion, dance festivals should be performed in way that the younger generation could see and learn from to motivate themselves from the qualitative work of the artists. They certainly help the artists who perform to showcase their talent and skills promoting their respective dance form.

On a concluding note, Sujata expresses her joy in representing Indian classical dance globally as a pure emotion of pleasure and prestige. She feels proud to spread her dance culture and tradition throughout the world with her dance form.

Her global performances have always filled her with joy of appreciation and support of audience regardless of their location, language and culture. Through her dance journey filled with purity, poise and appreciation, she aspires to become a cultural ambassador of her country.

P 47 | APRILDECEMBER 2018 2017 P 48 | APRILDECEMBER 2018 2017 any dance forms in India communicate between mind, soul Mand God through the art of dance. In those dance forms, Bharatanatyam is one of the oldest dance forms which historically come from the ages carrying social and religious importance in India. One such gifted artist who pays respect to the almighty through her dance form is Roopa Kiran.

Roopa feels it is a form of '' that she offers to the God. She communicates with Lord through her dance and feels it as a divine gesture to God. Whenever she performs the art form, she connects the divinity of her dance with people finding the essence of happiness through her performance.

Born and brought up in princely city of Mysore, Roopa at the age of five, started learning Pandanallur style of Bharatanatyam under the guidance of Dr. Vasundhara Doraswamy. With the help of her mother and teacher, she concentrated on learning the dance; eventually completing her junior, senior and vidwat grade exams from the Karnataka Secondary Board of Education.

Roopa is a Vidwan holder in Bharatanatyam and a Business Administration graduate from CSM institute of Graduate studies, Canada. Being an accomplished dancer and a committed teacher gifted with a fine sense of rhythm and abhinaya, she displays aesthetic taste and innovative skills while retaining the traditional purity of the style. Her movements are graceful with sharp footsteps and possess flawless abhinaya. She perceives Bharatanatyam as a sacred art, which she feels her 'soul' itself with graceful movements, flawless abhinaya and sharp footwork. She is very disciplined and dedicated artist, she follow all the rules and regulations which was taught by her teachers. Till date, Roopa ensured that the anklets(Kadiyams) given by her guru years ago and is inseparable part of her body, thus showing the degree of

P 49 | APRILDECEMBER 2018 2017 respect and wilful belief and dedication towards the customs, tradition and her teachers . Roopa is also proficient in Carnatic vocal and Nattuvanga.

Roopa, took forward the dreams of her mother of becoming a classical dancer, which could not be fulfilled due to circumstances did not permit her to take up this noble art form and making them happen. She strived to train herself as a renowned artist due to the inclination. Though it was not a cake walk for Roopa but her mother stood as a greatest support system for her.

Being a resident of a foreign country( Hong Kong), it was a great challenge for her to perform in India and not only this she had to go through tough times in abroad even. She had to face many a challenges. Still, she performed in many International Dance Festivals and proved her metal. With her utmost hard work and endless efforts, Roopa could build her and take the privilege of promoting, the Indian art and culture abroad. She remains thankful for all the facilitators who have given her opportunities and platforms to

Roopa Kiran being awarded with 'Naatya Sri' title on the eve of Vysakhi Nrithyotsav

P 50 | APRILDECEMBER 2018 2017 showcase her skill in Classical Dance Form.

Roopa feels proud to represent Indian Classical Dances in Hong Kong. It shows respect towards the country. Being a classical dancer is very elegant and respectable career in the world, opined she and added that by way of conducting festivals like 'Laasyotsava' abroad, makes her feel that she is contributing something to the world of arts and thereby increasing its value and appreciation.

Appointment of Roopa as the Cultural Ambassador of India in Hong Kong, is not only a matter of pride to Roopa alone but also to her guru and Principal of Natraj Music and Dance Academy, Visakhapatnam, K.V.Lakshmi, under whose tutelage she learned Kuchipudi Dance Form.

Passionate of classical dances, Roopa made it as her profession and with the blessings of her gurus, she grabbed the opportunities and performed on various platforms that includes prestigious Tirumala Tirupathi Devasthanam, Chidambaram duering festivals and received many awards and recognitions. Not only this, for her immense back breaking effort in mastering the classical dance forms, Roopa has been entitled with many prestigious awards. To name some are - Naatya Tarang Yuva Puraskar, Naatyasri, Naatyavedha, Naatyasarathi, Naatyadhruma, Nrityashiromani, Satyabhama Award, and International Dance Day Award. She also performed at charity for NGOs.

Apart from India, Roopa has also performed countries like Thailand, Malaysia, China, Singapore, and Indonesia. She currently teaches and performs in Honk Kong. Disseminating such gracious spirit of dance forms throughout the world, Roopa reinforces as a 'Ray of Hope' representing her mother land.

P 51 | APRILDECEMBER 2018 2017 'The Dance India' honors dance exponents on International Women's Day Celebrations

he year 2018 stands significant and memorable for 'The'The DanceDance India'India' magazine, for Thonoring and celebrating the joy of celebrating womanhood on International Women's day and also giving away the 'International'International Women'sWomen's DayDay Awards', 2018 in four categories to twelve female dance exponents who have magnificently contributed to the performing art in various dance categories and still strive to do so in future.

The Dance India International Women's Day Dignitaries lighting the lamp on the Celebrations and Awards event was held at International Women's Day awards, 2018 Kalabharathi auditorium, Visakhapatnam on 8th of March stood an eye treat as many dignitaries from Performances of N. Amusana Devi, Ishitha Pai Raikar, various sectors graced the occasion to participate in Alka Shah and Arpita Sen Lahiri stood as exceptional the celebrations with the Chief Guest of the event being, moments of the event. All of them performed at a high- Legendary dance exponent Padmabhushan Dr. Saroja spirited level of delight and left the audience spell Vaidyanathan and Guest of Honor being, Dr. S. bound. Challappa. ♦ Manipuri exponent, Amusana Devi's performance The event commenced with a formal lighting up of the bought out the supreme spirit of Manipur which lamp by all the formal dignitaries and was succeeded transformed the audience into a serene mode. by cultural programs organized to mark the ♦ Bharatanatyam exponent, Ishita Pai Raikar celebrations of a theme-'Naari Shakthi'. Every folk and performed like an experienced dancer and paved editorial staff who contributed for the formulation of the way for many glorious years of dance ahead as an magazine since its inception were credited and aspiring teenager. appreciated through special audio visuals.

P 52 | APRILDECEMBER 2018 2017 NEWS

the awardees by sprinkling 'scented water and applying scandal paste and Kumkum' followed by felicitation with shawl, garlands and a momento by the Chief Guest of the function, Padmabhushan, Dr. Saroja Vaidyanathan and certificate of appreciation by the Guest of Honor, Dr. S. Challappa.

Other Special invites to the event were, Additional Commissioners of Income Tax Sudagani Shanker Narayan(IRS) and (IRS) and Joint Commissioner of Income Tax Arvindakshan have graced the occasion.

The Chief Guest of the function, Padmabhushan Dr. Saroja Vaidyanathan said that bringing the richness of Indian art and culture from across the globe and honoring the art exponents on the occasion of BR Vikram Kumar, Editor presenting the March International Women's Day gave her immense issue themed 'Naari Shaktiyeiy Namah'' DanceDance India' magazine to Padma Bhushan, pleasure and it remains as one of the most defining Guru Dr. Saroja Vidhyanathan moments of her life.

♦ One such youngster was differently-abled "In this modern era, giving utmost prominence to Bharatanatyam exponent, Alka Shah, who has not Indian art and culture has become a distinct only set an example that no physical inabilities can thought. But it is quiet astonishing that an entity like be hurdles for any person to become an artist. She 'The Dance India' is taking the initiative to protect, has perfectly performed 'Shiva Tandavam' but also promote and document the essence of Indian left the audience spell bound with her mesmerizing heritage and culture," Sarojini Vaidhyanathan said. performance. She wished 'The Dance India' editorial team to reach ♦ Bharatnatyam exponent, Arpita Sen Lahiri who new heights in rhetoric and creative writing, and danced depicting the 'Krishna Leela' performed her blessed the Editor BR Vikram Kumar to become an best with astonishing expressions, footwork and internationally renowned personality and keep the abhinaya. Her performance marked the essence of magazine prolonged throughout. 'Sri Krishna and his playful acts' grasping the Guest of Honor, Dr. S. Challapa spoke, recollecting attention of the audience. lines of the one of the popular poems of the eminent All the performances proved that art has the capability Tamil poet 'Subrahmanya Bharati' on the to nurture any individual of any stage into a perfect 'importance of women and also that there are more artist. Also, it is the only natural 'anti-biotic' that can cure number of goddesses' temples in Madurai. He any wound in the life. praised women and their empowerment on occasion. He wished BR Vikram Kumar and his As the awards ceremony commenced after the team of 'The Dance India' magazine and expressed performances with the Special Invitees the Deputy his wish to add vernacular and Hindi languages in Commissioner of Income Tax Saumya Pandey(IRS) the magazine. accompanied by the Assistant Commissioner of Income Tax, Sheetal(IRS) have traditionally welcomed

P 53 | APRILDECEMBER 2018 2017 Awardees views and thoughts on receiving the award

Torch Bearer Awardees: N. Amusana Devi Renowned Manipuri dancer, N. Amusana Devi in Padmashree Chitra Viswesaran Manipuri language extended her gratitude to 'The Expressing her gratitude for choosing her and Dance India' for conferring the award on her and honor conferring 'The Dance India International Women's Day and dedicated the award to her guru, who has nurtured Torch Bearers Award-2018', Padmashree Chitra her to this level. Her words were translated into English Viswesaran said that "Though it is a matter of pride and to the audience by her student and disciple, Sinam privilege to receive the award, it is not mere a feather in Basu Singh. the cap but also a seat belt which reminds there is a long journey to go ahead, fulfilling many responsibilities."

Recollecting her meeting with Shehnai maestro Ustad Saheb at a function in abroad and he saying that " Insaan kaee sare ho sakte hain, Bhashaein kaee saree ho sakti hai aur desh anek ho sakte hain but inn sab ko jodkar ek dhaage mein baand ke rakhne wala sootra - Swar tao Saat hi hai naa." which means "People can be many, languages can be many and even countries can be many but the source which The Dance India Magazine presenting ‘Torch Bearers’ award to Manipuri Exponent unites all these is one and that is 'Swar' means Vocal N.Amusuna Devi on International Women's Day which are of seven letters only that unites and create wonders through either of the format vocal, instrumental or visual (dance form). " Sujata Mohapatra "I am of the opinion and belief that human being is a source; but everything is pre-decided by the destiny.

The Dance India Magazine presenting ‘Torch Bearers’ award to Bharatanatyam Exponent The Dance India Magazine presenting ‘Torch Padma Shree on Bearers’ award to Odissi exponent Sujata International Women's Day Mohapatra on International Women's Day

P 54 | APRILDECEMBER 2018 2017 NEWS the destiny has decided so. Otherwise, how come an As it is said that 'Life'Life andand Dance'Dance' are two sides of a industrialist could ever think of sparing and devoting coin but for me 'Dance'Dance isis life,life, LifeLife isis GuruGuru andand time to the art form? Guru is God.', said the Odissi Dancer, Sujatha Mohapatra and daughter-in-law and disciple of Odissi Voleti Rangamani legend, Kelucharan Mohapatra . She expressed honor Voleti Rangamani expressed joy and honor for and privilege to receive the award from Bharatanatyam felicitation on this occasion on Women's day. Talking exponent, Padmabhushan Dr. Saroja Vaidyanathan about Simhanandini dance form, she said, "It is unique amongst many stalwarts. art form started by my father Acharyalu garu, derived Beacons of Light Awardees from the art that used to be a practice during bramhotasavams". Shallu Jindal

Thanking 'The Dance India' for conferring the award to her, Kudhipudi Dancer from Delhi, Shallu Jindal said that, 'she feels it as showers of blessings on many great personalities of the field and above all is the blessings of Lord Balaji(Venkateswara Swamy) and her gurus Raja Radha Reddy and Kaushalya Reddy.

Recollecting her association with the dance form and guru, Ms. Jindal said that Kuchipudi fascinated her and was thinking how to go about it, meanwhile co- incidentally, as blessings of the god, she saw the The Dance India Magazine presenting Reddy couple inside the sanctorum of the temple atop ‘Beacons of Light’ award to Kuchipudi (Simhanandini) Exponent, Voleti Rangamani Tirumala, where she met them and introduced herself on International Women's Day and expressed her wish. Responding to her wish, her guru firstly invited her to one their shows and then People used to make rangolis of their belief and if the invited Shallu as disciple. She further said that there a Almighty's chariot passes over it while 'uraegimpu' many more miles to go. Surprisingly, Shallu has no seva in temples, they considered it as a good omen where connection with the art form from either side. But for their well being. I feel blessed being a teacher and nurturing more number of students across the world.

Dr. Suparna Venkatesh

Dr. Suparna Venkatesh thanked Padmabhushan Dr. Saroja Vaidyanathan and 'The Dance India' for conferring the award and honor to her, especially on the day of International Women's Day. She said that, " it is a day of privilege for her to receive the award from Dr. Saroja Vaidyanathan On the eve of Women's day,she credited all the mothers who were instrumental in nurturing the individuals to reach the stature of The Dance India Magazine presenting stardom. She dedicated the award to all the mothers. ‘Beacons of Light’ award to Kuchipudi dancer Shallu Jindal on International Women's Day

P 55 | APRILDECEMBER 2018 2017 extending gratitude to her guru, Geeta with irrepressible hard and sorrowful voice narrated an unfortunate life incident and how she overcame from it with focus and strength, to fulfill her childhood dream creating a direction and meaning for her life. She also added that, "it would not be possible with the inexpressible support from her spouse."

The Dance India Magazine presenting ‘Beacons of Light’ award to Bharatanatyam Exponent Dr. Suparna Venkatesh on International Women's Day Rays of Hope Awardees

Kashmira Trivedi

As the saying goes "Words are silver, but Silence is The Dance India Magazine presented ‘Rays of gold". Bharatanatyam Exponent from Mumbai and Hope’ award to Kuchipudi dancer, S. Geetha Narayan on International Womens Day Maharashtra co-ordinator of the magazine, Kashmira Narayan on International Womens Day Trivedi simply extended her gratitude all the distinguished and seniors of the field and organizers. Alka Shah

Alka Shah with sweet hand gestures and signs thanked the 'The Dance India' for the recognition and honor.

The Dance India Magazine presenting ‘Rays of Hope’ award to Bharatanatyam dancer, Kashmira Trivedi on International Women's Day The Dance India Magazine presented ‘Rays of Hope’ award to Bharatanatyam dancer, Alka Sudagani Geeta Narayan Sah on International Women's Day The first and foremost quality required in an individual Kindled Spirits Awardees to become a perfect artist(dancer) by thirst, dedication, sincerity, punctuality opined one of the Prerna Gangopadhya from West Bengal and Ishita Pai awardees and Kuchipudi Dancer, Geeta Narayan. Raikar from Singapore have extended their gratitude. Congratulating the women on the occasion and Arpita Sen Lahari also from West Bengal extended her

P 56 | APRILDECEMBER 2018 2017 NEWS

The Dance India Magazine presented ‘Kindled The Dance India Magazine presented ‘Kindled Spirits’ award to Bharatanatyam dancer, Spirits’ award to Bharatanatyam dancer, Ishita Arpita Sen Lahiri on International Womens Day Pai Raikar on International Womens Day

gratitude to 'The Dance India' and thanked for making a sorrowful day last year on losing her father into a memorable day with being conferred an award. She credited that her mother was the strength and courage for her to recoup and move ahead from the sorrow. She felt that it was all the blessings of her father, mother and gurus that made her today what she was and dedicated the award to them.

The event gracefully ended on a happy note with all the awardees posing for a group photograph. 'The Dance The Dance India Magazine presented ‘Kindled The Dance India Magazine presented ‘Kindled India' takes colossal pride for celebrating women's day Spirits’ award to Bharatanatyam dancer, Prerna Gangopadhyay on International Womens Day in such iconic grandeur.

All the Women's day awardees along with the dignitaries who graced the event with their presence.

P 57 | APRILDECEMBER 2018 2017 First Edition of the 'Shimla Classical Dance Festival' By Dr.

t the very outset one would like to congratulate the Department of Language and Culture of AHimachal Pradesh for making the beginning of an annual classical dance festival at The Gaitey Theatre. Held for 3 days from 9 th till 11th March and inaugurated by the Chief Minister Shri Jairam Thakur it featured three dance forms: , Manipuri and Bharatanatyam. Besides every day the young up and coming local Kathak dancers were also presented.

On the opening night talented young Kumari Akshita Inaguration of the festival by Chief Minister Dhiman, a disciple of Smt Illa Pandey, well known Jairam Thakur with Education Minister, Suresh Kathak guru of Himahcal Pradesh, impressed Bhardwaj cognoscenti with her taiyyari with technical numbers Accompanied by his brother Fatehsingh on table and like Uthan, Bada thaat, Chakkardar tihai,Tode ,Tukde other musicians he kept audience in thrall. A and a Thumari of Chakradhar Maharaj 'Gori tore nayan memorable performance. naval madamate', interspersing with gat bhav and gat On second night Kathak by Dinesh Gupta, a disciple of nikas. Sparkling, graceful and expressive, she has Smt. Illa Pandey and Lucknow gharana Pandit Munna potential of a mature Kathak dancer. The local Shukla, more in nature of demonstration, performed musicians vocal Dr Lalchand, percussion tabla by three stages of Kathak, of temple, of Mughal court, Amit, violin by Gunjan and padhant by Pawankumar with Salami, and present day Kathak reciting bols and gave her able support. enacting abhinaya to mnemonic syllables. To the song, After that the Jaipur gharana exponent Rajendra Yashoda beckoning child Krishna, Radha asking Gangani took to the stage, with his impeccable Kathak Krishna and devotional mood of Mira he performed exposition offering Panchamukhi prayer to Lord Shiva competently. His foot work and chakkars were with Namah Shivaya refrain. As often happens in flawless. What he has to guard against is over the top case of established dancers, he was in great form on bhava, and expressions of female characters. that night and regaled the audience with spontaneous From Kolkata, Bimbavati Devi, Guru Bipinsingh and improvisations. His Ganesh paran preceded by Kalavati Devi's vastly gifted daughter and her troupe Gajagati, elephant walk and subtle movements of presented Manipuri dances. Noted dance critic Leela mouse, vehicle of Ganesh was imaginative. His Thaat Venkataraman introduced the form that helped of Jaipur gharana was an exercise in precision. He audience to appreciate the subtleties of Manipuri dance created rain and dance of peacock by mere ankle which was presented for the first time in Shimla. bells, and bhajan to Pandit Jasraj's stuti in praise of Dressed in gorgeous costumes of mirrored skirt Rama and , with his complete immersion in Arpita Saha as Radha and Bimbavati as Krishna with bhava, emotion left audience spellbound. P 58 | APRILDECEMBER 2018 2017 NEWS

Rajendra Gangani performing Kathak Vishal Thankur, a local kathak Manipuri Bimbavati Devi as Krishna and dancer from Himachal Pradesh Arpita Saha as Radha typical crown , their duet Pantha Jagoi, showing Lasya in Meera's bhajan in Maand raga 'Mane chakar rakhoji' and Tandava, was a gem of choreography by Guru danced totally immersing herself as Krishna's devotee. Bipinsingh. Vivacious and energetic Bimbavati in The song and her abhinaya had instant appeal. Nannichuri, Krishna stealing butter, charmed away However, the piece de resitance was Vanajakshi audience with her abhinaya. However, Brajen Kumar, Varnam in Behag. As Rajiv Chandran compering the the pung player, drummer with his dynamic and brilliant performance, with his customary finesse, mentioned it playing on drum and simultaneously dancing, and was her favourite varnam for more than 20 years. taking aerial somersaults brought down the house Geeta as Krishna with lotus eyes, playing the flute cast winning rounds of applause. The Balaram and Kanhai a spell on all, the entire nature, birds, animals. Praised playing with ball in Kanduk khel, performed by Arpita by the rishis Sanaka and others who touch his feet, she and Bimbavati was joyous in spirit whereas the finale took off the sanchari weaving in story of Vamanavatara by Bimbavati in praise of Lord Shiva was imaginatively ,asking three baby steps from Baliraja. Vishnu took choreographed by her, based on Rudrashtakam. Vishwarupa and in one step covered Prithvi, raising the Singer Pramila Devi from Imphal rendered songs in leg covered sky in second step, and asked where to typical Manipuri style. Since Manipuri was so far never put third step. Baliraja bowed his head and Lord presented in Shimla, it received enthusiastic response. placed his foot on it pushing him under the earth. Geeta excelled in dramatic depiction. On the final day young Vishal Thakur, currently studying under Ranjendra Gangani, presented traditional Kathak Charanam describing Krishna as more beautiful than items. He has a stage worthy presence. In his Thaat, hundreds of Kamadeva saw Geeta in exulted mood. Aamad, Tode, Tukde, Paran in Teen tala there was The Suradas pada 'Suni suta', Yashoda telling story of graceful 'ang' and pleasant execution. In Dhrupad to child Krishna, Geeta vividly created 'Tandava gati mundane par nirtata Vanamali' the characters. The narration of key events culminating expressions were controlled. In Gat bhav and Gat Ravana's coming in disguise as mendicant and nikas movements were graceful. Barring over kidnapping , listening to it Krishna jumping from lap enthusiasm and showing off in jugalbandi and tatkar of Yashoda, assuming form of Rama asking the overall impression he created was of a good Lakshmana to give him a bow, was full of chamatkar. performer. With more exposure he should make the Yashoda's wonderment at Krishna's getting up and grade. again assuming the form of child Krishna were enacted From Delhi, the celebrated Bharatanatyam exponent with consummate artistry. The finale with Radha Raman had carefully selected items keeping bhajan earned artists standing ovation. The musicians in view the audience of Shimla. With her very first Rajat Prasanna (flute), Dr S.Vasudev with Rupa Kathal number kavutvam by Ganagmuttai nattuvanar in praise (vocal), Manohar Balachandran (mridangam), S. of Lord Shiva, she had audience eating out of her Sankaran(nattuvangam) and lighting by Sharad hands. Vivacious and seasoned dancer that she is, she Kulashrestha highlighted the performance.

P 59 | APRILDECEMBER 2018 2017 VMDA celebrates its Founder's Day

- By Gk Prasad(Rambabu) he Visakha Music and Dance Academy(VMDA) popularly known as 'Kalabharati' celebrated its TFounder's day on 3rd of March,2018 in remembrance of its founder, Susarla Surya Bhagvat Sankara Sastry, and his efforts in establishing the As a traditional practice of honoring upcoming artists organization. VMDA currently caters to all sectors of from various categories of music, dance and theatre artists across the country transforming as a platform arts with awards and felicitations, VMDA gave away to the art fraternity, becoming as a house hold name "Upcoming Artist Talent Awards, 2018" to artists in for art and cultural events. various categories as mentioned below: VMDA organized the event, inviting popular writer, In the vocal category, Modumuri Sruthi Ranjani, from actor and producer, Gollapudi Maruthi Rao as the Vijayawada received the award sponsored by T. Chief Guest of the event. Addressing the gathering on Rajeswaran in memory of LSRK Krishna Sastry. The the occasion, Maruthi Rao said that, "With the existence Vizag Sisters- Nallamchakravartula Sai Praneetha and of 'Kalabharati' several art forms are finding a venue to Sai Santhoshi, received the award in vocal category, perform and organizers are able to invite stalwarts sponsored by Garimella Charitable Trust. In the dance from various parts of the country". He also mentioned category, Aithangini Mithila from Vizag, received the that, "Enormous and dedicated services being award sponsored by Dr. Sriram Sonti, UDA in their rendered by President, C.S.N. Raju, and Honorable parents memory in Dance. In the violin category, V. V. V. Secretary, Gummuluri Rambabu of the trust, are worth Mahesh Kumar from Kakinada, was awarded which rewarding". Further, he opined that, 'If S.S.B.Sastry, had was sponsored by Late G.N. Murthy in Violin. In the not with his foresightedness obtained this plot of site mridamgam category, Kanduri Arvind from from the VUDA authorities for this specific purpose, Vijayawada received the award which was sponsored currently we would not have been enjoying the fruits of by Garimella CharitableTrust. In the veena category, the establishment'. 'Without such an establishment, it R.S. Vidya Madhuri from Vizianagaram has received would have been a tough task for Visakhapatnam to the award which was sponsored by Dr. R. Madhuri stand as a hub for cultural activities, which is currently Devi in memory of her mother & Guru Smt. Vijaya representing as the 'Cultural Capital of Andhra Lakshmi. In the flute category, Ch. Hemanth Krishna Pradesh.' from Nellore, received the award which was Addressing to the gathering, the Guest of Honor, sponsored by Garimella Charitable Trust in Flute .In the Susarla Rama Gopal, the grandson of the founder and theater arts category, Rithis Kumar from Vizag, a 7 son of founder Secretary S. Gopala Sastry said that, year old child who is a born gifted artist received this "He was fortunate to be born in such a great family and award which was sponsored by VMDA. assured that he would serve and support to the cause The event concluded on a happy note encouraging all in remembrance of S.S.B. Sastry. He also said, the awardees to strive and contribute to the world of "Tathagaru was a staunch devotee of Lord Sri Rama arts. and Saint Tyagaraja" remembering his inclination towards arts and culture.

P 60 | APRILDECEMBER 2018 2017 NEWS Mayur Nrutya Academy, Hubli celebrates the 'Mayur'Mayur Utsav'Utsav' - By Gopal Sagar

ayur Nrutya Academy at Hubli founded by Vidushi Hema Wagmode, a renowned dance recitals included 'pushpanjali' , 'koutwam' , 'shiva MBharatanaatyam exponent and a teacher. stuti' and other foot tapping performances. The Mayur Utsav was formally inaugurated on 28th The most enthralling performance of the night was January, 2018 at 'Sanskrutik Bhavan' Hubli. "VISMAYA VASUDEVA", an 'nrutya nataka' showcasing The program was graced with the presence of eminent the experiences of Yashodha, Radha, Kuchela and personalities like Sri Basavaraj Horatti, Dr. Nalwad and Partha with Vasudeva. others dignitaries, who honoured the Bharathanaatyam The auditorium which usually resonates with 'ghughroo' exponent, Vidushi Roopashree Madhusoodan. The sounds of dancers feet, slowly transformed into serenity on the mystical sight of 'Nanda Gokula' Lord Krishna. In the performance, Bala Gopala with his mischievous acts becomes the reason for Yashodha's anger, which was subdued when he opens his mouth and shows a glimpse of the Universe, stunning her. Yasodha's love, care, anger and astonishment on Bala Gopala's mischievous acts undoubtedly mesmerised the audience.

The epitome of friendship between Lord Krishna and Kuchela was also performed well. The magical romantic moments between Lord Krishna and Radha was filled with 'shringara' and 'viraha rasa'. Radha feeling shy on seeing Lord Krishna with all the gopikas surrounding him was a dreamy scene.

The purpose of Lord Krishna's avatar was for deployment and sustenance of 'the Dharma'. The stage dramatically changed to the war field enacting the battle of 'Kurukshetra'. The 'geeta upadesam' scene, where Lord Krishna as Parthasaarathi, speaks to Paandava brother, Arjuna was enacted superficially.

The enactment of war scene and the Visharoopa darshana of Lord Vasudeva made the audience spell bound. Overall, the event was a total eye treat for all the 'kalarasikas'.

P 61 | APRILDECEMBER 2018 2017 erforming an art is a gift given by the god to showcase the beauty of art Pforms through one's performances. Among performing arts, dance is one of the oldest forms of art and self-expression. India is the origin of classical dance forms from eternity until the nation's new crops of dancing talent have emerged and brought a new change in the dance world. Though a new age teenager, Ishita Pai Raikar, from the Northern India endeavours in keeping the rich heritage of classical dance.

'Adulthood is not always necessary to achieve hard-headed goals', this statement was proven true by Ishita Pai Raikar, an enthusiast and a striving passionate dancer, who has developed keen interest and passion for dance since a young age.

Born in Maharashtra, Ishita was born to Srinivas Pai Raikar and Minal Pai Raikar on 2nd May 2003. She currently resides with her parents in Singapore and studies Class Nine at the Dover Court International School in Singapore.

It is quite common in childhood to get fascinated towards toys, chocolates, and cartoons, but Ishita is inclined towards dance and made it as her breath and soul. Hailing from a dance tradition family, Ishita draws inspiration from her mother and aunt, who were once wonderful dancers.

She developed her interest in dance at a very young age, which was supported and

P 62 | APRILDECEMBERMARCH 2018 2018 2017 encourage by her mother. In the year 2009, she started performances only to formal training under her first Guru Sri 'Kashmira win hearts of the Trivedi' of the Takshashila Nrityakala Mandir, Thane, audience. She Mumbai. Ever since childhood, Ishita has been a keen dazzles with her observer and passionate towards dance. She graceful performance adopted her mother's dream for her, to make her feel every time, aiming to proud and elated. reach new heights in the field of dance. After relocating from India to Singapore, Ishita did not Apart from dance, give up on her passion. With the support of her she is passionate mother, she started training under renowned Guru towards sports and Vidushi M.S Sri lakshmi, one of the great academics. Bharatanatyam dancers and founder of the Natyaranjini institutions, which was established to She has won the promote Classical art forms. Currently, she is awards for her solo encouraging Ishita to perform in dance programs and and group festivals. Ishita has performed her Arangetram on 19 performances at December, 2017 at GVN auditorium, Margao, Goa. Papanasam Sivan She also gave performances at prestigious festivals in competitions, Jhankar dance competition, Dancing India and Singapore. stars of Singapore and PE talent hunt.

Ishita has got a privilege to perform in the presence of For her performances so far, she has been awarded Prime Minister of India, Sri Narendra Modi upon his 'Kala Ratna' in December 2017. With her spectacular visit to Singapore. Every year, she performs at performances, she is sure to be blessed with more celebrations and events and People's awards and accolades. Association (PA) organized by various community Some of her achievements and accolades other than in centers. She participated in several dance programs all dance include being awarded as the "Student of the over Singapore including prestigious events held at Year" in 2013, bagging the Best Public Speaker at famous venues like Esplanade theatre, Indian High Prerna Awards, winning the "Elite Award" in language Commission, Singapore Police Force and the Expo. Perfect World Championship in 2017 and being elected Ishita aspires to become an entrepreneur by as a member of the students council in her school. profession and a good dancer, delivering mesmerizing She has also represented her Badminton school team at the Athletic conference of Singapore International schools (ACSIS) tournaments and has bagged 2 gold medals in past 2 years. She has also been a part of the comedy play "Salo ki Palo" at Maharashtra Mandal Ganesh event.

With such dashing spirit and energy, Ishita feels proud representing her birth country. She strives to be a wonderful dancer and spread the importance of dance throughout the world with her remarkable performances in future. Receiving Kindled Spirits award on The Dance India International Women’s day awards 2018

P 63 | APRILDECEMBER 2018 2017 Chhau Dance exponent Khirod breathes his last

ne of the renowned artists of Nrutya Mandir and was also associated with Chhau Dance Form, Khirod Chhau project BPD centre. He was contributing OGhadei passed away on 27th for Mayurbhanj Chhau dance since 1986. His February 2018. He was 48 years old and is contribution to the art form was till the last day of the son of late Banshi Ghadei Bhaguda Kata. his life in 2018. He is popularly known for his The Chhau Dance is a popular form of tribal contemplation of female role such as "Parbati" dance in India that incorporates elements of and "Radha" in an extensive dance form like martial arts into its movements. This dance Mayurbhanj Chhau. form is predominantly seen in the states of 'The Dance India' pays tributes to such great Odissa, West Bengal and Jharkhand. personality who strived to preserve the rare art Khirod was a famous Chhau dancer of South form. Region belonging to Dakshin Sahi Chhau

P 64 | APRILDECEMBER 2018 2017 CLASSIFIEDS

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

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P 68 | APRILDECEMBER 2018 2017