P 2 | AUGUST 2017 Contents Volume 2, Issue 2 | August 2017

Cover Story 20 Rays of Hope 44 25 26 Rajashree Oak A Stoic in Pursuit of Editorial Team 04 29 Sanjib Bhattacharya Paramathma 30 Sruti Bandopadhay Reviews 48 Editor’s Note 05 33 Brohmomoy Basu Scintillating Sathyabhama 34 Latasana Devi Nrithyotsav 2017 Cultural Bulletin 06 34 Soma Roy Reports 52 The Swearing-in- Ceremony 35 Ranjini Basu 52 A Vivid and Transcen of Ram Nath Kovind as the 35 Jhinuk Roy Chakraborty dental Festival 14th President of . 36 Laily Basu 53 A Thought Provoking 36 Poushali Chatterjee Playlet 37 Sukalyan Bhattacharya 54 1st Anniversary Cel- 37 Sunil K Sinha ebrations at Vizag! 38 Dr Sohini Ray 58 1st Anniversary Cel- ebrations at Bengaluru Celebrations 59 On the occasion of the 80th Birthday Celebrations Torch Bearers 14 of Dr. IVL Sastry: In the Service Kindled Spirit 64 of Carnatic Music In Sight 66 Beacons of Light 40 Art Has No Language Classified 67 Barriers: Dr Rama Devi 1st Anniversary Celebrations at Vizag!

P 3 | AUGUST 2017 Editorial

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

Articles may be submitted for possible publication in the magazine in the following manner.

• Send in your articles to [email protected] Please include your full name, contact information (address and telephone Editor-in-Chief number) and a short bio data. BR Vikram Kumar • Articles are published in the magazine only on the condition that the author agrees to Executive Editor the terms of the Copyright Statement and Paul Spurgeon Nicodemus Policy Associate Editor RMK Sharma Regd. Office: Trivikram Publications, D.No. 50-01-50/1, ASR Nagar, Seethammadhara, Sub Editor Coordinators - 530 013, A.P. D. Praveena (News, Advertisements & Tel: 0891-2525656 Editorial Advisor Subscriptions) The opinions, beliefs and viewpoints expressed by the various writers in the articles and B Ratan Raju Sai Venkatesh Karnataka reviews do not necessarily reflect the opinions, beliefs and viewpoints of the editorial team or Kashmira Trivedi Maharashtra Contributions by official policies of The Dance India. Padma Shri Alaknanda Noida All rights reserved. © August 2017 - The contents published in The Dance India Cultural Critic Lakshmi Thomas magazine are an exclusive copyright of Avinash pasricha Trivikram Publications. No part of the magazine Gayathri Gopi Vellore may be reproduced in whole or part without Photographer the written consent of Trivikram Publications. Parinithi Gopal Sagar All disputes are subject to the exclusive Administration Manager jurisdiction of competent courts in KV Lakshmi PSB Nambiar Visakhapatnam only. Sooryavamsham Kerala Circulation Manager V Srinivas GV Chari New Delhi Communications Incharge Dr. Kshithija Barve Edited, Published and Owned by Bathina Ranga Vikram Kumar, K Bhanoji Rao Goa and Kolhapur Mobile No. +91-9848137445, on behalf of Trivikram Publications from D.No. 50-01-50/1, ASR Nagar, Seethammadhara, Dist. Visakhapatnam - 530 013, A.P. and Technical Advise and Graphic Design Follow us on Printed by K. Ram Naidu, Vizag Art Printers, D.No. 30-5-21, Krishna Gardens, Dabagardens, Visakhapatnam - 530 020, A.P. thedanceindiamagazine Editor: Bathina Ranga Vikram Kumar

P 4 | AUGUST 2017 India is often compared to a mother. It has produced several freedom fighters who have delivered the country from the clutches of foreign invaders and on behalf of The Dance India, I salute those brave souls. The country is celebrating its 71st Independence Day this month and I bring greetings from The Dance India.

Following Mahatma Gandhi's principles of Swacch Bharat, the government has been implementing several schemes to make the country clean and green. The time has arrived to thrive and strive for 'Swacch BR Vikram Kumar Editor-in-Chief Samskruthi'. Some Indian cultural art forms today are on the brink of extinction. Whose mistake is it? Is it the government's, people's or the artist's? No, it is the responsibility of each and every Indian citizen. There are thousands of folk art forms, hundreds of traditional art forms and classical art forms available for the public but what is the condition of artistes who depend on these art forms for a livelihood? Why aren't the government welfare schemes and support not reaching these arts, artistes and private academies? Are these welfare schemes limited to those who lobby through certain officers? It should not be. The time has arrived and on the occasion of the Independence Day, a new plan to eradicate corruption and work towards Swacch Samskruthi should be prepared.

The present education system has lost its values. It is time to incorporate our cultural heritage in the academic curriculum through a law and reinforce human values back into the minds of students. It is the desire of the entire country and responsibility of both the central and state governments. Citizens of the country believe that the present government is their best bet after the recent event where Prime Minister Narendra Modi launched a photograph of former President Abdul Kalam playing the veena during the birth anniversary celebrations at Varanasi.

Jai Hind!

BR Vikram Kumar Editor’s Note

P 5 | AUGUST 2017 P 6 | AUGUST 2017 The President of India Pranab Mukherjee, the President-elect, The Prime Minister, Narendra Modi at the Swearing-in-Cer- Ram Nath Kovind, the Vice President, M Hamid Ansari, the emony of the President of India, Ram Nath Kovind at the Speaker, Lok Sabha, Sumitra Mahajan and the Chief Justice Central Hall of Parliament. of India, Justice JS Khehar in a Ceremonial Procession at Parliament House for Swearing-in-Ceremony.

Ram Nath Kovind addressing the gathering after taking the oath of the office of the President of India, at a Swearing-in- Ceremony in the Central Hall of Parliament. The outgoing President, Pranab Mukherjee, the Vice President, M Hamid Ansari, the Speaker, Lok Sabha, Sumitra Mahajan and the Chief Justice of India, Justice JS Khehar are also seen.

The President of India, Ram Nath Kovind, the outgoing Presi- The President of India, Ram Nath Kovind inspecting the dent, Pranab Mukherjee, the Vice President, M Hamid Ansari, Guard of Honour after the Swearing-in-Ceremony at the Speaker, Lok Sabha, Sumitra Mahajan and the Chief Jus- Rashtrapati Bhavan, in New Delhi on Tuesday, July 25, 2017. tice of India, Justice JS Khehar at the Swearing-in-Ceremony in the Central Hall of Parliament. P 7 | AUGUST 2017 Outstanding Dancer countries to promote Indian Culture abroad, informed the Union Minister of State for Culture and |Tourism ivya Devaguptapu, Bharatakalanjali alumni (Independent Charge), Dr Mahesh Sharma, and the prime disciple of The Dhananjayans according to PIB. Dwas adjudged and declared as the 'Outstanding Dancer' in the Music Academy Mid-Year Dance Festival 2017. She would be awarded the Best Promotion of Traditional Art Bharatanaatyam Artiste of the year 2017 on the Academy's and Folk Art Naatya festival inaugural day on January 3, 2017. To protect, preserve and promote various forms of traditional art and folk art throughout the country, the Spreading of Indian Culture Government of India has set up seven Zonal Cultural Centres (ZCCs) with headquarters at Patiala, Nagpur, The Indian culture has manifested in various realms Udaipur, Allahabad, , Dimapur and Thanjavur. across Asia and beyond. The Government of India has taken a number of initiatives to disseminate Indian To develop traditional art across the country including culture across the world which inter alia includes the the State of Andhra Pradesh, these ZCCs are signing of multilateral and bilateral agreements on implementing a number of schemes viz. Award to cultural relations, promotion of Indian culture through Young Talented Artistes, Guru Shishya Parampara Festival of India in foreign countries, providing Scheme, Theatre Rejuvenation Scheme, Research & assistance to Indo Foreign Friendship Cultural Documentation Scheme, Shilpgram Scheme, Octave Societies in foreign countries for cultural activities. and J&K Festivals and National Cultural Exchange Various activities taken up in the financial year 2016-17 Programme (NCEP). include the holding of Festival of India in 18 countries, No State/UT-wise funds are provided for promotion of the sanction of Rs 11.56 crore to Indo-Foreign traditional art and folk art. However, annual grant-in- Friendship Cultural Societies in foreign countries, aid is provided to all these 7 ZCCs by Government of Signing of Agreements on bilateral cultural relations India for carrying out various cultural activities with 7 countries etc. throughout the country for this purpose, informed the

The Indian Council for Cultural Relations which is also Union minister of state for culture and tourism mandated to foster and strengthen cultural relations (independent charge), Dr Mahesh Sharma, according with countries has sponsored 166 groups from India to PIB. during the last one year to 88 countries. They have established 37 Indian Cultural Centres in various

P 8 | AUGUST 2017 CULTURAL BULLETIN Project Mausam only a few have responded with necessary information. Project 'Mausam' is the initiative of Ministry of Culture to be implemented by the Archaeological Survey of The list of 39 countries identified under the project is India (ASI) as the nodal agency with research support given below: of the Indira Gandhi National Centre for the Arts Bahrain, Bangladesh, Cambodia, China, Comoros, (IGNCA) and National Museum as associate bodies. Egypt, Eritrea, Réunion, French Department, This project aims to explore the multifaceted Indian Indonesia, Iraq, Iran (Islamic Republic), Jordan, Ocean 'world'-collating archaeological and historical , , Lebanon, Madagascar, , research in order to document the diversity of cultural, Maldives, Mauritius, Mozambique, Mozambique, commercial and religious interactions in the Indian Myanmar, , Pakistan, Philippines, , Ocean. It also aims to promote research on themes Singapore, Sri Lanka, , Seychelles, related to the study of maritime routes. The main Somalia, South Africa, Sudan, Syrian Arab objective of the project is to inscribe places and sites Republic,United Republic of Tanzania, Thailand, identified under Project Mausam as a trans-national Turkey, United Arab Emirates, Vietnam and Yemen, nomination for inscription on UNESCO's World informed Union minister of state for culture and Heritage List. tourism (independent charge), Dr. Mahesh Sharma, A fund of Rs. 150,244,502/- was approved by ministry according to PIB. of culture for two years i.e. 2015-16 & 2016-17 out of India to host 8th Edition of which Rs 3,22,02,881/- was transferred to IGNCA. An amount of Rs 12,26,362/- is utilised. Theatre Olympics 'The

The project was launched in June 2014 during the 38th Biggest Theatre Celebration of session of the World Heritage Committee. An SFC the World' from February 17 - was approved in April 2015 for 2 years i.e. 2015-16 April 08, 2018 and 2016-17. Some of the major achievements are: Dr Mahesh Sharma, minister of state (independent 1. A national conference organised by ASI and charge) of culture and tourism has recently Kerala Tourism in November 2014 at Kochi, announced that the 8th edition of the greatest carnival Kerala. of theatre in the world will take place in India for the 2. Exhibition on Unearthing Pattanam; Histories, first time ever from February 17 - April 08, 2018 Cultures and Crossings at National Museum in simultaneously in various cities across the country. November 2014. Addressing a Press Conference here today in the presence of , chairperson, NSD Society 3. Seventeen lectures were held on various themes & Prof. , Director, National School of related to Project Mausam by IGNCA Drama, the minister said that there will be 500 plays & 4. An exhibition on 'Africans in India: A rediscovery' 700 ambience performances from across the world in IGNCA. and Allied activities like exhibitions, seminars, symposia, interactive discussions and workshops 5. Symposium on 'Maritime culture of India and its with well-known academicians, authors, actors, potential' in January 2017. designers and directors will be held. He said that the 6. Indian mission in identified countries have been leading luminaries of world theatre will take part. requested to identify appropriate authorities/ resource person/experts to initiate a dialogue but P 9 | AUGUST 2017 workshops with well-known academicians, authors, actors, designers and directors.

The Theatre Olympics was established in 1993 in Delphi, Greece, as the first international theatre festival. With the tagline 'Crossing Millennia', this is an initiative to connect the cultural past with the present and future, bringing the richness and diversity of theatre heritage to the experiments and research of contemporary theatre.

The first country to host the Theatre Olympics was Greece in 1995. Japan hosted the second edition in In a development that puts India firmly among the top Shizuoka in 1999, followed by Russia in 2001. In 2006 nations in the world theatre map, the country is all set the Olympics was held in Istanbul, Turkey and four to host the next edition of the prestigious Theatre years later, in 2010 in Seoul, South Korea. China Olympics. Established in 1993, the Theatre Olympics hosted them in Beijing in 2014 and in 2016 the 7th is the foremost international theatre festival, presenting Theatre Olympics were held in Wroclaw, Poland. India the finest productions of well-known theatre is all set to join this illustrious list as it plays host to the practitioners from around the world. 8th edition of this global event, according to PIB.

The Theatre Olympics, being held in India for the first time, is being organised by National School of Drama,

under the aegis of the ministry of culture. The Declaration of Historic City - country's tryst with the biggest celebration of theatre Ahmedabad as a UNESCO's in the world will take place from February 17 until April World Heritage Property 08, 2018 and will be held in 15 cities across India. India now has overall 36 World Heritage Inscriptions It was also announced that the inaugural ceremony of with 28 Cultural, 7 Natural and 1 Mixed site the Theatre Olympics would take place in New Delhi in It is under the dynamic and visionary leadership of the a gala function with performances by hundreds of Prime Minister of India that India has been successful artistes while the closing ceremony will take place in in securing the nomination of the "Historic City of . The Theatre Olympics 2018 will be the 8th Ahmedabad" on UNESCO's World Heritage List on edition of the event and will feature a maximum July 8, 2017 during the 41st Session of World Heritage number of Indian & International theatre groups, Committee. This makes the walled city of Ahmedabad invited eminent theatre personalities along with their the first city in India and the third in Asia to be performances. In addition, there will be ambience inscribed on the World Heritage List. In the past 3 performances with allied activities like exhibitions, years alone, India has managed to put five built seminars, symposia, interactive discussions and heritage sites on the world heritage list of UNESCO. P 10 | AUGUST 2017 CULTURAL BULLETIN India now has overall 36 World Heritage Inscriptions contemporary global issues of mutual interest and with 28 cultural, 7 natural and 1 mixed site. While India has helped promote mutual understanding. stands second largest in number after China in terms Addressing at the "Second Meeting of BRICS Culture of a number of world heritage properties in ASPAC Ministers" in Tianjin, China today, he said that India (Asia and Pacific) region, it is overall seventh in the held the BRICS Chairmanship in 2016 and hosted the world. 8th BRICS Summit on October 15-16, 2016 in Goa under the theme 'Building Responsive, Inclusive and Founded in the 15th century, the walled city of Collective Solutions'. Each of the BRICS countries Ahmedabad, on the eastern bank of the Sabarmati possesses rich cultural heritage and traditions and we River, presents a rich architectural heritage. Within this share goodwill, understanding, respect and interest complex are 28 ASI centrally protected monuments. for each other's cultural heritage. This respect and The urban structures of the historic city of interest will in times to come contribute towards Ahmedabad are distinctive due to their puras developing even stronger bonds of friendship, (neighbourhoods), pols (residential streets), and empathy and cooperation. khadki (inner entrances to pols) largely made of timber. The historic architecture reflects symbols and Dr Sharma said that India would work with China and myths connected with its inhabitants. The urban fabric other BRICS countries on Chair's priority areas, viz. is made up of densely packed traditional houses global economic partnership, global governance, (pols) in gated traditional streets (puras) with people-to-people exchanges, macroeconomic characteristic features such as bird feeders, public coordination, Agenda 2030, International peace and wells and religious institutions. It is a unique example stability, the open world economy, IMF reform, media, of multi-religious and multicultural coexistence. sports, education, traditional medicines, and exchanges among students and scholars and culture. The international recognition to the city is a matter of India has bilateral cultural agreements and specific pride. It will boost the local economy in a number of cultural exchange programmes with each of the ways. It is expected to give a tremendous fillip to BRICS countries. The country has been showcasing domestic and international tourism leading to our rich cultural heritage through Festivals of India increased employment generation, the creation of organised in China and South Africa already. world-class infrastructure and augmentation of sale of Preparations are afoot to organise a similar festival in local handicrafts, handlooms and heritage Brazil in September this year and in Russia in the early memorabilia, according to PIB. next year.

The minister said that today we are in the midst of a Dr Mahesh Sharma tremendous shift in the way of growth and participates in 'Second modernisation, but libraries continue to play a central Meeting of BRICS Culture role in providing open and free access to information and ideas. As gateways to knowledge and culture, Ministers' in Tianjin, China libraries play a fundamental role in society. The Dr Mahesh Sharma, minister of state (independent resources and services they offer create charge) for culture and tourism has said that India opportunities for learning, support literacy and attaches importance to its engagements with BRICS education, and help shape new ideas and which has emerged as a valuable forum for perspectives that are central to a creative and consultation, coordination and cooperation on innovative society.

P 11 | AUGUST 2017 He said that the museum as an institution tells the Dr Sharma said that under Cultural Mapping of India story of the man the world over and how humanity Scheme, a web portal has been developed for has survived in its environment over the years. It collection of online data from artistes for cultural houses things created by nature and by man and in mapping, which will serve as an artist repository. A our modern society, it houses the cultural soul of the sub scheme as a national mission on Cultural nation. It holds the cultural wealth of the nation in trust Mapping and Roadmap with a financial outlay of Rs for all generations and by its function and unique 469.40 crore for 2017-18, 2018-19 & 2019-20 has position, it has become the cultural conscience of the been approved under the umbrella of "Kala Sanskrit! nation. The National Museum of India has since been Vikas Yojna". organising exhibitions overseas. Presently, an He said that he looks forward to ideas and initiatives exhibition on "Across the Silk Road: Gupta Sculptures to take forward cultural cooperation among BRICS and their Chinese Counterparts during 400-700 AD" is countries through the BRICS Alliances and believes on show in various Museums of China since that today's meeting will be a game changer, September 2016. according to PIB.

P 12 | AUGUST 2017 P 13 | AUGUST 2017 P 14 | AUGUST 2017 nly a few find real joy and those who find it is blessed beyond compare. At a time, when Othe average life expectancy across the world is shrinking by the day, the numbers of people who are functional and efficient post retirement age are marginal. Rare people like Indraganti Venkata Lakshmana Sastry, popularly known as IVL Sastry, show how contentment and service to humanity could lead to long and healthy life. The nonagenarian who dedicated his life to the cause of Carnatic music is a perfect example of leading a life with passion. Thanks to his brilliant and self-effacing efforts, today In his house, his father, Indraganti Lakshmi Narayana Visakhapatnam is next to Chennai when it comes to did Bhajan every Thursday and Saturday. His father cultural ambience and awareness about Carnatic learnt music from renowned musicians and became a music. When The Dance India met him at his residence, proficient singer and his mother Annapurna too the 91-year-old sat in his chair and shared his decades regularly sang in the house. Both his parents led a life of experience and wisdom. full of Bhakti, singing numerous bhajans and keerthanas like Ramadasu keerthanas, Tukaram Bhajans, Tyagaraj keerthanas and others. Even his brother was an expert musician. So music was always a part of the household and because of the environment around him, IVL Sastry got attracted to music at a very young age. He was born at Penugollu, a village in Andhra Pradesh. His family hails from the same place. Hundred years ago, the place had a vibrant cultural aura. Tumarada Sangameshwara Sastri who was a court musician of Pithapuram Rajas and renowned Veena Vidwan popular across the globe used to visit Penugollu and IVL Sastry's father and uncle shared a good friendship with the vidwan. In his company, Sastry's father honed his musical skills. People of the village gathered at his house and the house always had an ambience of music. IVL was born on March 23, 1927 into such an atmosphere where music thrived. He did not learn music under the tutelage of his father but he heard the music that was sung and played and learnt. Later, he nurtured and developed his music skills on his own by studying various books like Ganakala Bodhini and Sangeeta Vidya Darpanam. "I used to study various course books on music, swaras were written in them," he says. His father regularly sang kritis and bhajans and even IVL sang along with him. Simultaneous while learning Carnatic vocals, he also learnt to play IVL Sastry while working as a Malaria Laboratory Assistant at Paderu in 1946. P 15 | AUGUST 2017 He began taking music seriously when he moved to Kolkata at the age of 22 years. He appeared for Railway Service Commission and got a job in the South Eastern Railways as an office clerk in 1949. Looking at his prowess in music, he was requested to take up music classes. That was the time when he established himself as a teacher of classical music. He studied books, prepared and gave classes to his disciples in a systematic manner. Until then, he just practised music for self-edification. He taught music to his disciples in Kolkata while working with the railways Mridangam, initially on his own and later from till 1963. He even accompanied other musicians on Mullapudi Lakshmana Rao. He also learnt kanjira, flute mridangam and flute and established himself as a and harmonium on his own. classical music vidwan.

He continued learning and honing his Carnatic musical In 1963, under the divisional scheme, he got transferred skills at Penugollu till he the age of 10 years and then to Visakhapatnam. After moving to the Bay City, he met moved to Tuni, a nearby town for his academic Dr Ekkirala Krishnamacharya who was involved in a lot education. In 1937, he joined SRH School. He of social service activities like free Homeo treatment, completed his high school education and received free education and others. IVL was thoroughly SSLC by 1943. After his SSLC his uncle wanted him to impressed with the path that master Krishnamacharya pursue a college education but dropped the idea had taken and decided to impart Carnatic Classical because of the financial limitations. Later, for a brief Music free of cost. It led to the establishment of period, he assisted Sriramula Pantulu, a local inspector Sangeetha Janakulam in 1979, under which music of post offices. On the advice of wellwishers, his father sent him to KD Peta to train in Anti-Malarial Operations. Whenever he got an opportunity to perform music, he grabbed it with both hands and in one such instance, after listening to his mridangam, locals at KD Peta asked him to leave the training and become a mridangam artiste. Such was his skills when it came to music.

In 1944, he got a job as a malaria supervisor in Visakhapatnam and while moving he also brought his mridangam along with him. On his arrival, one of his uncles made fun of his attire carrying mridangam. IVL felt bad and sent back the mridangam but his thirst for music grew and he opted for a more portable solution and started learning flute on his own. The same year in the month of May, he got married to Seetharamanjaneyamma at Rajahmundry. She was an accomplished singer. In 1945, he moved to Gannavaram near Bezawada (Vijayawada) and worked as a malaria supervisor. It was a relief camp for the soldiers of the Second World War. In 1946, he got a job as a malaria laboratory assistant in Paderu.

P 16 | AUGUST 2017 Sastry, Carnatic music was at its lowest from 1940 to 1970 in Andhra because of the impact of films.

IVL retired as a grade 2 office superintendent from Indian Railways in 1985 and since then he has dedicated his life and energy to Sangeeta Janakulam. He has been teaching music both in the morning and evening. He never felt it as a burden or a challenge as he thoroughly enjoyed every bit of the process. "There is a sense of satisfaction and strength in service. The amount of satisfaction and peace that you receive when you teach music free of cost is a lot higher than education was given free of cost to all the aspiring the satisfaction that you receive when you take a fee," musicians. It was offered as a 'Guru Dakshina' to he explains. He, in turn, points out his exceptional health master Krishnamacharya on his birthday. to his service activities as they bring him satisfaction Sangeetha Janakulam was designed with a proper and happiness. "I am 91 years now but even today I planning and curriculum to meet the needs of different am able to teach and go wherever I want to," he says. He levels and styles of students. Even the course was believes that contentment is the secret of a healthy life. designed to bring happiness and strength to the students who take it up. In the one-year course, he taught from Sarali Swaras to Alankaras as part of the classical music and Tyagaraja's Keerthanas, Ramadas Keerthanas, Meera Bhajans, Tulasi Bhajans and others as part of the Bhakti music. Even the knowledge to identify different ragas and talas was taught and an exam was conducted towards the end. Another course was a two-year devotional music course. The course delved deep into the world of devotional music. Unlike the one-year course, which can be taken up by any aspirant, the two-year devotional course had an He shares his passion for music with his wife and entrance test called 'suswaram' to test their vocal children who are accomplished musicians and abilities. The Janakulam also has a five-year diploma vocalists. He was blessed with four daughters and one course based on the syllabus prescribed by Andhra son. All his children, Mangalampalli Annapurna, University for diploma in music/BA music wherein Lakshmi, Kali Prasad, Saraswati Vidyardhi and Sarada students were taught Thyagaraja Divyanama Subrahmanyam went on to become top graded Keerthanas, Ramadas Keerthanas and Utsava artiste. His third daughter Saraswati Vidyardhi is a Sampradaya Keerthanas. The non-profit body has till professor in the department of music and Incharge date trained more than 10,000 music enthusiasts and Head - Department of Dance at Andhra University. His aspirants. Many of them became top graded artistes only son, Kali Prasad, is a well-known flautist. He is with AIR (All India Radio) and have been imparting blessed with 6 grandchildren who are also classical music to others in various schools, colleges accomplished classical music artistes. His wife passed and universities. At present, these courses are being away in 2010. taught at various places in the city. Needless to say, IVL Sastry's Sangeeta Janakulam has brought rich He says that he did not do all the things that he did for cultural ambience to the city of Visakhapatnam and popularity or felicitations, but still, he received spread awareness about Carnatic music. According to numerous felicitations and accolades for his P 17 | AUGUST 2017 According to him, reception of classical music in Andhra Pradesh is less compared to the other states like . The creators of classical music, Vaggeyakaras, the Trinity of Carnatic music in the 17th and 18th century, Tyagaraja, Muthuswami Dikshitar and Syama Sastri brought the golden age for music. Carnatic music was at its peak. Tyagaraja and Syama Sastri hail from Telugu land and composed their works in Telugu and Dikshitar who was from Tamil composed in Sanskrit. Those days art and culture found its Padma Bhushan Awardee Dr. Mangalampalli patronage at Tanjore under the rulers of Maharashtra Balamuralikrishna receiving blessings from IVL Sastry and it led to the migration of these legends. Carnatic music flourished and they had disciples in the same unparalleled contribution to the field of classical music. region. As a result, today Tamil Nadu enjoys rich Sangeetha Vaachaspathi by Maha Saaktha Dharmika Carnatic lineage with at least one person from the Samsthan, Sangeetha Praveena by family possessing knowledge Sangeetha Kalaa Samithi, about the genre. Though the Sangeetha Kalaa Tapasvi by majority of the work was Jagdguru Sri Sankaracharya composed in Telugu, due to the Sarada Peetham and Poorna lack of proximity, Carnatic music Purusha conferred by Viswa did not spread in Andhra Pradesh Samaikya Gnana Yoga Peetham as it was expected. Only some were some of the titles that were who were keen on learning went conferred on him. Bharathi Gaana and learnt it. Thanks to people like Sabha, BHPV Sangeetha Madhuri, Sastry teaching classical music aspirants Annamacharya and Ramadasu Ravindra Kalaasamskrithi, Sanaathana Dharma devotional music was popularised. "Music tradition in Charitable Trust founded by Sadguru K Sivananda Andhra was good till 1940's and with the advent of Murthy, Rotary and Lions Club's and others, felicitated cinema, things began to change. In films, they had a Sastry. The MN award of the World Teachers' Trust, situation and a song that was related to it and it was Charla Ganapathi Sastry award by Sri Vijaya easy to understand but when it came to Carnatic Thyagaraja Sangeetha Sabha, a gold medal by music, to understand it they needed knowledge about Visakha Music Academy, outstanding service for the ragas. So more people in Telugu land got attracted music award by Sankar Foundation, Emani's award by to film music than Carnatic music. 1940 to 1960 could Kalaavani, LSRK award by Poornodaya Star Art Guild be considered as the horrible phase for classical and Life time achievement award by Natraj Music and music. To deal with this situation, I had established Dance Academy were some of the awards that he Sangeeta Janakulam to impart free Carnatic music received.

He also served and administered in various bodies like Sangeetha Kala Samithi, Sangeetha Janakulam, as a member of the experts committee, department of culture, HRD, president, Samskara Bharathi, secretary, Thyagaraja Aradhana Trust, examiner for MA in music, Telugu University, cultural adviser of all Kendriya Vidyalayas, contributing editor of the International Spiritual Magazine, Mihira and others.

P 18 | AUGUST 2017 Silver Jubilee Celebrations of Sangeeta Janakulam He says that all the classical music genres have their own individuality and Hindustani music is our closest. When you look at both of them, the fundamentals and styles of presentation are different. Classical music should never be compared to Lalita Sangeet.

He wakes up at 4:30 am and gets ready by 5 am. From 5 to 7 am he does 'Nama Japam' and sings. After his breakfast at 8 am, he reads the newspaper till 9 am. He starts teaching music from 9 am to 1 pm individually. His lunch is over before 2 pm and he then takes an afternoon nap from 2 pm to 4 pm. Again from IVL Sastry with his wife Seetharamanjaneyamma 4 pm till 9 pm he teaches music to his disciples. He completes his dinner and goes to bed by 9:30 pm. He lessons," he says. Those days, people did not have has been following the same routine all his life. enough money to pay and learn Carnatic music. Even the teacher of music hardly had any livelihood. Girls learnt Everybody has individual goals and strives hard to fulfil music only for the sake of marriage. "The present them. It is a natural emotion to provide for the family environment for learning classical music in and children - it is mandatory and a social Visakhapatnam is good," he adds. responsibility. But the question is to what extent? It has to be till we achieve minimum requirements. According In order to improve the situation, the government to him food, shelter and clothing are the minimum should provide a livelihood for the teachers of music. A requirements and once they are achieved one should music teacher must be appointed not only in colleges stop worrying and start serving the society with the but also in the primary and high schools. When it additional income. The happiness achieved through comes to schools like Kendriya Vidhyalaya they have a service is far greater than accumulating wealth. music teacher in every branch. Music should be made Acquiring and accumulating wealth would result in an honorary subject. The chief minister of Andhra psychological stress and struggle. He says that Pradesh Nara Chandrababu Naidu has expressed contentment is the secret to long and healthy life. such desire but it still needs to be implemented. "There is health in contentment," he concludes.

IVL Sastry with his family P 19 | AUGUST 2017 P 20 | AUGUST 2017 P 21 | AUGUST 2017 n his brilliant career spanning several decades, he had the Ienthusiasm of a child to learn new things. All through his life, he explored and experimented on various fronts as a dancer, musician, composer, choreographer, research scholar, writer and educator of Manipuri dance. Guru Bipin Singh was a master of Manipuri dance and his contribution in stabilising and popularising Manipuri dance in the post- independence era in India is evident. His methodological and meticulous temperament which always believed in excellence made him the most revered Guru of Manipuri Dance.

Born on August 23, 1918, Pukhrambam Bipin Singh was the son of Pukhrambam Laikhomsana Singh, a singer and traditional doctor from Singari village in Silchar. Early in his childhood, he began training, studying singing and dancing before focusing on Manipuri dance. With the support of Manipur's King, he thrived under the tutelage of Guru Amudon Sharma. His guru Amudon taught

him five Bhangi Parengs of Sri Govindaji, five Rasalilas and Punglol Jagoi of Manipuri Dance. He was considered the best amongst all his students in dance style, tala and drum playing. He had the talent to interpret any story beautifully through Manipuri dance. Because of this quality, even his Guru called him 'Guru'. Never did he lose focus on his desire to expand knowledge of the traditional dance form. He died on January 9, 2000 but he left a dancing legacy which would be revered forever.

One of the Jhaveri Sisters, Nayana in the biography of Guru Bipin Singh wrote that he is a person of integrated values. Steadfast in principles, firm in convictions, undeterred by adverse criticisms, he strives for

P 22 | AUGUST 2017 the realisation of lofty ideals. Momentary success history, sociology, religion, philosophy of Manipur does not delude him, nor does empty economium. It and its culture. Jhaveri sisters played an important is the ultimate in the beauty that he pursues, the role in recording the guru's life work by tape rhythmic beauty of the Universe. His love is Manipur recording and video filming for preservation and and the dance of Manipur. His life was simple, almost perpetuation of his Gharana of Manipuri dance. It is austere. It was his mission in life and in lives to come, now accepted and recognised in Manipur. In 1990's to learn, teach, and through teaching, learn more. with his versatile genius he composed and Dance, for the man Bipin, is a sadhana… choreographed dance creations like Kokolpriya Talaprabandha, Mandalibaddha Nartan, Kahadaman, In 1940's Guru Bipin explored and experimented with Dashavtar and many others. He studied the ancient the dramatic potentialities of Manipuri dance and Shastras, Puranas and Vaishnav texts with reference incorporated its various forms in his compositions of to Manipuri culture and dancing. He also worked hard dance dramas to suit the demand of the theatre. In in preparing voluminous data for documentation. 1950's, he exposed the inherent classical elements of Manipuri dance by scientific and systematic analysis He studied by comparing the evolved Manipuri Tala to create new dance compositions and dance system with other Tala systems of India and revealed dramas. He revealed the technicalities, complexities the subtle nuances and differences in Manipuri Tala and subtleties of Manipuri dance, all within the system. He further established a relevant relationship framework of a Manipuri tradition. In 1960's, he gave with the Tala system described in the Vaishnavite more attention to organise dance tours all over India Sangeet Shastras. and abroad with the Jhaveri sisters to present and Rabindra Bharati University appointed him as a guide exhibit Manipuri classical dance recitals, lecture-cum- for MA and PhD research scholars. His lifetime demonstrations, contributing articles to press and creative contribution to establishing the classicism of media, giving radio talks, attending dance seminars the art of Manipuri dancing deserves a rightful place in and workshops. He made it a point to visit Manipur the history of world dance. many times to do in-depth study and research by contacting and meeting many gurus, and experts in a Renowned dancer and research scholar Dr Padma particular aspect of Manipuri Dance or Music spread Subrahmanyam calls him a phenomenon in the galaxy across Manipur and its adjacent areas like Cachar, of great cultural personalities of our country. His Sylhet, Tripura etc. contribution to Manipuri dance and music is profound and he was a rare bridge between theory and His exceptional genius and his keen artistic aesthetic practice. sensibilities helped him to assimilate all the essential elements of the science and art of Manipuri dancing. Popular cultural critic and Padma Shri awardee Sunil He along with Jhaveri sisters investigated and collated Kothari recollecting the All India Dance Seminar held at the oral tradition by co-relating it with available Vaishnav Shashtras of dance and music. In 1970's, the Guru and Jhaveri sisters established Manipuri Nartanalaya in Bombay, Calcutta and to channelise their multifarious activities. A library of books, manuscripts, tape-recorded music and photographs was created and publication of books was actively undertaken. During 1980's, he concentrated on intensive research on Vaishnav Shashtras and other Indian Shastras of dance and music. He also studied secondary aspects like

P 23 | AUGUST 2017 has found Guru to be a dedicated and consummate artiste. With single-minded attention, he used to dedicate his entire time to elevate different Manipuri dance styles on a high and exemplary platform. Manipuri dance style, in brief, was Guru Bipin Singh's life and he spared no pains physically or mentally to give this dance style various highlights. Thanks to his ceaseless efforts, Manipuri dance style not only became popular all over India, across the boundaries of India in popularity and acceptance but also carved for itself a permanent exalting position in the field of different styles of classical dancing. New Delhi in 1958 wrote that the Guru had carved his Awards: own place amongst the galaxy of gurus, scholars and dancers. "The demonstration by Guru Bipin Singh and 1959 Nartanacharya by Maharajkumar of Manipur the Jhaveri Sisters revealed to many of us what a 1961 Hanjaba the highest title given by Maharaja of genius Guru Bipin Singh was. He substantiated his Manipur demonstrations with Shastric evidence, erudition, 1965 National Sangeet Natak Academy Award given scholarship and creative innovations within the by Indira Gandhi traditional format," Kothari said. His brief 1981 Award by Sreehatta Sammelan, Calcutta compositions, all based on the traditional Manipuri 1982 Award by Vishva Unnayan Samsad, Midnapur dances were chiselled like diamonds and gems. 1983 Award by Kalabharati, Calcutta Indeed he and the Jhaveri Sisters were lucky for the artistic collaboration which has enriched the Manipuri 1984 Award by Pratishruti Parishad, Calcutta heritage. From night long dance dramas, the 1984 Sarangadev Fellowship from Sur Singar uparupakas - the Rasalilas, Guru has culled the Samsad, Bombay essence of Manipur. Never deviating from the 1986 Uday Shankar Award, Calcutta tradition, the technique, the percussion and the text, 1988 Ojha-Ratna by Manipuri Sahitya Sabha, Guru created works of lasting beauty. Whether it is Karimganj, Assam Basantarasa or Holika Krida, Maharasa or Nityarasa, 1988 Sangeet Shamala Award, Calcutta he has lent a special touch to all of them. The 1989 Emeritus Fellowship from Ministry of Culture, emphasis on the classical aspect of Manipuri dancing Government of India, New Delhi has been his major contribution. He has looked at the tradition of Manipuri dancing from various angles. If 1990 Kalidas Samman, Department of Culture, Government of Madhya Pradesh there are two specific aspects of Tandava and Lasya, the vigorous and the gentle, he has composed 1991 Bhuwalka Award Saurabh, Calcutta numbers as Mridu-Uddhata Krishna Nartan or two 1992 Anamika Kala Sangam Award, Calcutta dancers performing simultaneously, one performing 1992 West Bengal State Akademi of Dance, Drama, Tandava and the other Lasya. 'There is no end to Music and Visual Arts, Rabindra Bharati University, sadhana' was his motto. Calcutta

Iconic film producer and director Dr Shataram with 1994 Honour from Roopkar Dance Academy, whom Guru Bipin was associated with in the Ranaghat, West Bengal production of the film 'Janak Jhanak Payal Baaje' and 1995 Honour from Nupur Dance Academy, Salt Lake, beyond wrote that during his association with him he Calcutta

P 24 | AUGUST 2017 Our Association with Guru Bipin Singh

Text: Padma Shri awardee Darshana Jhaveri, Manipuri Exponent Guru Bipin Singh was very closely associated with our parents NC Javeri and Vimala Javeri since 1943. Our father was very broad- Bombay, creating a library of books, music tapes, minded, farsighted, art lover and a man of high taste. keeping artistes from Manipur - dancers, drummers He gave us four sisters, Nayana, Ranjana, Suverna on a permanent basis in Bombay, supporting dance and Darshana opportunities to learn all art forms. But tours - entertaining artistes, dancers, gurus, due to Guru Bipin Singh's nature, his way of teaching, musicians, painters, literary persons in the house. his scholastic approach, creative ability and the lyrical and graceful devotional Manipuri dance style which We really feel fortunate that without the full support of suited our body, aptitude, nature, we were more our parents as well as my brother-in-law, we would not attracted towards learning Manipuri from him. He also have pursued our Manipuri dance activities for over thought that we had natural grace required for 60 years. Manipuri dance and also seeing the keen interest of They also respected and had complete faith in Guruji our parents he started coming to our house since and encouraged and supported him fully. 1945 daily to teach Nayana and Ranjana and later the two younger sisters Suverna and Darshana. It was a mutual feeling - we four sisters thought that without Guruji we would not have been able to do so We were so fortunate that we found in Guru Bipin much work to bring classical Manipuri dance on the Singh a venerable teacher to fulfil our aspirations. We world map. Guruji also used to think without the were even more fortunate, that he found in us, interest and support of the Jhaveri Sisters it would deserving disciples to do justice to the art of Manipuri have been possible for him to do this work. dancing. His sattvic obsession to establish Manipuri as a During 50's and 60's, our father supported in every classical dance style and his laudable aspiration and way our Manipuri dance activities. Several visits to efforts to get his life's work in the field of Manipuri Manipur, research and performances in Manipur and dance recognised as his own Gharana in Manipur have been a great revelation to me. As a teacher, he demanded from me hard work, discipline and continuous cultivation of artistic understanding and sensibility. Right from his childhood, his economic situation has hardly been satisfactory. He has never cared for money, but on the contrary, he would give away his money to the needy. He has an unquenching thirst for knowledge and he would spend his money in buying books on dance and music. He had a personal collection of rare and old books and manuscripts of dance and music.

P 25 | AUGUST 2017 I personally feel it was all blessings of Sri Govindajee Books Published by Manipuri that we could work in collaboration for the benefit of Nartanlaya under the guidance of Manipuri dance. Words fail me to express my Guru Bipin Singh: gratitude and veneration for Guru Bipin Singh for blossoming my artistic personality and for cultivating Š 1995 Honour from Surnandan Bharati, Calcutta an enlightened attitude and approach to my life and Š 1996 Shiromoni Puraskar from Asian Paints, Calcutta work. Š 1997 Award from Nikhil Bishnupriya Sammelan, Silchar, Assam Guru Bipin Singh: Š 1998 Honour from Angahar Dance Academy, Calcutta The Path Finder of Š Vaishnav Sangeet Shastra - Part I (Hindi) edited by Guru Bipin Singh Manipuri Š Vaishnav Sangeet Shastra - Part II (Hindi) edited by Guru Bipin Singh Text: Rajashree Oak, a Kathak Š Govindalilamritam (Manipuri) exponent, an avid researcher and Š Narada Panchamsar Sanghita and Sangeet blogger in dance, Mumbai Damodara by Damodara Sen (Hindi) edited Obstacles do not block the path, they by Guru Bipin Singh are the path - Zen proverb Š Narada Panchamsar Sanghita and Sangeet Damodara by Damodara Sen (Bengali) edited Rare people are those who by Guru Bipin Singh overcome obstacles to find the way and rarest are Š Manipuri Nartan (Bengali) by Darshana Jhaveri those who make the obstacles their path. Guru Bipin and Kalavati Devi Singh was such a pathfinder who carved the path for Š Manipuri Nartan (Hindi) by Darshana Jhaveri and Kalavati Devi the 'Manipuri' dance style and fused the ancient form to Š Biography of Guru Bipin Singh (English) by develop a new one that we see today. He is not only Nayana Jhaveri one of pioneers of Manipuri dance but also one who Š Manipuri Tal Prakash (English) by Darshana elevated the dance form to a global platform. Jhaveri and Kalavati Devi Š In Appreciation of Guru Bipin Singh (English) Elevation of Manipuri by Guru edited by Sushil Jhaveri Rabindranath: Š Guru Bipin Singh-Achievements and Acomplishment edited by Darshana Jhaveri Till the beginning of 20th century, Manipuri dance style Š Srikrishnarasa Sangeet Sangraha (Hindi) was limited to the traditional dance of Bishnupriya edited by Guru Bipin Singh Manipuri village and community. Gurudev Š Srikrishnarasa Sangeet Sangraha (Bengali) Rabindranath Tagore was impressed by the subtlety of edited by Guru Bipin Singh this dance form and introduced this style globally by Š Manipuri Nartaner Tal-O-Alankar by Guru Bipin incorporating it into his Rabindra Natya and Singh encouraging its spread through Shantiniketan and Š Shastreeya Manipuri Nartan (Hindi) edited by Dharshana Jhaveri and Kalavathi Devi thereby extending this style outside the Bishnupriya Š Shastreeya Manipuri Nartan (Bengali) edited Manipuri community. by Dharshana Jhaveri and Kalavathi Devi However, after Gurudev, Manipuri dance again began Š Manipuri Nartaner Geetmalika (Bengali) by to sink owing to the rigidity of conventionalism. At this Guru Bipin Singh juncture, it was Guru Bipin Singh who again Š Bhangi Parengs (Bengali) Guru Bipin Singh empowered this dance form and restored its structure.

P 26 | AUGUST 2017 Guru Bipin Singh: Early Life and He went back to Manipur where the then king Learning: supported his cause. Under royal orders, all the gurus of Manipur, who were initially reluctant to teach this Guru Bipin Singh was born on August 24, 1918, in a 'outsider', taught young Bipin Singh their arts. He Bishnupriya Manipuri family. He was in the family of worked day and night for years in Manipur delving musicians and poets. His grandfather Shree Tona deep into the tradition. Out of all the gurus who taught Singh was a Manipuri Maiba (priest), his father him, he was closest to the revered 'Aigya Amudon,' Laikhomsana Singh was a poet and his mother Guru Amudon Sharma. Indubala Devi was a vocalist. His maternal uncles were well-known pung players. Guru Bipin Singh studied the entire Manipuri performance tradition including dance, music, Right from his childhood Guru Bipin Singh received percussion, cymbals and Manipuri flute (toudri). This is intensive and elaborate training in the art of Manipuri the reason why he had become a legendary dancing from various experts residing in Manipur and combination of dancer, choreographer, scholar and a its surrounding districts like Cachar, Sylhet and Tripura. teacher. He was also an avid researcher of Manipuri At a very young age, he formed his own Folk Theatre and Vaishnav literature. He strived to establish a (Jatra) company and his productions won a gold correlation between Vaishnavism and other scriptures medal in Jatra competitions in Sylhet. and the oral traditions in Manipuri. He came to Calcutta in his teens and recorded several Breathing new life but retaining songs as a vocalist in various companies, as well as traditional framework: started teaching dance in Bansanti Bidya Bithi. This was the time when he was exposed to many other Guru Bipin Singh left no stone unturned to explore and dances and art forms. He even toured with Madam bring back the classical form of Manipuri and to Menaka's troupe. preserve its refined ancient form. However, at the same time, he was an ingenious choreographer and At the time of nationalist movement, when the national experimented on various dance items, wherein he leaders were encouraging people to revive ancient blended classical elements in Manipuri with style to traditions and art forms, Guru Bipin Singh realised that make it more charming and appealing for spectators. Manipuri dance received a very limited exposure till He gave a new direction to dance dramas and date and was considered as the dance style with poor choreographed them keeping within the traditional content. He was then deeply saddened by the lack of framework. In performances, his outstanding exposure of the rich tradition of Manipuri heritage to the contribution was the Tandava repertoire. He combined rest of India and hence decided to take up the mission highly athletic movements and the rich and of propagating Manipuri's true essence to the world. complicated rhythmic pieces of the Sankirtana genre (ensemble of drum dance and cymbal dances) and created a Tandava or masculine movement repertoire to choreograph dances of the male characters in dance dramas. Instituting solo performance:

He was the first Manipuri Guru to conceptualise a solo rendition for the stage that could be in line with the repertoire of Bharatnatyam or Odissi. Within the traditional dance dramas of Manipuri, he chose the

P 27 | AUGUST 2017 dance and create fundamental and universal principles and disciplines to give formal training. He founded Govindji Nartanalaya in the Palace Compound at Manipur so that women from ordinary families could also learn the palace tradition of dance that was so far restricted to the members of the royal family. He was the first teacher to introduce the practice of regular classes and examinations. The first generation of his Manipuri disciples like Kalavati Devi, Binodini Devi, Guneshwori Devi, Thambalsana Devi studied with him solo-pieces that can be isolated as an independent during this time. item and re-choreographed them for the stage. The He took the most progressive step of teaching pung age-old eight-hour long recital in the temple was not (percussion) to female students. In the 1950s at a time suitable for contemporary dance presentation. Hence when women were not allowed to touch pung while he crafted solo items preserving the purity of the menstruating Guru Bipin Singh taught his female dance form. His efforts of introducing solo students how to play the instrument. A few selected presentations in Manipuri rejuvenated the dance form students also studied pung cholom, the drum dance. from the root. In recognition of his effort, Sri Damodar The drum ensemble piece 'mridang vadan' where Singh, then the secretary of Manipur State Kala female percussionists play pung and display dance Academy initiated a solo dance festival in Imphal in the gesture has become a hallmark of the Guru Bipin 1980s. Singh's Gharana of Manipuri dance.

However, this endeavour faced criticism from the Manipuri Nartanalaya and the connoisseurs of Manipuri who considered this as a eminent role of Jhaveri Sisters: blemish to the originality of the dance form. But, Guru The Jhaveri Sisters, Nayana, Ranjana, Suvarna and Bipin Singh went to limits to clear this misconception. Darshana Jhaveri, are the well-known disciples of He along with his foremost disciples, Jhaveri sisters, Guru Bipin Singh who devoted themselves personally went to Manipur. He conducted seminars, completely for the spread of Manipuri dance. presentations and workshops for people especially the Darshana Jhaveri and her sisters, under the guidance traditional experts and explained to them that this of Guru Bipin Singh, performed dance dramas in concise presentation of dance form for the stage is Manipuri style all over the globe. The Jhaveri sisters actually for preservation and not for decay. In the were the first to break the decree of confinement of 1960s, the Jhaveri sisters under Guru Bipin Singh embarked on dance tours all over the country and the dance form to the temples and bring it on stage abroad to present and exhibit Manipuri classical dance for spectators. Also, Jhaveri sisters became the first recitals, lecture demonstrations, contributing articles to non-Manipuris to dedicate their dance at the the press media and participating in radio talks. This Govindajee Temple in Manipur. was the dawn of a new era in Manipuri dance. In 1972, Guru Bipin Singh in collaboration with Jhaveri An open-minded trainer: sisters and his wife, Kalavati Devi, founded Manipuri Nartanalaya in Bombay, Kolkata and Manipur. This Guru Bipin Singh was a well-versed scholar and his institution has till date channelized the study of scholastic abilities had enabled him to analyse, classify, Manipuri as well as encouraged the research. systematise and codify various aspects of Manipuri Manipuri Nartanalaya has a rare collection of books,

P 28 | AUGUST 2017 photographs, music tapes and manuscripts. It and guidance from Navneet lead to the creation of already has published 14 books and regularly unique compositions within the tradition. His contributes articles in newspapers and magazines. accomplishments and unparalleled contributions left a Renowned Manipuri exponent and daughter of Guru significant mark on the field and he is fondly Bipin Singh, Bimbavati Devi is the current artistic remembered as an artist, a teacher and a scholar. director of the institute. Guru Bipin Singh has had a significant influence on my Recognitions: life and career as a dancer. I have been fortunate to learn and interact with several teachers and artists in The state of Manipur recognised the efforts of Guru my life as a performer, but I have yet to find anyone Bipin Singh and accredited his 'school' of dancing as who can match his honesty and generosity. He a significant 'gharana' of Manipuri dance. For his maintained a remarkable relationship with his students significant contribution to the field of dance, Guru with the sole aim to motivate them and guide them to Bipin Singh was awarded the title of 'Hanjaba' or the path of prosperity. I consider it to be my privilege Nrityacharya by Maharaja of Manipur. He was also and honour to have learnt from him and fortunate that conferred with Sangeet Natak Academy award, Uday I had a close interaction with him. With great humility, I Shankar Fellowship, Kolkata, Kalidas Samman, accepted the ritual of Guru Deeksha, thereby, Madhya Pradesh, Anamika Kala Sangam Awards, accepting the responsibility to carry forward the Kolkata and many more. Gharana of Guru Bipin Singh. I remain indebted to his However, the most pertinent reward for him was the teachings and hope to continue his legacy to the best title conferred by his Rasika's on him: "The Father of of my abilities. My modest achievements by way of Manipuri Dance". recognition from the Government of India,

This legendary father-figure of Manipuri left for scholarships, fellowships, and Singermoni award heavenly abode on January 9, 2000. were in a way because of the foundation laid by the Guru. I will not hesitate to say that he kept himself My Guru - away from the politico-socio movements and focused purely on his art with complete dedication. It My Father Figure is rare to find such commitment.

Text: Sanjib Bhattacharya, Guru Bipin Singh was a father figure to me. Besides Manipuri Artiste, New Delhi being a guru, the affection and unconditional love that he showered on me have been invaluable. My father With the vision and foresight of would meet him as a friend to get an update on my Navneet Lal Jhaveri, Guru Bipin Singh along with Jhaveri sisters (daughters of Navneet Lal) and Kalavati Devi contributed immensely to the field of Manipuri Dance, not only in the country but also internationally. Without the undying support from everyone, Guruji would not have reached new heights to propagate the art of Manipuri Dance, taking it from temples to the theatre as a form of art. The team of Jhaveri sisters and Kalavati Devi with strong support

P 29 | AUGUST 2017 education. They were best of friends. Guru sometimes shared his sorrow of no one from the immediate family to follow his footsteps, but at the same time he would share his gratitude for Jhaveri sisters and Navneet, and that his establishment was dedicated to preserving this dance form.

I pray that God almighty gives me the strength to carry this legacy forward, and I am born again in next life to be his favourite disciple. dance, music, sports and other activities. Performed in Transcending Temple the open arena, the directors of the festival the Principles, facing the priestesses locally called the maibis are proficient in worship through movements. This tradition is reflected proscenium: in the worship of deities in the mid- seventeenth century when the Meitei society went An investigation into through the process of Hinduisation. Hinduised culture being embedded in the day-to-day life of the people Guru Bipin Singh's the Samkirtana or the devotional chorus songs gained approach to Manipuri prominence at every social function of the public. Alongside the Rasalila or the love-sport stories of the Dance deity, Krishna, were presented in the form of dance- dramas in the temple premises. All these being rooted Text: Sruti Bandopadhay, very strongly in the past the Meitei culture evolved a professor in Manipuri Dance, unique aura that became one of its kind. Sangit Bhavan, Visva Bharati, Santiniketan In the beginning of the 20th century, few masters started working outside Manipur when the presentation Dancing in the temples as a part of of the form gained prominence. Udayshankar invited rituals still exists in Manipur. The Ojha Amubi Singh to compose stage-items on significance of the kinetics in the Manipuri dances. Ojha Amubi's composition dance embodies mostly the Nilakamaladalashyama came out to be a complete devotional aspect in the shrine. The dancers consider presentation of Manipuri dance incorporating the themselves as devotees of Lord Krishna and his techniques, songs and rhythm for the stage. This consort Radha, the icons of the religion Chaitanite should be treated as a 'milestone' in the stage Vaishnavism, which the Meiteis follow. They dance to repertoire of Manipuri Dance. It was performed by Smt worship them. They dance to please them. They dance Amalashankar. Ojha Amubi Singh, Ojha Atomba Singh to experience the bliss of spiritual ecstasy. A careful and Ojha Amudon Sharma were the three pillars of investigation into the presentation reveals the Manipuri dance compositions. Mention should be movements in the dance bear extensive ritualistic made of Ojha Thiyam Tarunkumar whose creative connotation rather than simply aesthetic nuances. attitude gave special finesse to Manipuri Dance The age-old festival of Manipur, the Laiharaoba evolution. Many famous masters under the Jawaharlal embodies the different facets of Manipuri life. Lai Nehru Manipur Dance Academy in Manipur took a means God and haraoba is merriment. The festival definite role to promote Manipuri dance on stage. intends to adore the primitive forest deities through P 30 | AUGUST 2017 Outside Manipur, a firm move to make an attractive repertoire for the stage was taken by Guru Bipin Singh under Manipuri Nartanalaya in Mumbai and Kolkata. This institute had a branch in Imphal as well. The Jhaveri Sisters especially Darshana Jhaveri, and Bipin Singh's wife Kalavati Devi assisted him in his task.

Bipin Singh fled from his house in Cachar at a very early age when he was punished for a bad result in school. He came to Calcutta and later moved with Madam Menoka to her institute. I have always heard Guruji talking of Madam Menoka with high reverence. It was in her troupe that he got the exposure to the and aesthetically appealing for a general audience. He richness of other classical dances. Menoka was herself devised a repertoire based on the concepts of nritt, a Kathak dance exponent. The experiments that she nritya and Natya of the Indian dramaturgy tradition. did in her dance ballets inspired Guruji very much and I suppose it was here that his urges for promoting He studied a series of texts of the Vaishnava tradition Manipuri Dance seeded. He visited Manipur, took like the Bhaktiratnakara, the Geetachandrodaya, the intensive training under Guru Amudon Sharma and Ujjwalanilamani, the Govindaleelamritam and many served the Govindaji Nartanalaya in Manipur. His aim more. He explored the texts on rhythm or the tala became to restructure Manipuri for public Shastras and composed items like the various presentations. prabandha nartana-s. Here his primary disciples the Jhaveri Sisters were his tools of the experiment. The Guruji exploited the tándava and the lásya aspect of proscenium presentation naturally gained importance this dance and combined them to give a along with the compositions. comprehensive different dimension to stage productions. The Rasalila dance technique is adapted  The primary requirement of the mandala or the for the stage, but the selection of the piece is done circular presentation in the temples was set aside keeping in mind the exhibition of intricate gestures, the and positioning of the danseuse according to rhythmic features, the tempo and the duration. The demands of choreography surfaced. Stage space Krishna Nartan (dance) and the Krishna Abhisara (love was explored for all positions and lines like tryst) are the most popular Krishna-tandava items for squares, triangles, diagonals and circles. the stage. Similarly, Radha Abhisara and Radha Nartan  The story line evolved around Krishna themes but are far and wide well-liked lasya items. They fall under they were not bound by rituals - a vital deviation the nritt or the pure dance category. These from tradition. While composing for abhinaya items characteristic tandava and lasya features of Manipuri the nayika bheda-s or the states of heroines dance are the identity of the form and are thoroughly highlighted in the Vaishnava texts were his priorities- developed while composing for the stage. His first thus we come across his beautiful compositions efforts were concentrated to group compositions. like abhisarika, khandita, anagakshepa, sakshat Guruji re-composed the traditional Maharasa and darshan. At times he wrote verses himself, Vasantarasa for stage giving importance to the story composed variations of rhythms and music. line and taking advantage of the dramatic elements and selecting portions from the traditional presentations but  He surveyed the all-male form Samkirtana, which making them brief, crisp, rhythmic, devoid of rituals developed with rich tala techniques and singing abilities. He often spoke of the basaka which he felt P 31 | AUGUST 2017 was the core of Manipuri abhinaya, which embodies hardly seen on stage as a separate identity. Guru Bipin almost all the sixty-four emotive sentiments (rasa) as Singh trained his women students in the kartala cholom described in the Vaishnava texts. He intended to style and integrated this in the compositions. Mostly capture the minds of one and all who were not merely men perform Pung Cholom on stage but there are the devotees of Krishna like in Manipur but sahridaya occasions when even women tried out this darshaka or appreciative audience. presentation. Under the guidance of Guru Bipin Singh, his women disciples made an effort to master this One can observe the classical elements of Manipuri appearance. But this did not turn out to be very fruitful dance gaining importance in his compositions. He as they could never match the vigour and valour of experimented with time beats (tala) and rhythms men. The experiments brought about a distinctive style (chhanda) extensively and his compositions on 11 beat which had stamps of the concept of Guru Bipin Singh. tala (kankana) or 28 beat tala (brahmatala) convey a If we 'post-mortem' his items, not only do we come high degree of classicalism. He was himself a proficient across the intelligent blending in technique, but also a padavali poet. His book Manipuri Nartaner scientific approach to the composition of the rhythmic Geetamalika gives us a glimpse of his poems that syllables are perceived. Manipuri being primarily a accompany his dance compositions. He felt the need group dance form, Guru Bipin Singh was the first to uphold certain Vaishnava texts like Narada person to conceptualise a solo-repertoire for the stage Panchamsarasamhita, Sangeet Damodara, that could be in line with a repertoire of Bharatanátyam Srikrishnarasasangeetsangraha for a better or Odissi. Priti Patel and I were specially trained under understanding of Manipuri Dance and hence he edited him to perform a repertoire of solo Manipuri classical them for the future performers and scholars. dance. This repertoire was a combination of nritt and In his later years especially in Calcutta, Guruji was nritya items. It started with the invocatory piece trying to give another turn to Manipuri Dance. He Mangalacharan, moved on to a pure lasya dance item started working on a solo repertoire of Manipuri like a Prabandha Nritya, then a tandava nritt or a nritya Dance. It was here that Priti Patel and I were trained. item moving on to a lasya Abhinaya item like Khandita Guru Bipin Singh tried to combine the Cholom tandava or Anagakshep. Next would come to the pure dance and the Rasalila tandava simultaneously in his piece Tanum that can be compared to a Tillana of compositions like Tanum and Krishna Nartan South India and a Tarana of North India. We used to (Jhanjhan). This made the artists work extremely hard perform one of his very popular compositions as the to bring a synthesis of the two forms. These finale- the Kandukkhel- playing with a ball by Krishna compositions brought out intricate structures and Balarama, wherein difficult acrobatic movements harmonically. Only the attractive acrobatic techniques inspired from Pung Cholom were blended. No doubt of the Samkirtana like the Pung Cholom is generally clipped off as the actual temple presentation and ornamented for the stage. Here the acrobatic feats often win over the heart of the audience while the dignified, meaningful gestures are overlooked. The Pung Cholom movements have become so attractive that it was included in films such as Kalpana by Udayshankar and recently in a gorgeous manner in 's Asoka. However, the Kartala Cholom, which demonstrates a high understanding of rhythm with grand, stately decorous movement is

P 32 | AUGUST 2017 The Legend as I saw Him

Text: Brohmomoy Basu, Research Fellow, Institute of Microbial Technology, Council of Scientific and Industrial Research India.

It was raining outside; a 4-year-old kid came in for his 'Deeksha' (Ordination) to a legend unknown about the this repertoire bore many similarities with the other fact that the day would write his life thesis. Guruji, as we classical repertoire, but through this, he tried to put know, was prepared more than anyone else to ordain Manipuri solo repertoire for the stage at par with other him in a new path of life; he had already prepared the classical dances of India. In recognition of his effort the full programme of the event and was ready to guide a then secretary of Manipur State Kala Academy, Sri child to his future. The child was amazed to see such Damodar Singh initiated a solo dance festival in Imphal preparations and readily went into a trance which in the 1980s, which is still being continued. changed his life forever.

But with all these praiseworthy words for the master, Fine arts was imbibed into me by Guruji at the tender how can I not mention the tremendous struggle he had age of 3 years when he kindly accepted me as his put in to establish his concept of staging Manipuri disciple. That day onwards I did not need any spiritual Dance? The people of Manipur were hesitant to accept Guru to guide me in life as he was a complete guru in his works for many reasons. The assimilation of the all aspects of life. A humble man living a simple life, rich tandava and lasya techniques simultaneously and in knowledge was the signature style of Guru Bipin integrating the cholom style in different compositions Singh. hampered the look of the temple dance presentation. Guruji was one of my dearest friends in my childhood; They judged the product as more commercial than I could share everything with him starting from school traditional. At points, the roots felt uprooted. This lessons to Discovery Channel shows. Here, I must problem surfaced further as the temple tradition mention about a common interest, Discovery channel. survived side-by-side and resisted changes naturally After my Pung classes, I used to watch Discovery and logically. Channel with Guruji and he was the most patient In spite of all this, we were able to make an impact with listener of my blabber during the show. Guruji had a lot his compositions in the different dance festivals of India of love and respect for science and technology. and Manipur as well. So much of experiments on solo Manipuri dance went on henceforth. Today many of the Manipuri dance artists groom themselves to become solo dancers. Festivals all over India are keeping solo Manipuri dance alongside other solo classical dances.

Today as we celebrate the centenary birthday of Guru Bipin Singh, it is extremely necessary for us to look back to his compositions and his scholastic works and assess his contribution afresh.

P 33 | AUGUST 2017 "Everything in this world is tough, but the experts make I am very fortunate to have been with him when he was them look easy," he said. Here I may add the legends choreographing dances and to have seen them from make them easy for others to follow their path. In the conception to the finished product. Indeed very year 2003, I was awarded Junior Scholarship from interesting. Before composing the choreography of CCRT, Govt. of India for Pung (instrument) but the pain the dance, Guru Bipin Singh would compose the bols that keeps inflicting me is that my friend, Guruji could and songs. Guruji was an avid reader and did not see me being awarded the scholarship. tremendous research prior to the composition of I consider myself lucky enough to have had Guruji by songs meant specifically for the Manipuri style of my side. In the event of his centenary birth anniversary, dancing. The world of Manipuri dance has lost a great I can say that his teachings will remain for centuries and Guru, but his legacy will live on through his disciples. inspire people to take up arts in a scientific way. Guruji is someone whose soul can leave his body but not Manipuri dance and music. A Living Legend, I Called Him A Living Legacy Ojha Text: Soma Roy In 1982, under the tutelage of Guru Text: Latasana Devi, Mumbai Kalavati Devi, I was introduced to I met Ojha Bipin Singh in Imphal at the exuberant culture and world of Manipuri Nartanalaya (Sougaijam Manipuri dance by entering Leirak). It was my first dance lesson. When I walked he Manipuri Nartanalaya. Manipuri was sitting with some well-known Gurus from Manipur. Nartanalaya was then a priceless galaxy of stars with I was just eight years old then. the presence and participation of Guru Bipin Singh, Kalavati Devi, Darshana Jhaveri, Shantibala Devi and He asked me my name and address location and that's when I started my journey in Manipuri dance. many more stalwarts. I consider myself supremely privileged to have the opportunity to train under these Every year Guru Bipin Singh, his wife Kalavati Devi, veterans. (whom we call iche kala) and Darshanaben Jhaveri would visit Manipur for the annual program at Gandhi Today as I recollect thoughts of my Guru, a sea of Memorial Hall. Guru Bipin Singh would teach us how to memories floods me. Formerly, we had classes on sing his compositions and other classical songs of Saturday and Sunday. Guruji would first teach the Manipuri, Bengali and Sanskrit origin. This would be with Tal (beats), and Bols. At times, he would imitate our dance moves and smile, as our movements were awkward as beginners. On the other hand, he was very strict and particular with us about our dance movements and composure. We were compelled to do a lot of physical drills and exercises until we were completely exhausted before being allowed to rest.

I came to Kolkata in 1984 to the Manipuri Nartanalaya to further my training in the Gurukul system for four years. This four-year period was totally life changing for me. A living legend by Soma Roy P 34 | AUGUST 2017 seniors followed by us. I would often wonder when I would learn and master all the various dance items that Guruji taught. Soon I started to visit Guruji's house in Bipin Pal Road. Guruji would sit on one chair, clad in the traditional Bengali attire of a dhoti and Panjabi while training us impeccably on the various 'taals' of Manipuri dance. He would also tell us about the different people and the diverse ways in which he had obtained the knowledge and received training all these years.

Many of his pupils have received training living in his house. On the occasion of his centenary birth Laily Basu (my mother) wanted me to learn Manipuri anniversary, I realise how he continues to live with us dance, as according to her, this form of classical through his creations. I have blindly followed the path dance ran in my genes. My mother's aunt was a shown by him and have succeeded in giving birth to Manipuri classical dancer, my mom continued and next my institution, Salt Lake Nartanalay. My aim in life is to it was my turn; the 3rd generation dancer! On Guru wholeheartedly engage in administering and Purnima, July 29, 1988; my parents took me through appropriating Manipuri dance form to ensure Guruji's the customary 'Guru Boron' and enrolled me to learn boundless efforts do not go in vain. We will continue to dancing from the maestros, Guru Bipin Singh and strive and keep alive all his infinite and immortal Kalavati Devi (Kalavati Mashi as I call her). creations. Today, I owe my dancing career to Guruji and Kalavati Mashi. Guruji was elated to know that I was awarded Guru Bipin Singh: Junior scholarship from CCRT, Government of India, but when I received the Senior Scholarship from the The North Star in the ministry of culture, Government of India, he was in my Constellation of spirits. I just came back from Taiwan after propagating Manipuri classical dance throughout the country. All the Manipuri Dance performances, lectures, seminars were dedicated to Guruji. Text: Ranjini Basu

Holding my mom's hand at the age of 2 years, I used to visit Our Guru As I Saw Him someone every week near Text: Jhinuk Roy Chakraborty Deshapriya Park, Kolkata. Though I was not aware of his activities It was August 1, 1992; I reached then, I enjoyed the movements 15 Bipin Paul Road, Kolkata, after and music. My mother used to practice dance under travelling nearly 650 km by train his tutelage and I ended up sleeping beside the legend, from Jalpaiguri. At 8 am I entered Guru Bipin Singh. Much later, I realised that I was a Guruji's residence and had been fortunate soul to be able to share a homely bond with shocked by a great flash of heavenly light which such an illustrious individual. That was how I got hypnotised me at the first sight. Guruji accepted me introduced to the north star of Manipuri dance (that is immediately with no official formalities. how I like to call Him).

P 35 | AUGUST 2017 He prepared me not only to be a good performer but Manipuri dance from Rabindra Bharti University. Guruji an ideal teacher also. and Kalavati Di accepted me as their disciple.

To establish his artistic aesthetic value and to bring Guruji would always render us a holistic view. The art of about a reformation, Guru Bipin Singh had to face teaching was unique; strict yet friendly, scientific yet many debates, social obstructions egos and simplified. I learnt Bhangi (the most traditional item of superstitions. He had to prove his logic before judges Manipuri dance) from Guruji and he unfailingly told us and needed it to be approved by the several Manipuri about the different postures and their usage in Gurujis' of that time. mainstream Manipuri dance items.

Yet such a great master is poorly recognized in our Guruji's last words to me are unforgettable. He asked country. me not to leave his much-enamored institution, Manipuri Nartanalaya, and here is where I am till date! Looking Back: Guruji's birth centenary celebration reminds me of all the small happenings until January 9, 2000 (the black Guru Bipin Singh- An day). Long live Manipuri dance and long live Guruji. Enterprising Personality Guru Bipin Singh - Text: Laily Basu, Former State Training Commissioner (Guide), A Life Dedicated to Bharat Scouts & Guides, West Bengal Manipuri Dance Text: Poushali Chatterjee Manipuri dance has been my point of interest ever since I was a kid and According to famous Wharton like every parent, my mom took me to a dancing professor, author and thought school where I was taught Kathak, Bharatanatyam and leader Adam Grant, there are three Manipuri. I had the opportunity to be trained under kinds of people in this world - various renowned Gurus but it was Guru Debi Prosad Givers, Takers and Matchers. Mitra who had once repented of his decision to teach Givers give unconditionally, never expecting anything in me Kathak and Bharatnatyam. He realised that return. They do it because they want to change the Manipuri dance is what suits me best. Since then I have world for the better and personal gain doesn't hold been urging to learn Manipuri under Guru Bipin Singh importance for them. and Kalavati Devi. Finally, in the year 1978, I reached In the 21 years I have spent learning from Guru Bipin my dream destination after completing my masters in Singh, I found him to be the ultimate giver. He offered to teach me dance without any fees simply because he saw my intense interest in the dance form. And since that first day when I did a Guru Vandana and he taught me the first syllables on the Pung back in 1979, I've seen this giving side of him again and again.

I came into contact with Guruji and his genius through my mother Atashi Chatterjee. When Guruji shifted base from Bombay to Calcutta in the early 70s, he was looking for a vocalist who would accompany his

P 36 | AUGUST 2017 troupe - Manipuri Nartanalaya and the Jhaveri Sisters. Dance always stayed at the vertex, in the list of my He tested two vocalists for two dance dramas his priorities. When I entered into the field of dance, group presented and selected my mother. Thus especially in Manipuri dance, I found out a body of started a long association that impacted the enlightenment, which later turned out to be the patriarch compositions he created, the performances we gave of my artistic spirituality. As a guardian angel, Guruji and of course, personally a big impact on my life. taught us the essentiality of discipline and punctuality, which are the two pillars of achieving perfection. A He wanted to give us all his knowledge; he never kept selfless life and an all-around devotion towards your anything a secret - even people from other dance art were the essential part of his preaching. I consider styles would come to him with questions and he would Guruji as another version of my soul, the version which share openly. He was a true 'Giver' and what he has is evergreen and which is immortal. given to Manipuri dance and to all of us who have been privileged to learn from him cannot be described in It was God's conspiracy that I met Guruji and I hope words. I would like to offer my humble thanks and that I will succeed in spreading his preaching pranam for the privilege of being his disciple. throughout the entire globe as I have done in the past. Thank you Guruji and thank you Guru Kalavati Devi for "Guru Brahma Gurur being there with me. My Pranam. Vishnu Guru Devo Maheshwaraha Pride of Northeast Guru Saakshat Para Text: Sunil K Sinha The northeastern region of India is Brahma Tasmai Sree full of personalities to be proud of Gurave Namaha" and one such great personality was Guru Bipin Singh, who was Text: Sukalyan BhattacharyaBhattacharya, recognised by the leading Artistic Director/Choreographer/ newspaper of the region 'The Assam Tribune' in 2010 Scholar Sukalyann D Entourage, as the Pride of Northeast. Canada/USA/India My personal association with Guru Bipin Singh is about "Guru is the representative of 35 to 40 years. Though I was very much interested in Brahma, Vishnu and Shiva. He dance literature and culture, I had no knowledge about generates, sustains knowledge and demolishes the dance and taal and it was Guru Bipin Singh who weeds of ignorance. We can only feel the essence of inspired me in this field by a discussion on the subject his boons which are poured in us." on many occasions. An apologetic verse… Apologetic because no one in Another memorable experience of my life with Guru this world is capable of expressing Guru Bipin Singh Bipin Singh was that in one performance of Guru Bipin Ji's contribution to Manipuri dance. Guruji is Singh and his troupe in Dispur Rongali Bihu tali, all of unexplainable, he was the pioneer of guidance, he was us had to take shelter under the stage to escape from a virtuoso. But still, I am showing my courage to write the heavy storm. about the man whom I worship and follow, who was a galaxy of creations, who was a pillar of artefacts. From my personal experience, I could say that Guru Guruji's fabrications were eccentric and unparallel at Bipin Singh was a very ambitious, amiable, diligent and the same time they were unmatchable. persistent person.

P 37 | AUGUST 2017 Guruji and joked with us, laughed heartily, made us laugh every day. He was someone innately funny and entertaining. Cherished Years His astrology sessions when he gave all kinds of strange and funny predictions to the children are Text: Dr Sohini Ray, founder/ unforgettable. But his sense of perfection was always artistic director of Manipuri dance uncompromised even with the smallest children. Even Visions based in Los Angeles, USA a four-year-old performing for a few minutes had to be I met Guruji in June 1974 at age perfect is what she was doing. During rehearsal, he seven. Mid-seventies Kolkata was treated us like adults. In November 1998 I was on the one hand in the post-Naxalite rehearsing for my solo show in Imphal living in his recovery period and on the other home, a place that has been my home since 1988. My hand facing the aftermath of Bangladesh war. Frequent years of stay in Manipur doing research and learning power cuts, constructions for metro rail and cordoning were all based in his home. Guruji wanted to go to visit off Kolkata’s main nerve centres are highlighted Khagempak where there is a temple of Banshibadan, memories from those days. In such a social and political one of the eight replicas of the royal image of Shri backdrop Guruji, his newly wedded wife Kalavati Devi Govindji, a place he had never been before. I and long time collaborator Darshana Jhaveri started immediately organized the trip with a help of some Manipuri Nartanalaya in 1972. Kalavatidi (Kalavati Devi) local people. I was fortunate that I could accompany was pregnant with Bimba (now famed dancer Bimbavati him to his last research trip. Even at his age, he spoke Devi) when I started in 1974; Bimba was born six months to everyone he met in the temple, asked questions and after I joined. Our classes were held on the fourth floor of discussed the temple and surroundings with me. I lived in Lake Girls School near Vivekananda Park in South his house and travelled sometimes times staying in Kolkata. Even today the grey four-storied building are laid distant villages for months. There are days we argued memories of many cherished years. and disagreed but he would always support my work. In fact, one of his last words to me was, “you do not have to My first impression of Guruji as a child was an older agree with me, you should do what you think is right…” man person who was very fond of children. Guruji

P 38 | AUGUST 2017 P 39 | AUGUST 2017 P 40 | AUGUST 2017 rt has no barriers, nor is it confined to any was proved incorrect in the case of Ramadevi. After a particular language. Anybody and everybody break of six years, she joined Music and Dance A can get fascinated and attracted to art and can College in West Maredapally, and fall in love with it, claims Dr P Rama Devi who is the completed diploma and certificate course in Kuchipudi. living example. She is the only performer of a full-length Taking it further, she completed her Master's degree in Golla Kalapam dance with dialogues in Kuchipudi art Kuchipudi from Potti Sriramulu Telugu University with form. distinction and gold medal and later, an M.Phil. and Ph.D. in Kuchipudi from Madurai Kamaraj University. Kuchipudi dance exponent, an icon, teacher, scholar, These achievements show her burning desire towards choreographer, author, organiser and above all an learning. artist whose priority has always been proper documentation of the art form, Dr P Rama Devi, She has authored six books viz. 'Kuchipudi Dance in originally a Keralite, was born in 1960 at Bapatla in Textual Form' (English), 'Kuchipudi Kalapas an Guntur district Odyssey Re- of Andhra discovered', Pradesh. Right 'Historian from kinder Expressions in garten to Kuchipudi graduation her Dance' medium of (English), education was 'Kuchipudi Telugu. Initially, Natyam - baby Certificate Ramadevi Course', learnt 'Kuchipudi - Bharatanatyam Diploma from Padma Course' (with more than Shri awardee Chemanjeri Kunji Raman Nair for one and sixty definitions) in Telugu, Histrionic Expressions in half years in Kerala. Later, an unknown emotion got her Kuchipudi Dance (Certificate and Diploma course attracted to Kuchipudi and she started learning it at the Syllabus in English with both Theory and Practical) and age of five from guru Mahankali Sriman Narayana. She Comparative study of Chathurvidhabhinayas between completed her graduation and stepped into married life Kathakali and Kuchipudi Yakshagana (Ph.D. thesis). in 1980 with Prasanna Kumar. Thanks to her passion She also conceived a CD on Natyashastra in an e- towards learning Ramadevi graduated in science with book form titled 'Natya Shastra in a Nut Shell'. zoology as the main subject. She has also done B.Ed., Diploma in Home Sciences, Higher Diploma in Apart from this, she has also written 7 dance ballet Software Engineering and Praveena in Hindi as her scripts and more than 5 songs in a pattern of academic qualification and shifted to Hyderabad, the Keerthanas. She has contributed a number of articles in then state capital of Andhra Pradesh. dailies and periodicals. She has participated in many national and international seminars and presented It is commonly perceived and once somebody enters papers on Abhinaya and other dance related subjects. nuptial life, everything goes for a toss, but the same

P 41 | AUGUST 2017 She has choreographed 27 ballets that won great applause from audience and critics too. She conducted workshops and lecture demonstrations at various private organisations at different levels in India and abroad.

Her outstanding qualification paved her way to CCRT Scholarship judge panel, in the panel of judges for the scholarships awarded to the young artists in the field of Kuchipudi dance, by the Government of India. She was also a member of Andhra Pradesh state Nandi TV Films Jury.

Speaking exclusively to The Dance India, Dr Rama Devi opined that these things happen due to lack of appropriate individuals with thorough knowledge in responsible posts. She also accepted that it is often reportedly seen in universities at a Ph.D. level that according to the comfort zones of the guides when it scholars are harassed and exploited by the guides and has to be the student's choice. forced to either choose the topic or change the topics Regarding, the existing practice by many people in pre-fixing and suffixing their own tag lines to their choreographies in addition to the credits, Dr Ramadevi said the practice is incorrect because nothing is being invented except that of re-writing the notes with minor changes following the original guidelines, for which credits are enough. She further said that the particular dance form should identify individuals but trials should not be made to replace the original one. Rather, trends have been already set by the trendsetters centuries ago.

Talking about the different opinions aired by various people on documentation of the Kuchipudi dance as one of the art forms, Dr Ramadevi accepted that documentation for the future generations is a must and theoretical application of the same is mandatory for passing on the baton to the next generation - especially in Kuchipudi. Most of the Kuchipudi gurus (Bhagawatulas) including, the reported founder of Kuchipudi art form Siddhendra Yogi, because of two reasons, one is the lack of educational background (which is essential for documentation) and another might be the feeling of insecurity, never tried P 42 | AUGUST 2017 documenting the art form, Dr Ramadevi opined. She established an institution 'Sri Sai Nataraja Academy and accolades like 'Navarasa Natya Prapurna' and of Kuchipudi Dance' at Secunderabad in 1989 and it 'Naatya Shree'. However, despite all this, Dr Rama Devi has been running successfully for the past 27 years. has not received any recognition from Andhra Pradesh which she feels is her 'Janma Bhoomi and Karma Recognising Dr Ramadevi's contribution to the field of Bhoomi'. When the officials were contacted, no reason arts (Kuchipudi Dance), Kerala State Sangeet Natak was stated for the same but it is learnt that the only Academy awarded her with 'Kalaasri' award and the untold and unspoken excuse was that hereditarily she central government awarded her the 'Senior is a Keralite, despite her command over the language Fellowship'. She has been honoured with many awards and all eligibilities on merit.

P 43 | AUGUST 2017 P 44 | AUGUST 2017 hen you get into a tight place and magazines, she knew that he was at Thanjavur after everything goes against you, till it seems as returning from his travels abroad. So, they rushed to W though you could not hang on a minute Thanjavur to become his students, which was easier longer, never give up then, for that is just the place and said than done. To become his student was nothing time that the tide will turn - Harriet Beecher Stowe short of a miracle. Once she became his disciple, she She was a disciple of Tanjore KP Kittappa Pillai, a direct was always treated as a member of his family. He was descendant of the Tanjore Quartet brothers who were very understanding and approachable, that one could considered as the fathers of Bharatanatyam. Her go to him for advice on anything from dance to brilliant work in the Tanjore style Nayaki Bhava tradition personal problems. After class, he would lay down his was highly appreciated. Her grit and determination to big bulk on the bench. She would sit beside him and go against the tide and battle all the odds in the face of ask his advice on dance, her fears, talk about her societal hurdles and challenges as a member of the gender problems and if she should continue the third gender was truly inspirational - a triumph saga. Dr dance. He always gave her affection and Narthaki Nataraj with her undulating courage is a 'Stoic encouragement to pursue her goals. He had in Pursuit of Paramatma (God)'. She believes in confidence in her that she would shine one day. "My maintaining and propagating the pristine purity of the guru was very interested in my welfare," she proclaims. Nayaki Bhava tradition. Her performances moved the He knew his end was nearing and gave her a audience to tears and some even reported divine testimonial in 1995 to help in her career and that was experiences during her programmes. her most prized possession. He was very appreciative of the nayaki roles she did and advised her to write a Narthaki Nataraj was born on July 6, 1964 at Madurai in research paper on 'Nayaki Bhavam'. She learnt and Tamil Nadu and had an education till class 12 in a higher practised under him in the gurukul for 14 years and secondary school. Her foray into the world of dance specialised in the Tanjore style Nayaki Bhava tradition. happened during her teens when she started to She also trained under him on rare compositions as experience hormonal changes and was unable to was practised in ancient Tamil temples. expose it. In times like those, dance came to her as a medium to express her feminism and she also says There was no one in her family who was into dance but that dance used her femininity to expose itself. she comes from a background where there was thirst and knowledge for tamizh (Tamil) language and the Her friend and soulmate Thirunangai Shakthi Bhaskar teaching profession. Her target is to take forward the played a vital role in shaping Narthaki's life. "I wouldn't art form to the youngsters. "The next generation should have been what I am today if not for her sacrifices," she not lose the tradition and age old practice in the name says. They started learning together but due to lack of of innovation," she emphasises. She teaches her money (she had none and her friend had some), students without disturbing the originality of the dance Shakthi let her reap the benefits. Shakthi became form and has been preserving it for the future as she Kittappa Pillai's student much later, but guru passed received it. away before she could finish learning a Margam. Now, Narthaki has been teaching her all that she learnt. She strongly believes that Indian art forms are the "Whenever we perform together, she's Kannan to my roots which still withhold the culture and traditions of Radha, Shiva to my Shakti, nayaka to my nayaki," she our country. "It is significant to show and propagate the adds. life and values of our ancestors, the meaningful and purposeful life they led even after facing a lot of Being a fan of , Narthaki wanted to learn challenges. Even our scriptures like the Ramayana and under her Guru Kittappa Pillai. By then he had just the Mahabharata are all about them," she says. received the Isai Perarignar Award and from

P 45 | AUGUST 2017 Her inspiration came from old jathis and songs are her music to movies and songs that she had relax. Some days her students watched. It was the time when come for classes early in the classical music and dance were morning and some days in the part of Indian cinema. She started evening. By mid-day she finishes dancing following the steps and all her official works like paper movements of Padmini, submissions, interviews and dine Vaijayanthimala Bali, Kumari a typical south Indian lunch in Kamala and others. Soon she native Madurai style. In the became an admirer of afternoons, irrespective of Vaijayanthimala. upcoming programmes she likes to practice and concentrate on She loves her language, the basics and adavus. beautiful Tamizh soaked in art and culture. She likes to read and know She feels that she has come half about historical monuments, way along the journey. "I am temple history, tamizh poems and looking for someone who would literature and their significance in dance like me one day with the propagating our culture and same Nayaki Bhavam. Even after traditions. She even loves to explore dance through 200 years, I must live on in the history as an literature. Anything that is antique attracts her attention. outstanding dancer," she asserts.

Shakthi and she have made a systematic life for Challenges dotted her life. "There were people who themselves - a time to eat, to sleep, to rehearse, to were wasting time pelting stones at me but I choose perform and so on. Their day starts at 4 am. They go not to waste mine on them," she says. Instead, she for a walk on the beach and her gurus teaching, the turned them into stepping stones of success. During her initial days, the disregards, reproach and restrictions that she faced from the society as a member of the third gender was most challenging. "Dance had become a costly art even by then and I did not have any financial support," she recollects.

The most unforgettable moment in her life was when she started her 'adavu' classes under Guru Kittappa Pillai in the fabulous hall of the Ponniah Natya School. The more she danced, the more she felt that she was nearing the treasure at a rainbow's end. In a year, she learnt a full Margam.

Experiments are welcome to an extent as long as they do not affect our tradition. Westerners came and ruled us and we adapted their way of clothing like coat and suit in the day-to-day life. "But have you seen any Westerner wear dhoti or kurta or Chudidhar or saree to their office. They like our tradition, when they come to India they wear saree or dhoti but they do not take it P 46 | AUGUST 2017 back with them," she explains. This is the difference Definitely dance festivals are essential for all range of between how they experiment and how we do, she artistes be it professionals or upcoming ones. For new explains. "Anything affecting the purity of our tradition is comers it could be a platform to benchmark unwelcome," she adds. Even she experiments but she themselves, to learn the do's and don'ts in chooses for the betterment of art and not its dilution. professionalism. For established artistes, it is a stage to share our knowledge and for the audiences who are She did not choose dance as a profession. It chose passionate and interested in art it is a platform to her. Dance became a means of survival for her. But quench their thirst. today artistes in India are moving with caution. Even those willing to be professional dancers are choosing She feels proud to be an Indian and ambassador for an alternate career to finance themselves. the 3,000-year-old art form and ancient culture. To share the unadulterated art that she learnt to the rest of She believes that advice cannot change the way the world is what makes her happy. people think or behave. She follows the path of successful people - those who think that she is She has performed at all leading festivals in India, USA, successful would automatically follow her path. "One UK and Europe. She received the Puraskar Award suggestion I would give to the society is to make sure from The President of India and a Senior Fellowship that an artiste is recognised only by their talent and from Department of Culture, Government of India. passion for art and the panel of people who choose She researches and performs Bharatanatyam based them should always remain unbiased and have in on Sanga Literature, Thevaram, Thiruvasagam, depth knowledge in the art form," she suggests. There Thirupugazh (Saiva Litt), Nalayaira Dhivya would be no need for social awareness once there is Prabhandam, Azhwar Pasurams (Vainava Litt.) etc. self-awareness.

P 47 | AUGUST 2017 Scintillating Sathyabhama Nrithyotsav 2017 Kuchipudi, Bharatanatyam, Kathak and Mohiniattam performances proved to be a visual treat

Text and Pics: Paul Spurgeon Nicodemus

ndian art forms which broke continental barriers Krutika, Sathyabhama, Natya Ratnakara titles every have once again proved their mettle. Sathyabhama day. Day 1 witnessed seven delightful performances INrithyotsav - 2017 organised by Nataraj Music and by Kuchipudi, Bharatanatyam and Kathak artistes. Dance Academy (NMDA) under the supervision of BR Sticking to the academy's tradition of encouraging Vikram Kumar (Bathina Vikram Goud), founder local talent young Kuchipudi artiste Manasi from president of NMDA and editor-in-chief of The Dance Visakhapatnam began the proceeding with India magazine, had a scintillating start on 14 July at Annamacharya's poetry 'Vachene Alluvelu Manga…' in Kalabharathi Auditorium. Guests Padma Bhushan awardee Dr Yarlagadda Lakshmi Prasad, Sudagani Shankar Narayan, IRS, Vikram Kumar and artistes began the festival with a lamp lighting ceremony. On the occasion, Vikram Kumar stated that they have established the festival 5 years ago to protect Indian art forms across the world. Though many internationally renowned artistes have applied to perform at the festival, the efficient festival committee, taking various parameters into consideration has selected 27 artistes for the 2017 edition of the festival. Based on the ability and level of the participating artistes, they would be awarded Natya Manjari, Natya

P 48 | AUGUST 2017 News Hindoloni raga set to aadi tala. Later, artistes of Indrani Vandan reflecting on the inner and outer images of Dance Academy from Malaysia presented a Arthanariswara. Her performance of Taal dhamar pure Bharatanatyam piece 'Thillana' in raga set dance piece captivated everyone. Bharatanatyam to aadi tala. The gathered audience thoroughly enjoyed group Natyakalpa from New Delhi created ripples with the performance and appreciated the artistes with their their performance of Siva Kirthanam composed in resounding applause. As a third performance Pallavi Hamsadwani raga and Aadi tala. Guru Kiran Parag Mhaiskar, a Kathak artiste form Thane, Subrahmanyam choreographed it. Kuchipudi artiste presented Thal Bhasat and Guru Stuti praising the Dharmaraj VK from Abu Dhabi, Kuchipudi artiste power of Durga and concluded her performance on a Chandana Kuchipudi from Visakhapatnam and high. It was followed up by a soulful performance by S Bharatanatyam artiste Jugnu Kiran Kapadia from Geeta Narayan who is under the tutelage of KV Gujarat presented their respective art forms with sheer Lakshmi, principal of NMDA. She performed grace and poise to mesmerise the gathered audience. Bhamakalapam, created by Sindendra Yogi, the The evening was a classical treat. originator of Kuchipudi in the 15th Century and Graceful expressions and rhythmic footwork of Indian composed by Padma Bhushan awardee Vempati classical dances were on full display on day three. Chinna Satyam. Bharatanatyam artiste Kabita Kar from Guests Aravindakshan, IRS, joint commissioner of Kolkata performed Kubera Koutvam and Padam Income Tax, , IRS, additional much to the delight of the audience. The next commissioner of Income Tax, Ravi Shankar Narayan, performance, praising Lord Ram penned by IRS, additional commissioner of Income Tax, Anupama Rajinikantha Rao and Krishna Sastry was brilliantly Mohan, Kuchipudi exponent from Kerala, Kashmira performed by Kuchipudi artiste Sanjana from Vizag. Trivedi, Bharatanatyam artiste from Thane along with Another Kuchipudi artiste Somnath Bharadwaj from organisers and artistes began the proceedings on the Anantapuram in Andhra Pradesh presented the final day of the festival by lighting a lamp. Based on the composition of Patnam Siva Bhaskar in Kamboji raga expertise and level, participating artistes received set to Misrachapu tala. Natya Manjari, Natya Krutika, Sathyabhama and Natya fever reached its peak and Ratnakara titles. The third and final day saw Kuchipudi, enthralled the audience on day two of the festival. The Bharatanatyam, Mohiniattam and Kathak chief guest for the evening J Govind Swami, executive performances. On the occasion, Kuchipudi exponent director of BHEL, Visakhapatnam, along with the and teacher from Kerala Anupama Mohan was organisers and artistes began the proceedings on day conferred with a 'Sathyabhama Life Time Achievement two by lighting a lamp. The second day of the festival Award'. saw Kuchipudi, Bharatanatyam, Mohiniattam and Bharatanatyam artiste GB Rakshana from Chennai Kathak performances. presented a 10-minute piece in Abhogi raga varanam. Bharatanatyam artiste Rashmi Raut Jaiswal from New Kuchipudi artiste Kavya S from Kerala, Bharatanatyam Delhi began the proceedings with her romantic artiste Vidya Sriram from Mumbai, Kuchipudi artsite abhinaya piece on Karthikeya and later presented Sujana K from Visakhapatnam, Kathak artsite Yogini mischiefs of Krishna. Mohiniattam artiste Gopika Khanorkar from Hyderabad, Kuchipudi artiste Anil Prasad from Kerala presented the story about the birth Vettikattiri from Kerala, Kuchipudi artiste Sachita B from of Karna with communicative abhinaya. Kuchipudi Visakhapatnam, Bharatanatyam artiste Shamal Pawar artiste Sarayu Koka from Ireland reflected on the from Mumbai and Kuchipudi artiste Lakshmi V Sreejith romance of Radha and Krishna in Brindavan and won from Kerala exhibited pure elegance in their respective appreciation from the audience. Bharatanatyam art forms and won the hearts of the classical dance artistes Tvishi Duggal and Gayatri Seth from New Delhi aficionados. Narration by Perala Balamurali Krishna showcased the transformation of Krishna from a added additional flavour to the festival. Over all the mischievous child to the Lord in an artistic way. Kathak festival had positive vibes and would be remembered artiste Nayanika Ghosh from Gurgaon presented Siva for a long time to come. P 49 | AUGUST 2017 P 50 | AUGUST 2017 News

P 51 | AUGUST 2017 The performance was supported by Guru Uma Dogra A Vivid and herself on the Padhant, Manoj Desai on the vocal, Transcendental Satyaprakash Mishra on the pakhawaj, Vinayak Netke on tabla, Alka Gujar on sitar and Sandeep Mishra on Festival sarangi. Later, the movie 'Kathakar - Journey of an Artist' was screened. he Raindrops Festival organised by Kathak exponent Uma Dogra and SAM VED Society for The second day of the festival witnessed four energetic TPerforming Arts in Mumbai to promote Indian dance performances by young talented dancers from classical dance and music while providing a platform to 4 different styles. Mumbai rasikas were spellbound by talented dancers was held on July 13, 14 and 15, 2017 the performances of Guru Gayatri Subramanian's at the Ravindra Natya Mandir Mini Auditorium, Mumbai. disciple Snigdha Menon - Bharatanatyam, a duet The inaugural day of the 27th Raindrops Festival was performance of Dipjyoti and Dipankar - Sattriya, Guru attended by some of the stalwarts from Indian classical Jagdish Gangani's son and disciple Durgesh Gangani - dance like Dr Sandhya Purecha, Mandakini Trivedi, Kathak, Sujata Mohapatra's disciple Saumya Bose - Deepak Mazumdar, Gayatri Subramanian, Daksha Odissi.

Mashruwala, Pt. Kalinath Mishra, Shailendra Bhartti, The festival concluded with three fantastic Sujata Mohapatra and Yogini Gandhi. performances. Bharatanatyam dancer Mithun Shyam, Spread over three days, the first day commenced with Vilasini Natyam exponent Anupama Kylash and Kathak a scintillating performance by Uma Dogra's School of dancer Nayantara Parpia with their vivid and Kathak. Her young students, right from age 6 years, transcendental performances gave a befitting end to put up a stellar performance with an immaculate hold the Raindrops Festival.

on the tala, command over the body line and Much credit goes to the founder Uma Dogra, her complemented it with lucid expressions. Uma Dogra's daughter-disciple Suhani Singh, disciple Indrayanee senior students Indrayanee Mukherjee, Sarita Kalele, Mukherjee and the entire team of SAM VED for Rachana Parulkar, Ketki Sachdev, Suhani Singh, Akhila immersing the audience in the blissful joy of Indian Nair, Gautami Angolkar, Diksha Rawat and Dilshad culture. were a treat to watch. - Kashmira Trivedi, Maharashtra

P 52 | AUGUST 2017 News A Thought Provoking Playlet Text: Praveena

he concept of the playlet 'Aakasa Devara' was taken from the "Koyya Gurram" written by Naga Muni. It was dramatised and narrated by Patti T Characterisation - The director of the drama G Bala Bandla Anand Rao, under the supervision of Venkata Ramaya (IAS Retd.) as Sunyaswami, has efficiently Govada of Govada creation's, Hyderabad and performed with good expressions. Ch Rajitha Murthy directed by G Bala Ramaya. as Shanmukhanandha Sidhanthi, Venkata Govada as The drama represents the mindset and gimmicks used Karash gave a good output, P Srinivasa Rao as by politicians and spiritual leaders to take a lead role in Satyanand, Komaravolu Srinivasa Rao as Eswara the society because of the illiteracy, ignorance, Sharma, TV Subbarao as Member of Parliament, selfishness and blind belief of the common man. The D Giribabu as Chatura, Surabhi Raghava as gist of the play was that how people becoming Panchama, Missala Lakshman as Shaw, Surabhi puppets in the hands of politicians and spiritual leaders Santosh as Manishi, Pranayraj Vangari, Mallesh Balast, who have vested interests. Parvatalu, Ch Rayadu, Nageswararao, T Ravindra, Expressing pleasure, the chief guest of the function and Nickle Jacob as disciples excelled in their roles. joint collector, J. Srijana, IAS, said Bay City stands as Technical support: Makeup: Harischandra, Sets and the front-runner in the field of dramas and wished the Lighting: Surabhi Shankar and Music: Nagaraju M did people would continue to encourage such a commendable job. Nagaboina Nagabushanam programmes. coordinated the programme.

P 53 | AUGUST 2017 -Paul Spurgeon Nicodemus

P 54 | AUGUST 2017 News

P 55 | AUGUST 2017 he Dance India magazine which was launched on July 16, 2016 has celebrated its 1st Tanniversary this year at Kalabarathi Auditorium in Visakhapatnam amidst a gathering of art and culture aficionados. The evening was a time of reflection celebrating the successful completion of a year. The monthly cultural magazine in English was a humble attempt to capture the spirit and culture of art in all its diversity. It served as an umbrella for various art forms in the fields of dance, music, literature and Additional Commissioner of Income Tax Manoj Kumar, IRS is being felicitate by the Additional Commissioner of Income theatre that have existed for thousands of years. Tax S. Ravi Shankar Narayan, IRS.

Joint Commissioner of Income Tax Aravindakshan IRS is The Central Industrial Security Force (CISF) Commandant - being felicitated by the Additional Commissioner of Income BHEL Kishore is being felicitated by the Additional Tax S.Ravi Shankar Narayan, IRS. Commissioner of Income Tax S. Ravi Shankar Narayan, IRS.

P 56 | AUGUST 2017 The Maharashtra State Co-ordinator, Kashmira Trivedi receiving the “Best Co-ordinator of the Year award for 2016-2017”. News

Partners of Sri Lekha Printers, Vijayawada being felicitated on the occasion.

The occasion was graced by Aravindakshan, Joint commissioner of Income Tax, Manoj Kumar, additional commissioner of Income Tax, Ravi Shankar Narayan, additional commissioner of Income Tax, and Anupama Mohan, Kuchipudi exponent from Kerala. The guests for their exceptional work felicitated the whole team of The Dance India. The magazine's coordinator for the state of Maharashtra, Kashmira Trivedi, a Bharatanatyam artiste from Thane, was presented with 'The Best Coordinator Award' for the year of 2016-17. The magazine's Editor-in- Chief BR Vikram Kumar thanked his entire team for their constant support and the guests in attendance lauded Vikram for his indomitable spirit and commitment towards Indian cultural heritage.

P 57 | AUGUST 2017 st The performance was supported by Guru Uma Dogra Anniversary herself on the Padhant, Manoj Desai on the vocal, Satyaprakash Mishra on the pakhawaj, Vinayak Netke Celebrations at on tabla, Alka Gujar on sitar and Sandeep Mishra on Bengaluru sarangi. Later, the movie 'Kathakar - Journey of an Artist' was screened. The Raindrops Festival organised by Kathak exponent 1he Karnataka chapter of The Uma Dogra and SAM VED Society for Performing Arts The second day of the festival witnessed four energetic Dance India magazine in Mumbai to promote Indian classical dance and dance performances by young talented dancers from celebrated its first anniversary. Tmusic while providing a platform to talented dancers 4 different styles. Mumbai rasikas were spellbound by It recognised talented artistes who was held on July 13, 14 and 15, 2017 at the Ravindra the performances of Guru Gayatri Subramanian's Natyahave immensely Mandir Mini contributed Auditorium, to Mumbai.the The inaugural disciple Snigdha Menon - Bharatanatyam, a duet dayfield of theclassical 27th Raindropsdance. Festival was attended by performance of Dipjyoti and Dipankar - Sattriya, Guru someAmong of those the stalwarts honoured from are Indian classical dance like Jagdish Gangani's son and disciple Durgesh Gangani - DrSugganahalli Sandhya Purecha, Shadkshari, Mandakini a dancer, Trivedi, Deepak Kathak, Sujata Mohapatra's disciple Saumya Bose - Mazumdar,lyricist, writer, Gayatri presenter Subramanian, and Daksha Mashruwala, Odissi. Pt.compere Kalinath of Mishra, Indian classicalShailendra dance Bhartti, Sujata The festival concluded with three fantastic Mohapatrawho has spent and moreYogini than Gandhi. three performances. Bharatanatyam dancer Mithun Shyam, Spreaddecades over promoting three days, the richthe firstculture day commenced with Vilasini Natyam exponent Anupama Kylash and Kathak dancer Nayantara Parpia with their vivid and aof scintillating our classical performance dance. His bylatest Uma lyrics Dogra's and writingsSchool of programmes, promotion of students, performs transcendental performances gave a befitting end to Kathak.have been Her composed young students, to traditional right from margams age 6 years, and around the world, is actively associated with great put up a stellar performance with an immaculate hold the Raindrops Festival. performed widely all over the state. He was one of the gurus and choreographers - a young Natyachar on the tala, command over the body line and senior disciples of Guru Kalamandalam Usha Datar. Muchwielding credit the goesnattuvangam to the founder to numerous Uma Dogra, students her that complemented it with lucid expressions. Uma Dogra's daughter-disciplehe has trained. Suhani Singh, disciple Indrayanee Another artiste honoured was Mithun Shyam, a very senior students Indrayanee Mukherjee, Sarita Kalele, Mukherjee and the entire team of SAM VED for young ardent disciple of Late Guru Padmini The award function was a joint venture with Rachana Parulkar, Ketki Sachdev, Suhani Singh, Akhila immersing the audience in the blissful joy of Indian Ramachandra. He stands promising in the dance field Parameshwar Nair, who runs the Kadambari Nair, Gautami Angolkar, Diksha Rawat and Dilshad culture. werefor his a hardtreat towork watch. and promoting Bharatanatyam. He Kalakshetra with his talented daughter Sindhu at manages a big dance school, numerous Dakshini Ayodhya Temple- Kashmira complex Trivedi, in Bengaluru. Maharashtra

Dancers and gurus like Lami Gopal Swamy, Poornima Gururaj, Lalitha Das and other dignitaries were present during the programme.

The Dance India magazine's annual awards under the Karnataka Chapter - The Scholarly Achiever award to Sugganahalli Shadakshari and Young Natyachar Award to Mithun Shyam - were presented on July 23, 2017.

- Sai Venkatesh, Karnataka

P 58 | AUGUST 2017 Celebrations On the occasion of the 80th Birthday Celebrations of Dr. Kanak Rele Shastriya Nritya Abhyaasa at Nalanda Nritya Kala

Mahavidyalaya, Mumbai MPA (Master of Performing Arts) and PhD in Dance. Text: Dr. Uma Rele, Principal, None other than Padma Bhushan awardee Dr Kanak Nalanda Nritya Kala Mahavidyalaya Rele established the institute it in 1973. This was a pioneering step taken by her wherein she introduced alanda Nritya Kala the traditional Guru-Shishya Parampara (teacher- Mahavidyalaya, the student tradition) at the university level and academics Ncollege of Indian in Indian classical dance. Nalanda has completed Classical Dance affiliated to the almost 44 years in this field and stands at an enviable University of Mumbai, awards position in so far as classical dance education is degrees - BPA (Bachelor of Performing Arts), Masters concerned.

P 59 | AUGUST 2017 A degree course is offered in Bharatanatyam and Similarly, if a Mohiniattam. It's a five years integrated degree course candidate is a where first two years are called Foundation - I and graduate in any Foundation - II followed by three years of degree (BPA stream (BA, BCom, - Part I, Part II and final year of degree). Masters BSc. etc.) and has course (Post Graduation) is offered in Bharatanatyam, learnt classical dance Mohiniattam and Kathak. Since last 10 years, the for 8 to 9 years, they certificate, diploma and advance diploma is offered for have to appear for one year each under the University of Mumbai. entrance test of both The eligibility for the degree course is 10th SSC or theory as well as equivalent Board or '0' levels (For - Foundation I). But practical to be eligible if the prospective student has completed 12th HSC or for studying Masters 'A' levels of studies and also learnt classical dance for (MPA) directly. substantial years (6 to 7 years) they are allowed to The theory paper for entrance test in Masters is of 3 appear for the entrance test (only practicals) and their hours duration wherein minimum 40 marks have to be performance for the same determines their standard obtained for passing. Also, the practical exam for the and such a student can skip our first two years of same is very diligently conducted. Foundation - I (F - I) and Foundation II (F - II) and can The beauty of the UG (undergraduate) course (BPA) is be admitted in BPA - Part I i.e. the first year degree. that the subjects offered are vast and exhaustive every Consequently, they are able to complete the year. In Foundation, I and II, Sanskrit is taught. Besides graduation programme in three years. that, there are subjects like Ancient Indian Culture, Technique, Epics, the contemporary scene in Indian P 60 | AUGUST 2017 Classical Dance etc. are taught in depth. And from BPA - Part I to Final Year Degree the course engulfs a wider and essential spectrum as a Classical Dancer. Subjects like Natyashastra, Aesthetics and Philosophy, History of Dance, Interrelationship of Sculpture, Architecture, Iconography, etc. to Dance, are taught in detail. Besides this according to your style chosen Abhinaya - darpanam, Balaramabharatam and Hastalakshanadeepikaare are taught to recite and apply to the practical performance. There are subjects like Journal, Shloka-s which contribute humongously to your knowledge as a dancer. theoretical aspects with the practicals and this synthesis of both theory and practical gives them an Some people, however, question the necessity "to do edge over other dancers. In this contemporary so much of theory as a classical dancer?" discussion about "Bani-s" or schools of dance- It is strongly felt that today classical Indian dancers whether Bharatanatyam, Mohiniattam or Kathak (where exist at the superficial level of only performance where the appropriate word is Gharana), I, proudly, as the they are unable to understand, analyse or principal of this college, say this, that after more than choreograph in depth due to the lacuna in that sense. 40 years as an established college and with a guidance The students of Nalanda are well equipped to link their and inputs of a person who has introduced this course classical dance with its various theoretical facets since Padma Bhushan awardee Dr Kanak Rele, Nalanda, they are given all - encompassing knowledge itself has developed its own strong "Bani" or school pertaining to dance. They are taught to assimilate with its strong history and record. All this has been

P 61 | AUGUST 2017 feasible due to its dedicated and qualified teachers and is given and within a stipulated duration they perform staff who have selflessly contributed towards the group presentations considering all the detailed growth and development of this college. aspects of music, costumes, tala, storyline, etc. It's a Interestingly since last year, Nalanda Nritya Kala hands-on training to apply their knowledge practically. Mahavidyalaya has introduced choice based credit I take pride as a student, teacher and principal of this system with semester pattern of education. The course unique college today that Nalanda creates "total has become more enhanced with the electives like dancers" or "cultural ambassadors" with vast makeup, sound and light, costumes, folk-dance etc. Since knowledge and respect for the rich culture and heritage this year our certificate course of folk dances of of our country. Maharashtra and Gujarat will commence from July 20172017. The education system today continuously harps about The dynamic and innovative course called MFA "quality education" and what better than to incorporate (Master of Fine Arts) in movement science is also "quality" through our art and culture, our beautiful commencing from this academic year of 2017-18. classical dance. Taking the essence of martial arts (Kalaripayettu, It opens so many avenues for a student of this college. Thangta, etc.), yoga and physiology and synthesising Besides becoming a performer, the options that unfold with elements of dance is the purpose of study in this in front of them like becoming a theoretician, a course. research scholar, taala expert, choreography at Besides the academic aspects of dance, students are various levels etc. trained rigorously in performance, tala, nattuvangam This unique specialisation makes a Nalandaite not only and choreography. There are choreography a better dancer but also a better human being with presentations performed by students wherein the topic confidence and grace.

P 62 | AUGUST 2017 P 63 | AUGUST 2017 Koka Vatsavisai Sarayu was born to and Raj Kumar on March 15, 2005 in France. Her mother was a homemaker and father was a software engineer. In fact, it was her mother who persuaded her to learn Kuchipudi and her father encouraged it. When her mother was young, she wanted to learn dance but her parents could not afford it. So when the family moved to India in 2010, her mother immediately enrolled Sarayu into Kuchipudi classes. Sarayu was put to learn Kuchipudi at the age of 5 years. She did not like it in the beginning but with time things changed and now she thoroughly enjoys dancing. Once she started enjoying the dance form, even her friends at school felt that whatever she did was cool. She pursued it as a hobby and it was always fun. Her academics were never disturbed and she skillfully managed both dance and studies with a lot of ease. Thanks to KV Lakshmi, principal, and BR Vikram, founder president of Nataraj Music and Dance Academy

P 64 | AUGUST 2017 who conducted dance classes based on her school Penko Creations. She started the channel a year ago timings. She says that both of them are her inspiration with skit and dance videos. For the 12-year-old Sarayu even today. dancing is still a serious hobby and she says that with She began her dance journey under the guidance of time it might turn into a serious passion. Academy's principal KV Lakshmi and continued to In the days to come, she wants to see herself as an develop her skills in Kuchipudi for the next seven years. individual who has a steady job and performs Later, her father got a job in Dublin, the capital city of Kuchipudi. She wants to spread Kuchipudi across the Ireland, and she moved there along with her parents a globe as she feels that the art form still needs to be year ago. She missed the wonderful guidance of her popularised in comparison to other art forms like teacher Lakshmi but still tried to learn Kuchipudi from Bharatanatyam. She says that Kuchipudi is a beautiful Saraswathi, an Indian student who was pursuing her art form. Part of her desire to spread Kuchipudi comes higher education in Ireland. from her dance sir BR Vikram Kumar who has been She often performed in Ireland during Indian festivals striving hard to include it in the academic curriculum. like Ugadi and Sankranthi and received appreciation To keep learning Kuchipudi has been her challenge and from the Telugu community abroad. People simply love when she goes back to Ireland after her vacation in classical dance in Ireland and almost all the art forms India, she wants to continue learning Kuchipudi under are performed during the celebrations. KV Lakshmi through Skype. Odissi is another dance Apart from dance, she loves photography, art & craft form which she is interested to learn. and creating content for YouTube under her channel

P 65 | AUGUST 2017 P 66 | AUGUST 2017 CLASSIFIEDS

KUCHIPUDI KATHAK

Nataraj Music & Dance Academy Nritya Tapshya Kathak Dance Academy Teacher: K V Lakshmi Teacher: Chetan Saraiya. MA, Kathak. 50-1-50/1, ASR Nagar, Seethammadara Vasai Nallasopara, Kandival. Grand Road Visakhapatnam, Andhra Pradesh, India Pune, Maharashtra, India Contact No: + 91-955322969 Contact No: +91-9821138190

Nritya Darpanan Foundation BHARATHANATYAM Teacher : Paullumi B Mukheerjee Alap C.H.S. B woing, Plot No 173 Geeta Nritya Vidyalaya Sir Bhalchndra Road, Teacher: Girija Nair Opp. 2nd Lane Hindu Colony, Dadar (E) 'Gurukul' 32/2 Powai Chowk behind Mumbai - 400014 . Shastri Nagar, Contact No. 9821583004 Saibaba Temple Mulund Colony West Mumbai - 82, Maharashtra, India Kalanand Nritya sanstha Contact No: + 91- 9867234249 Teacher : Bhavana Sanjiv Lele Shop No-2,3,4,5 Rosewood Building Takshashila Nrityakala Mandir Prestige Residency, Dongripada Teacher: Kashmira Trivedi Waghbil Naka,Ghodbunder Road A - 405, Asawari Co. Op. Hos. Soc. Thane West, Maharashtra Pokhran Road No - 1, Varkat Nagar, Contact No : 9223440605 Thane (W) - 400606, Maharashtra, India Contact No: + 91- 9820649671

Sri Krishna Kala Mandir Teacher : Gayathri Gopinath No 5-469 .18th St Sathuvachari Phase - 2 Vellore - 632009, Tamil Nadu, India Contact No : 98945 29708

Shanmukha Arts Institute of Performing Arts Teacher : Kala Srinivasan D-309 , Usha Nagar, Village Road Bhandup West, Mumbai- 400078 Contact No : 98671 14223

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

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

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