Torch CONTENTS Bearers 08 Cover Uma Sharma: Married to Dance 16 Story Cultural Budget Cultural 2017-18 Bulletin 28 Beacons 06 of Light Seetha Nagajothy: A Kuchipudi Teacher of Rays 34 Brilliance of Hope Sandip Soparrkar: Reviews A Dancing Genius • MMA Festival 2017 Scholarly • Tarang Ratna 2017 Frozen • TSR Awards (Bhagiratha Vilasam) Corner in-Time • Natyanjali Mumbai The Dilemma of Dance Education 58 6246 42 Reports Gostha Kindled Mumbai • Master Class by Birju Maharaj Goa Spirits • 27th Anniversary Celebrations Vrunda • Purush Kolkata 54 Upadhyay56 • Design 14 - Nrtihya Yog 50 Beyond Borders In Sight Tributes Bond of the Arts Across Borders (Spain) 60 64 63 ‘The Dance India’- a monthly cultural magazine in "If the art is poor, English is our humble attempt to capture the spirit and culture of art in all its diversity. the nation is sick."

Editor-in-Chief Coordinators BR Vikram Kumar (News, Advertisements & Subscriptions) Executive Editor Sai Venkatesh, Karnataka Paul Spurgeon Nicodemus Kashmira Trivedi, Thane Editorial Advisor Alaknanda, Noida B Ratan Raju Lakshmi Thomas, Chennai Contributions by Gayathri Gopi, Vellore Padma Shri Sunil Kothari (Cultural Critic) Parinithi Gopal, Sagar Avinash Pasricha (Photographer) Sinam Basu Singh, Manipur Administration Manager Anurekha Gosh, Kolkata KV Lakshmi GV Chari, New Delhi Circulation Manager Dr. Kshithija Barve, Goa and Kolhapur V Srinivas Technical Advise and Graphic Design International Coordinators Haimanti Basu, Tennessee Mallika Jayanti, Nebrasaka

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Edited, Published and Owned by Bathina Ranga Vikram Kumar, Mobile No. +91-9848137445, on behalf of Trivikram Publications from D.No. 50-01-50/1, ASR Nagar, Seethammadhara, Dist. Visakhapatnam - 530 013, A.P. and Printed by K. Ram Naidu, Vizag Art Printers, D.No. 30-5-21, Krishna Gardens, Dabagardens, Visakhapatnam - 530 020, A.P. Editor: Bathina Ranga Vikram Kumar

THE DANCE INDIA | MARCH 2017 | 4 'Lokah'Lokah SamasthaSamastha SukhinoSukhino Bhavanthu'Bhavanthu'

For peace and harmony to prevail, politicians Editor’s Note ... and leaders should have a healthy approach towards their subjects and govern according to the principles of dharma.

In the present global scenario, human kind should center their lives on this sloka. In the ancient days, on the request of Devendra, Trimurti created Natyam (dance) to stop the pandemonium and violence of demons. Goddesses with their dance brought about change in the minds of the demons. The author of Natya Shastra, Bharata Muni made it clear that Natyam would be an everlasting treasure and it would be useful for bringing order in the establishment. In a recent instance, some people in the United States of America created a divide by attacking and killing people of Indian origin and other countries. It is the need of the hour to stop such heinous acts of violence on fellow human beings. Natyam could be the solution for dealing with the present situation. Every Indian classical artiste should work towards eradicating hatred and racism based on the language, skin colour, faith, gender, creed, and class with their cultural performances. The Dance India under these difficult times urges all the Indian artistes who have settled in America to perform and work towards achieving peace and harmony wherever they are located. It is our responsibility to safeguard the region. Showcasing the philosophy of Karma, we hope you are able to wean away people from disharmony and violence.

The sloka is an invocation for harmony and blessings for all part of the creation! The most important aspect of the mantra is that the sage does not pray only for his clan or nation but for the whole world.

Peace, peace, and peace be everywhere!

Jai Hind

BR Vikram Kumar

THE DANCE INDIA | MARCH 2017 | 5 Earlier, the ministry of tourism had also launched 24x7 tourist helpline 1800111363 in twelve foreign languages so that the foreign tourists can get required information in their own language. The minister presented the first kit containing a SIM to a representative of the travel and tourism sector. Vinod Zutshi, secretary of ministry of tourism, JS Deepak, secretary of ministry of communications and senior officers were present.

Pre-Loaded Sim This initiative has been launched in association with Bharat Sanchar Nigam Ltd (BSNL). This facility will be Card for Tourists initially available at the Indira Gandhi International Airport (T3 terminal), New Delhi and later cover the remaining 15 international airports, where e-Visa facility Arriving In India on is currently available. E-Visa Launched YATRA Registration for Kailash Manasarovar Yatra 2017

egistration for Kailash Manasarovar Yatra organized by Ministry of External RAffairs has commenced on 1 February 2017. This year the Yatra is scheduled during the period 12 June to 8 September through two routes - Lipulekh Pass (Uttarakhand) and Nathu La Pass (Sikkim). Applicants for this Yatra must be at least 18 years and not more than 70 years on 1 January 2017 to be eligible to apply for this Yatra. Last date for registration is 15 March r. Mahesh Sharma, minister of state 2017. (independent charge) for tourism and culture, Keeping in line with Government of India's push Dlaunched the initiative of the ministry of tourism, for digital mode of interaction with the public, Government of India on February 15 for providing pre- registration for this Yatra on the website http:// loaded SIM card to foreign tourists arriving in India on kmy.gov.in is a fully online process. Applicants e-visa. On the occasion he said this unique initiative can also get information, and track the status of would facilitate foreign tourists in communicating with their application through interactive helpline No: their acquaintances immediately on arrival in India. 011-24300655.

THE DANCE INDIA | MARCH 2017 | 6 M oU

Tripartite MoU for Implementation of Tourism Projects In Jammu & Kashmir

tripartite memorandum of understanding (MoU) for implementation of tourism projects in Jammu and Kashmir was signed among Aministry of tourism, M/S NPCC & NBCC and Government of Jammu and Kashmir here today. The MoU was signed in the presence of Vinod Zutshi, secretary, M/o tourism. Signatories for the MoU included Suman Billa, joint secretary, ministry of tourism; Shamim Ahmad Wani, managing director, J&K Cable Car Corporation; KK Sharma, executive director, M/s NPCC and Alok Rastogi, chief general manager (BD), M/s NBCC.

The Prime Minister announced the development package (reconstruction plan) for Jammu and Kashmir on November 7, 2015. The details of all proposals included in the development package for tourism are as under:

S.No. Projects Proposed Central Assistance(Rs.Crore) New Initiative 1 Development of Tourism in the State (Rs.400 cr for 5 years) - New Projects 2000 2 Construction of Govt. Tourist assets in lieu of damaged/ destroyed assets 100 Total 2100 Ongoing and Existing Projects - Budget required PMRP 2004 3 (i) 12 Development Authorities, 3 Circuits, Setting up of 50 Tourist villages proposed under PMRP 2004 and 81.85 (ii)Conservation of Wular Lake 59.15

The ministry of tourism under the new initiative - Development of Tourism in the State- New Projects - has sanctioned following projects to M/s NPCC and NBCC in J&K for implementation in September 2017:

· Integrated development of tourist facilities at Gulmarg - Baramulla - Kupwara - Leh to M/s NBCC for Rs 96.92 crore

· Integrated development of tourist facilities at Mantalai - Sudhmahadev - Patnitop in Jammu & Kashmir to M/s NPCC for Rs 97.82 crore

Major components sanctioned under the projects are yoga centre, wellness spa, log huts, heliports, open air theatre, walking trail, landscaping, solar lighting, solid waste management and public amenities etc.

Source: PIB

THE DANCE INDIA | MARCH 2017 | 7 assion for art when cultivated with Uma Sharma's family originally hails from Dholpur in perseverance reaches a zenith and develops Rajasthan. She was born on November 20, 1942 in Pa unique worldview. Uma Sharma, who was Delhi and grew up in the same city. Right from her my born and brought up in Delhi, dedicated her life to childhood she has been fond of dance. Her parents Indian classical dance. She has revolutionised the didn't mind her interest in arts but they wanted her to repertoire of Kathak with her interpretation of the study as well. She continued her studies and works of great poets from ancient and modern times. simultaneously pursued dance. She started dancing She creatively fused the experience gained under when she was about 8 years old. She believes that gurus from different gharanas, searched for the roots she was born to dance. "I'm passionately in love with of the dance form and made 'abhinaya' her forte. dance," says Uma. Recognising her contribution towards art and culture Her parents always encouraged her to pursue music the Government of India awarded her the Padma and dance. In fact, her father always wanted her to Bhushan in 2001.

THE DANCE INDIA | MARCH 2017 | 8 sing as she used to mimic Lata Mangeshkar's film songs which were semi-classical in style. "Those days, films had good music," she says. Gradually, she got attracted to dance. She started learning Kathak by watching others. Seeing her interest towards art and culture her father started an institute titled Bharatiya Sangeet Sadan in 1937.

Her father Pandit Vasudev Sharma and mother Ratana Devi shifted to Delhi from Rajasthan in 1935. Her father established the institute hoping that his children would grow up with the samskar of music and dance. He was fond of classical music. Though not a professional he used to sing. Otherwise, he was busy writing books in Sanskrit. He was a scholar.

She went to St. Thomas' School and then graduated from Lady Shri Ram College for Women in New Delhi. While studying she became an active participant in all the cultural events. She was given the responsibilities of cultural activities both at school and college. She remained active all through her academics because of her passion towards dance. "Any occasion in the school they would ask me to choreograph and compose dance sequences. Right from my childhood, I've always been a keen observer when others danced. I would copy them," she says. Over time, her fondness towards dance grew and she decided to learn dance.

As a child, her first guru was Girvar Dayal of the Jaipur Gharana and later she received training from Guru Hiralalji. Both of them were accomplished Kathak teachers. As days passed, she began learning under Shambhu Maharaj from the Lucknow Gharana and Guru

THE DANCE INDIA | MARCH 2017 | 9 Sunder Prasad from the Jaipur Gharana. "I kept myself to these gurus as long as they were alive. They were my last gurus," she says. She devoted herself to complete training and did not perform anywhere to stay focused until she was fully equipped.

In between, she was offered the role of Sita in a dance ballet based on the Ramayana and met Guru Gopinath, a Kathakali teacher and director of the ballet. She learnt Kathakali under him for 3-4 years. She joined a cultural institution named Triveni and learnt Bharatanatyam from Guru Vijaya Raghava Rao and Manipuri from Nabhakumar Sinha from Manipur. But ultimately, she ended up in Kathak, as she felt that she was born for it. However, she feels fortunate to have learned under great gurus of other dance forms too. While portraying the role of Sita, she had to learn Kathakali to go into the style of Guru When she was 10 years old, Gopinath. These developments she performed a ten-minute took place in 1960's and Kathak item at the United gradually she completely Nations Conference in Delhi. switched to Kathak. Those days there were not Kathak was from the Northern many performers and parts of India and the major everybody knew that a girl places of practicing the tradition named Uma Sharma were Jaipur and Lucknow. performs. As a child, she Obviously, it had the influences used to attend Pandit of Rajasthan and Uttar Jawaharlal Nehru's birthday Pradesh. She saw Guru celebrations organised at Shambhu Maharaj perform and Teen Murti Bhavan in Delhi. got attracted to Abhinaya. He She was asked to dance and sang and danced like how she usually performed a 7-8 Balasaraswati used to. minute Kathak solo. In return, she got chocolates from Indira Gandhi, the Former Prime Minister of India.

She started performing seriously in the late '60's. Once she started performing, she simultaneously started creating ballets as well. As an individual artiste, she even went abroad to various places. Though she was performing she continued to learn under her gurus. As an individual dancer, she was invited to Canada for six months in 1967 and that was when she became a complete solo dancer. "I was part of the trade fair and they created a nice stage for me and I performed every evening for 15 minutes," she recollects. After the tour, she produced a lot of creative work. In 1973, she got a brilliant idea to bring Indian classical Kathak and Spanish Flamenco together after her visit to Spain. It was a pioneering effort. Then she researched and brought several works of great poets into Kathak. That was not a practice back then. Gradually, she started introducing them and

THE DANCE INDIA | MARCH 2017 | 10 did a lot of creative work. In the same year, she introduced famous Sanskrit, Hindi and Urdu poets like Kalidasa, Surdas, Tulsidas, Raskhan, Kabir, Ghalib, Firaq Gorakhpuri, Kaifi Azmi, Harivansh Rai Bachchan, Jayadeva, Vidyapathi, Tagore and others into her Kathak compositions. After reading the works of these poets she went into deep thought and incorporated them into Kathak compositions with sublime facial expressions and moves. She choreographed her pieces with the help of her gurus till the time they were alive.

She believes that dedication and hard work are important for every artiste. "You should be lost in your art whether you are dancing, singing or playing an instrument," she says. She emphasises that doing the Riyaz with utmost dedication is a necessity. Learning the art for one or two years

THE DANCE INDIA | MARCH 2017 | 11 from the guru doesn't make an individual a master. propagation. The styles and tales of Brindavan and Uma dedicated her life to learning under gurus in the Raasleela also influenced him. For knowing Raasleela, style of Guru-Shishya parampara. "I was totally she went to Brindavan and did her research on dedicated to my Guru and without his permission, I Krishna Raasleela during the 60's and 70's. She often won't even perform. Such dedication is needed and visited Brindavan and learnt the technique of Raas and you have to put in a lot of hard work," she says. created a ballet by the name of 'Maharaas Leela' based on the tenth chapter of Srimad Bhaghavath. "I There are different gharanas when it comes to Kathak still present the ballet every year during Sharat and she learnt under gurus from different gharanas. "I learnt from Lucknow and Jaipur gharana. I took the best out of both the styles and combined it," she says. She doesn't associate her art with any of the gharanas and just calls it Kathak. "I have total respect for all the gharanas. I admire Jaipur gharana, Lucknow gharana and Banaras gharana and got this art from great gurus of these gharanas," she explains.

She even made our Indian culture reflect on the costumes and clothes worn during the Kathak performances. Costumes with miniature painting prints were used on the fabrics. For quite sometime Kathak was taken to Mughal courts and Nawab of Awadh Wajid Ali Shah played an important role in its

THE DANCE INDIA | MARCH 2017 | 12 Poornima (full moon), around October and November," she says. She conceptualised, choreographed and produced three tele-serials based on the poetry of noted poets in Urdu and Hindi viz-a-viz Naina, Kalidasa's Meghdoot and Shree Radha for Delhi Doordarshan.

Her dance creation Stree (Woman) has been greatly new and it has always been the idea. If she picks up a admired for its powerful thematic content and artistic poet, she goes deep into his poetry. She usually presentation. It gave Kathak a new dimension for its composes late at night when it is quiet and sometimes highly emotive thrust in depicting the position of a very early in the morning. Uma goes into the mood of woman down the centuries and her search for an the subject and says that she cannot select a theme independent identity. She worked for the creation of cannot be depicted through dance. Mostly, she works Ghalib Museum at Meer Qasim Jan Gali, Baliimaran, on poetry. Delhi and celebrates the birth anniversary with An artiste can create harmony through dance. Art and scholars, poets and citizens. She has participated in culture are such things from which one can create love prestigious national and international festivals through between people, attain peace of mind and experience the ministry of culture and ICCR. the ecstasy of anand (happiness). She is inspired by good dance. Whenever she sees She runs her own school of music and dance named something interesting, she wants to create something 'Bharatiya Sangeet Sadan' which her father founded. After his demise, she took over the academy. The institution became popular as the Uma Sharma School of Dance and Music. She has been training a whole new generation of young dancers including students to form West Asia, Europe, and America. From the beginning, she has been training her students under the system of Guru Shishya Parampara. She enjoys the most when she sees her students perform on stage and says that it actually inspires her. "I'm a hard task teacher when it comes to teaching and I make them perform quite a lot," she reveals. Since she knows the importance of training for a long time, she doesn't encourage her students to just train for the performance but rather tell them to train for the love of art.

There are many loving memories in a long journey into dance but one incident that happened in 1970-71 stands out. While she was dancing on a stage at Moscow in Russia, a glass piece made its way into her foot and it started to bleed. Before the show, her group mates told her to continue dancing if she gets applause from the audience. The audience started

THE DANCE INDIA | MARCH 2017 | 13 clapping and she kept on dancing without realising that a piece of glass was hurting her foot. "I was bleeding and I didn't even sense the pain." Ultimately she had to stop because the applause continued. Kathak is a form of dance which is quite rigorous with footwork.

She has traveled extensively to various countries across the world and performed Kathak. Every time they saw a performance of an Indian have become quite knowledgeable about Indian classical dancer and artiste, it inspired them. Earlier, arts. She says that she felt really proud to foreigners wanted to know about Indian art and represent Indian art and culture in other culture. Now that so many Indian artistes have gone countries. She finds our culture extraordinarily and performed abroad, even the western audiences beautiful.

She admires criticism and thinks about it. "But I haven't been criticised and that is the saddest part. I should be criticised. One has to go through jealousy and competition. But I never cared as I was always devoted to dance," she says. Even if somebody criticises her, she welcomes it and tries to improve whatever it is.

She always tells the young generation to first be dedicated and not to be ambitious. "I ask them to work hard and be honest to their master from whom you are taking the lesson of art. They should be true to their art."

She feels that documentation of art is necessary and she recently created a film 'Uma's Journey through Kathak' based on her dance journey - a kind of an autobiography.

Trying to teach as many girls and boys as possible about Indian art and culture would help in protecting and promoting it across the globe

THE DANCE INDIA | MARCH 2017 | 14 is what she believes. "Educating the audience through winning the awards, performances is a great way to protect and promote she says it is Indian arts. That was one of the reasons I started because of God's 'Swami Haridas Tansen Sangeet Nritya Samaroh', a blessing, love of grand annual festival in Delhi with eminent musicians people, her hard and dancers. The four-day festival, which happens in work, and January, has been hosting the top-most artistes in the performances that country in the interest of younger generation. she accepted it quietly and patiently. Uma's contribution to Indian dance has been marked by her innovative search for the roots of the dance Radika Sharma form. For Kathak, she achieved the lost frontiers of Shah, her brother's poetry and tradition of abhinaya. She sings the daughter, would compositions for expressional numbers and matches continue her legacy. the fluidity of movement. She has learnt under a beautiful and creative dancer. "I'm not married. I She has received prestigious national awards like remained single because of dance. It never occurred. Padma Bhushan in 2001, Padma Shri in 1973, Sangeet So many people ask me if I missed marriage? I don't Natak Akademi and the Delhi Sahitya Kala Parishad because I'm married to dance and it is around me. Award. In recognition of her lifetime contribution to the Dance is everything to me," says the lady who is field of Indian Classical Dances she has received the passionately in love with dance. Doctorate from Utkal University, Odisha in 2012. On

THE DANCE INDIA | MARCH 2017 | 15 THE DANCE INDIA | MARCH 2017 | 16 THE DANCE INDIA | MARCH 2017 | 17 personalities, celebrations and schemes. The allocations in the culture budget include Rs 310.48 crore for Kala Sanskriti Vikas Yojna and about Rs 96.64 crore for libraries and archives.

It is believed that this allocation will definitely have a positive impact on the cultural bodies and artistes in the coming fiscal year of 2017-18. Yes, there is a hike of 10% in the Union Budget allocation for the ministry Victoria Memorial, Kolkata of culture but how is it useful?

ringing unity through culture is important as The cultural bodies under the ministry of culture have we thrive sharing each other's ideas, nature been accused of serious corruption charges for long Band culture. Art has a and many from the art community have universal language whether in questioned utilisation of the allocated the form of dance, music, funds. It is probably due to lack of literature or theatre. When we funds, academy awards understand the expression of ceremonies have been organised culture, it adds to mental and in the Northeast. Under these physical happiness. Hence, circumstances, the art it is something that we community must wait and see should protect and how the ministry uses the Rs preserve for the future 2,738.47 crore towards generations. progress of Indian art and culture in 2017-18. In the current fiscal year India is a country with an ending March 31, 2017, the ministry exceptional cultural background was allocated Rs 2,500 crore in the budget. and great ambassadors. In the earlier issues of The Dance India, we spoke about culture and how This report is created to provide artistes and art every country's growth depends on the cultural lovers a clear understanding of how funds are spent relations and atmosphere. It is the culture of a by the department of ministry of culture in different country that attracts another. India's cultural years. background, sentiments, philosophy and mythology, Realistic planning of finances is key to the which has existed for generations, is a grand pedestal in itself.

In 2017-18, the NDA government hiked 10 Ministry of Culture percent of the cultural budget when compared to the previous years. Finance minister Arun Jaitley has taken inputs from various cultural experts and social media and decided to hike the budget allocation to Rs 2,738.47 crore in the Union Budget. Of the total budget, Archaeological Survey of India would get Rs 924.37 crore, while Rs 243.01 crore has been earmarked for centenaries and anniversaries of famous Source: Ccompiled by Centre for Budget and Governance Accountability (CBGA), India.

THE DANCE INDIA | MARCH 2017 | 18 implementation of a project or programme. A professional and transparent approach to budget planning will help convince investors, development banks and national or international donors to make financial resources available.

Generally, the budget has mainly two functions. First, it estimates, as realistically as possible, the cost of completing the objectives identified in the project proposal. The sponsoring agencies will use the budget details to determine whether the proposal is

expenditures and investments include projects such as building a new plant or investing in a long-term venture. Often, a prospective project's lifetime cash inflows and outflows are assessed in order to determine whether the potential returns generated meet a sufficient target.

Expenditure:

Expenditure is payment of cash or cash-equivalent for goods or services. It can also be defined as a charge against available funds in settlement of an economically feasible and realistic. Secondly, the obligation as evidenced by an invoice, receipt, budget provides means to monitor the project's voucher or other such documents. financial activities over the life of the project. In this way, it is possible to determine how closely the Budget Estimate: actual progress toward achieving the objectives is Budget estimate is often used to establish a cost being made relative to the proposed budget. constraint for a project or operation. In project Capital budgeting: management, project cost management is a major functional division. Cost estimating is one of three Capital budgeting is the process in which a business activities in project cost management. In cost determines and evaluates potential expenses or engineering, cost estimation is a basic activity. investments that are large in nature. These

Tawang Monastery, Arunachal Pradesh

THE DANCE INDIA | MARCH 2017 | 19 Revised Estimate: concerned and the Planning Commission. Non-plan revenue expenditure is accounted for by interest A change in the calculation of the cost of a project payments, subsidies (mainly on food and fertilisers), comes under this category. This calculation is made wage and salary payments to government and presented to a buyer, usually while a project is in employees, grants to states and Union Territories, progress, and may be subject to further changes due pensions, police, economic services in various to both exogenous factors and endogenous factors. sectors, other general services such as tax Planned & Unplanned Expenditure: collection, social services and grants to foreign There are two components of expenditure - plan and governments. Non-plan capital expenditure mainly non-plan. Of these, plan expenditures are estimated includes defense, loans to public enterprises, loans after discussions between each of the ministries to states, Union Territories and foreign governments.

THE DANCE INDIA | MARCH 2017 | 20 THE DANCE INDIA | MARCH 2017 | 21 THE DANCE INDIA | MARCH 2017 | 22 THE DANCE INDIA | MARCH 2017 | 23 THE DANCE INDIA | MARCH 2017 | 24 The report and tables were compiled by Venkatesh Y, VR Associates.

THE DANCE INDIA | MARCH 2017 | 25 OPINIONS

1. Shubhada Varadkar (Odissi), Sanskrita Foundation, Mumbai, who has been teaching Odissi over 25 years, on 10% hike said, "The government should have done this earlier. It is important to preserve our culture, which is our identity. It is sad to see ignorance towards Indian classical dance forms here. I feel that more dance festivals need to come up which will help preserve and protect our classical dance."

2. Shila Mehta (Kathak) shares, "Why is there only 10% hike? Don't we deserve more? We do not consider this platform as an industry, but we do need funds to preserve this culture. Art forms are taking a back seat these days. Recognition needs to be there since we as artistes put in more energy, physical as well as mental strength. There is a strong need to respect these art forms." Shila Mehta's institution Nupur Zankar is spread overseas in Belgium, United Kingdom, United States of America apart from the one in Mumbai.

3. B Bhanumati (Bharatanatyam) shares, "Hardly are we benefitted with this budget. We have to apply several times and the process is tiring. There is no recognition for established institutions also. The government must recognise and provide funds to artiste and organisation to work efficiently towards promoting Indian classical dance and music. Frankly speaking, only those who frequent government offices multiple times are benefitted. Such funds do not reach the needy." She adds, "Even if we get funds, there are a lot of hassles to deal with such as we need to tally and send accounts and need to provide minute details to get our end result." Her institution's name is Nritya Kala Mandiram, Bangalore.

4. Dr. Sucheta Bhide Chapekar, (Bharatanatyam) says, "Today in this global scenario, the only way to stand out is with the help of our distinctive culture of classical dance forms. Everything else is fast changing. Hence this must be given most importance. In fact, right from schools we must introduce teaching classical dance forms. Traditional values are inculcated at a young and tender age, which is when the child is in school. I feel many children will gain interest in our classical dance forms if they are introduced to it at school." Settled in Pune, she runs Kalavardhini, a dance school both in Mumbai as well as in Pune.

5. Chentan Saraiya (Kathak) shares, "This move is certainly very good since people will get more opportunities to come forward, take initiatives and help nurture our dance forms."

THE DANCE INDIA | MARCH 2017 | 26 6. Debi Basu (Odissi), founder, Shanmukhapriya says, "This hike does not make much difference to me since I have never been benefitted. I am happy to impart the knowledge I have gained from my gurus to my students."

7. Girija Nair (Bharatanatyam) founder of Geeta Nritya Vidyalaya says, "We, as artists are not much aware of the cultural budget allocations. Thanks to Mr. Vikram Kumar's cultural symposium, I learnt about government organisations that work for preserving Indian art forms. I would love to be part of any such campaign that would help to protect and preserve our culture."

8. Guru Deepak Mazumdar (Bharatanatyam) shares, "This move for allocating more funds for Indian culture is good, though one question that raises in my mind is whether it will reach the needy. If this is implemented, then it certainly is a huge boost. Foundation has to be laid at school level, to make our culture strong and to keep it preserved."

The ministry of culture, which was set up in 1985 The programmes undertaken by the ministry of through the 174th Amendment of the Government of culture can broadly be classified under the following India (Allocation of Business) Rules, 1961 was part of heads: the Ministry of Human Resource Development. Later, Archaeology it was transferred to the newly-created ministry of tourism and culture. In May 2004 it was declared as Museums an independent ministry. The ministry is responsible Anthropology and Ethnology for the promotion, preservation and conservation of Archives and Archival Libraries the tangible and intangible cultural heritage of the Tibetan/ Buddhist Studies country. It also promotes mutual understanding, Libraries goodwill and fosters closer relations with foreign countries. Preservation of ancient and historic Akademies and National School of Drama Promotion monuments and records, exploration and excavation and Dissemination of Culture Memorials of archaeological sites and remains, maintenance Centenaries and Anniversaries and expansion of libraries and museums of national Cultural Relations and Festival of India IGNCA importance and observance of centenaries and Secretariat anniversaries of eminent personalities are among its Activities of North East Region other responsibilities.

THE DANCE INDIA | MARCH 2017 | 27 " e come nearest to the great when we are great in humility." As the Nobel Laureate Rabindranath Tagore says humility is Wa great trait. Some people with great humility do not strive to be popular but nevertheless, they become great individuals. Seetha Nagajothy, a well-established name in the field of Kuchipudi, is one such humble soul who continuous to remain a great teacher. She has been propagating the classical world of Kuchipudi dance for more than three decades nationally and internationally and it's her humility and self-awareness that sets her apart from the lot. She was one of the senior most disciples of Padma Bhushan Dr. Vempati Chinna Satyam who has ardently followed his style in her teachings and created several stalwart dancers in Kuchipudi.

She was born in Kakinada where her father was one of the leading advocates. In fact, both her paternal and maternal grandfathers were lawyers. At the age of 5 years, she was taken to 'Vidyarthini Samajam', a community centre near her house where her grandmother was a president. "Along with my mother, I used to attend programs that took place in the centre," she says. Srinivasan, a new dance master from Chennai was appointed as teaching dance in the centre and he, upon looking at Seetha told her grandfather that she is suitable for dance. Her grandfather hails from a conservative family and did not like the idea of her being a dancer. But still, her mother made her learn dance without his knowledge. Her mother was fond of art and even started an institute named 'Sri Lakshmi Ratna Sangeeta Nrithya Kalasala' in the house itself and ran it for 5 years. After a while, Srinivasan left the centre and they had a new teacher named H Rukhmini, who earlier assisted him.

THE DANCE INDIA | MARCH 2017 | 28 Seetha learnt under her for several years but she too went back to Chennai. Her quest for learning dance made her come down to Visakhapatnam and learn from PV Narasimha Rao during her school holidays. Over a period of time, learning once in a while did not suffice the desire. Her passion towards dance grew and she moved to Hyderabad to learn Kuchipudi from Sumathy Kaushal at Nritya Sikhara. She learnt under her for two years. After her arangetram, she even taught there for one year. During the period she decided to do her BA from Andhra University in the distance mode and she says that it led to the delay in her academic education. She chose dance as a subject in her bachelor's degree. Though she began her degree when she was at Nritya Sikhara, she eventually completed it when she started training under Master Vempati Chinna Satyam at Madras. She had to move there due to some reasons and started training under the Master in the late 60's. After two years of learning at Kuchipudi Art Academy under the direction of Master Vempati, she did her arangetram once again on May 1, 1971 at Madras. She continued training under him for several years to come. Along the way, she completed MA Telugu from Andhra University.

She says that she observed a lot of difference in the training process and style at Kuchipudi Art Academy when she moved from Nritya Sikhara. Initially, a senior teacher named Durga taught her Kaushal, she began to realise the differences but her at the Kuchipudi Academy and her teaching was arangetram turned out to be a mixture of both so effective that Seetha learnt various steps and Kuchipudi and Bharatanatyam. It was at the Jathis in a week's time. She polished her skills Kuchipudi Academy under Vempati she tasted the and learnt various Kuchipudi pieces and Jathis unique style of Kuchipudi and its grace. She learnt directly from the master. Those days, the how to be tender and graceful with her moves, how academy did not have many teachers so Master to produce strong steps with feet and how to make himself taught most of the classes in the the facial expression soft and beautiful. The best part morning - a blessing. At the academy, she was he taught the nuances of Kuchipudi dance to all observed a distinct and systematic style of his students equally. Though they were 20-30 teaching. When she started learning dance at students, Master took individual care and Kakinada, it was a mix of Kuchipudi and concentrated on every student. He strived for Bharatanatyam. Those days she didn't even perfection in his students, when he showed them a know the difference between these dance forms. particular posture, each and every one of his And when she started training under Sumathy students had to present it with precision. The ability

THE DANCE INDIA | MARCH 2017 | 29 training students of the academy displayed great command over the dance form. They practiced the foundations, steps, Jathis and items with penance. Seetha, over a period of time, taught both theory and practice of Kuchipudi.

She was also part of the choreographies of Master Vempati. "Master usually asked us to wake up and come down at 4 am for choreographing various At AIR for an Interview items and ballets. We used to dress up in our half sarees early in the morning and go to the academy to extract grace while making stiff postures was a and he used to compose brilliant choreography," she trademark of his teaching. He meticulously says. Usually master handpicked few students who observed the eyes moments and facial expressions could grasp his ideas for choreographing and of every student and not just the students who were Seetha was an active part of the process. This performing. He never had any division or bias. practice took place not just for one or two years but Both master and she knew that she did not have the for several years. Most of the masterpieces that built, structure and stage appearance of a Vempati choreographed were developed on these performer. She did do solo performances and selected few who were the backbone for people on dance ballets like Chandalika touring along with the stage. Seetha's theoretical knowledge about the Master but she herself felt that she was not made for dance was an added flavour and advantage. She the stage and one day Master told her that she has a sometimes provided the master with the meanings great capacity to become a Kuchipudi teacher and of certain Sanskrit words. "I'm not a scholar of appointed her as one of the teachers in the Sanskrit but I used to help master in finding the academy. Though she felt hurt for not being a stage meanings of certain Sanskrit words," she says. performer, she suppressed it with her effective Those days, writer Bhujanga Raya Sarma and music teaching. Those days, Master paid her Rs 300 for composer Sangeetha Rao were great assets to teaching at the academy and told her that's what he Master Vempati. could afford. He asked her if she was okay to help him in teaching for that salary. She agreed and embraced the opportunity with both hands. She had immense respect and liking towards the art and her Guru. So in the year 1974, she started teaching at the same academy where she learnt Kuchipudi. It was a rare happening in the Kuchipudi Art Academy. She felt quite pleased and happy for being able to do it and strived to imbibe master's teaching style to perfection. So much so, she follows the same style of teaching and instruction even today - only the choreography and items changed.

Though all of a sudden, she became a teacher, other students had no problem accepting her in the role. Classes at the academy commenced at 8 am and continued till 1 pm. Again, training began at 3:30 pm and continued till 8 pm. As a result of such rigorous

As Narada in Menaka Viswamitra THE DANCE INDIA | MARCH 2017 | 30 to set in as she was not settled, not married and her mother was on the lookout for a husband and she never liked the process of Pelli Chupulu (matchmaking). She asked her family, not to lookout for a husband. As a touch of destiny, she found her husband Nagajothy, an air force employee who was also training at the Kuchipudi Academy under teacher Durga from 1981. One fine day, her future husband proposed her When master started the Kuchipudi Art Academy at with a poem and sought her acceptance. Soon, even Hyderabad, he decided to have Shoba Naidu as the without her knowledge he visited her house and principal and Seetha as a teacher. "He asked me if I asked the family for her hand. In just three months like going down to Hyderabad to teach and I replied time, they got married on 1 May 1985. He gave her that I would be ready to go anywhere that he wants the choice if she wanted to continue at the academy me to go," she says. She had immense trust in her but she decided to move along with him, as his master. She taught the dance form at Kuchipudi Art profession demanded him to move to different parts Academy in Hyderabad for two years. She started of India. Initially, she did not teach in Delhi due to the teaching major part of theory while working here. lack of space but later on, once they got a house, Master praised her as Savyasachi (ambidextrous), she once again started to teach Kuchipudi in the someone who could teach both theory and practical. ground floor, which looked like a garage. Just a Later on, when master decided to leave the academy couple of years into the marriage both of them and go back to Chennai, he gave her the option to choose between Hyderabad and Chennai. Without any after thoughts, she decided to go back to Chennai.

In between, she was also sent to Kuchipudi to train members of the traditional Kuchipudi community through a teacher-refreshing course. She felt proud and privileged to teach Kuchipudi to Kuchipudi Bagavathas, who were the custodians of the art form since ages. She taught them, Vempati's style of Kuchipudi.

Upon moving to Hyderabad she received a pay of Rs.600 and when she went back to Chennai her salary became Rs 400 but she continued teaching at Kuchipudi Academy till 1985. After a point of time, frustration started

THE DANCE INDIA | MARCH 2017 | 31 Her popular disciples at Kuchipudi Art Academy, Chennai and Hyderabad include Dr. Kamala Reddy, Vempati Ravi Shankar, Anuradha Jonnalagadda, Pasumarthi Srinvasulu, Deepika Reddy and Kalpalathika.

Seema Vishwanathan, Papiha Desai, Kanaka Sudhakar, Jalaja Kumar, Amrita Lahiri, Abhinaya Nagajothy, Ashwathy Krishnakumar, Mrinalini Saladi are some of the popular students that she trained in Delhi.

She has worked as a dance assistant to Padma Vempati master Bhushan Vempati Chinna Satyam in Kuchipudi Art Academy, Chennai for 15 years and participated in decided to open their dance school and her several dance dramas like Menaka Vishwamitra and husband took a voluntary retirement from the air Chandalika and helped him in the process of force job. She was against opening a school in choreography. She has conducted workshops for Chennai because Master was still teaching. So they Kuchipudi throughout England. Headed many dance opened their own school in Delhi in 1987. workshops at Kuchipudi village and Hyderabad. She has been conducting regular dance classes at Delhi It was a struggle and test of perseverance, they got Tamil Sangam for more than a decade. permission to teach Kuchipudi in the Tamil Sangam in Delhi and for a period of 3 years, they only had one student. In the years that followed the drought was over and they taught Kuchipudi to numerous students. Though she has contributed immensely for the propagation of the Indian classical dance of Kuchipudi, her efforts are not truly recognised by the ministry of culture. But putting that aside like an unfazed and undeterred warrior she still continues to train the young generation of artistes purely for the love of Kuchipudi.

In the days to come, she wants to compose new steps and choreographies in a more simplified manner for the future generations, all without deviating from the Shastras.

On various occasions, former finance minister P Chidambaram, Telugu movie star Satyanarayana and external affairs minister Sushma Swaraj felicitated her. She did her Rangapravesham at Kuchipudi Art Academy in Chennai and she even completed Natya Visharada in Kuchipudi dance. Her academic education includes MA Telugu and BA Dance from Andhra University, Visakhapatnam and Hindi Visharad from Hindi Prachar Sabha, Chennai. Teaching student Seema Vishwanathan

THE DANCE INDIA | MARCH 2017 | 32 acclimation. She has choreographed numerous dance sequences like invocatory items, Javalis, Annamacharya Kritis, Thillanas, and Tarangams.

Senior Fellowship awarded by ministry of culture, Government of India, for her outstanding academic achievement in researching about Kuchipudi in 2014; Pragnya award by Andhra Association, New Delhi for her unique devotion towards Kuchipudi; Best Teacher's Award by Vadakku Vasal Magazine, New Delhi for her extensive dedication towards Teaching young Vempati Ravi and others propagating Kuchipudi dance in India; Shreshtha Nritya Acharya Award by Hayagriva Society, New She was invited to the United States of America to Delhi for her intense passion and dedication in conduct several classes and workshops all over the teaching Kuchipudi for thousands of art lovers; country. Her students have traveled to Spain, Award for excellence in Kuchipudi Dance by Malaysia, the UK performing her Kuchipudi style and Sathyanjali Academy of Kuchipudi Dance, Cochin, her choreographies. Her students hold distinction Kerala, for her remarkable contribution in the field of certificates in Kuchipudi from Potti Sriramulu Kuchipudi. Seva Tapasvi by Abhinaya Nruthya University. She has choreographed dance ballets like Bharathi, Eluru, Andhra Pradesh were some of the Dasavatharam, Shiva Lila, Ayyappa Jananam, recognitions. Annamaya Kempulu Natya Talampulu and won critical

With Oscar Fernandes

THE DANCE INDIA | MARCH 2017 | 33 ome people nurture their natural abilities and creative powers to Sbecome larger than life personalities. They scale heights that are previously unknown and seem impossible. Sandip Soparrkar is one such super human being who makes everyone believe that nothing is impossible - a genius of dance for whom the sky is the limit. The Government of India bestowed on him with two prestigious national honours - National Excellence Award (2016) and National Achievement Award (2014). The German- trained Ballroom dance teacher was the first Indian to be certified by the 'Ballroom Dance Teachers Training School' in Bonn Germany. His collaborations with legends like Padma Vibhushans Pt. Birju Maharaj and Sonal Mansingh speak volumes

THE DANCE INDIA | MARCH 2017 | 34 about his caliber. He has also been honoured which is a classical form of western dance. He did ballet for with 'The Visionary Award' by the Lions Club 10 years and then progressed into the ballroom. So the International, USA for developing a Ballroom attraction to a particular form developed but he could not Dance Programme 'Dancing in the Dark' for the understand this strange attraction very well. When he came visually impaired. down to India, the first thing on his mind was a fascination to see Indian dances - Kuchipudi, Mohiniattam, Sattriya and Sandip studied Indian mythology and loves others. That's how the love affair with Indian classical dances Indian art. In fact, he has a Ph.D. in World began. He realised that there were lovely ways of mixing Mythology wherein he studied the mythologies things but he never got a chance till a few months back to of various countries. He realised how our mix western classical dance with Indian dance forms. country was similar to various other countries in Otherwise, he got chances to mix his dance with Bollywood. many ways. At the same time, he noticed some great points and some not so great points but His first film was Zubeidaa and it was when he first met he was attracted to Indian culture. He never Indian directors and actors like Shyam Benegal, Rekha, and lived in India as he grew up in Germany. His others. "Earlier, I never knew who they were because I was fascination for India made him come down to never into Bollywood films ever. I came here on a holiday India more than a decade and half ago. "India and the film happened to me on a holiday," he reveals. The was always a fascination for me because I was film became a hit and his dance too became a hit. He Indian blooded. Everything about me was received his first award for the film and he realised that he Indian except for not being educated or living could mix his dance form, which is the western classical here," he says. His parents and grandparents dance form into Bollywood dance. And that is how it all talked and thought so much about India that it became a dream place for him to go. "When I was doing my Ph.D, I was fascinated by Vishnu and all his affairs and avatars as I studied about the dream place," he says. That got him closer to the Indian dance forms. "Indian dance forms always speak stories about Indian gods and goddesses. In many ways, dance helped me understand them. It was almost like reading a book," he adds. So instead of reading a book, he wanted to see the performances and that's how he started to understand the smaller nuances of Indian classical dance.

He never got a chance to train in Indian dances because there were not as many classical dance classes and even his parents had a feeling that boys must not take to Indian classical dances. "I come from a very conservative south Indian and Gujarati mixed family," he says. His mother was a Bharatanatyam dancer from South India and his father was a Gujarati. And they both believed that boys must not dance. He wanted to dance and so they put him into ballroom dancing,

THE DANCE INDIA | MARCH 2017 | 35 began to take shape. "Today, I mix a lot of things but in western dancers have certain limitations with the my classes, I only teach purity. I only teach classical expression and don't have mudras like the Indian ballroom dance and never teach Bollywood. In fact, I classical dances have to showcase stories. They need don't teach anything else," he says. He believes that to use drama or theatre to tell a story. Any of the big training should always be pure. "Once you train and musicals like Swan Lake or Burn the Floor require become a seasoned artiste then you could do drama in it. They don't have mudras or expression like anything you want but if you were training in chalu Indian classical dances. "We western dancers don't maal then you would remain that way forever," he have facial and eye moments, we are quite stiff with all adds. He never encourages people to learn that," he says. On the other hand in Indian classical Bollywood because it is not the purest dance. dance, sometimes, if you are not flexible it gets a little Currently, he performs all over the world but he still difficult to perform. "I was talking to a classical dancer wishes that he were an Indian classical dancer. and thought maybe Indian classical dances require a lot of flexibility which they don't often practice. If they He started dancing at the age of five. He learnt ballet implement yoga into their regular lives they will be for 10 years and then moved to Ballroom because fine," he feels. So somewhere Indian classical dances that was the only option he had. He says, "As a 15- become a little year-old boy, girls more stiff muscle attract you a lot and wise when ballroom is the best compared to way to get close to ballerinas or them. It was a fun ballroom dancer. thing but soon you He also felt that realise that as a most of the Indian dancer initially that dancers don't take might be an proper care of excitement but when their bodies and you start dancing iterated the you realise that it is importance of not about the fitness in dance. women it is about "We need to the feeling of dancing, it comes later, when you mature somewhere have fitness in the routine as an important as a person and dance more," he explains. When he form. Everybody believes that face speaks but I was 18-20 years old, he developed as a dancer and believe even body speaks. So I would rather see a realised that it is not about the hot women next to him beautiful bodied dance because dance is a visual but it is about his dance and himself. medium like films. It may sound very superficial but it According to him, there are several similarities and is a visual medium. We want beautiful women and differences between Indian classical dances and good-looking men to dance. It's not about the age of Western classical dances. The similarities are the bodies but the fitness of the bodies," he says. dedication and determination. "You have to give your Sandip has studied 15 dance forms. The ballroom life to it. You can't say a one-week workshop or 10 itself had 10 dance forms, which was under two days workshop, eight years training or 10 years categories - the classic category with Waltz, Foxtrot, training would do. It would not because till today I'm Tango, Quickstep and others and the Latin American still learning. So I think that is a similarity be it western category with Rumba, Samba, Cha Cha, Jive, or Indian," he says. Pasodoble, Salsa, Merengue, Bachata and Lambada. When it comes to the differences there are loads - He learnt them in Germany and also had a special

THE DANCE INDIA | MARCH 2017 | 36 subject that he had to choose and he took Zorba, a tales, three years back, he got a chance to perform Greek dance. "I chose Zorba because I felt it was the with the Maharaj, the man who he saw performing easiest dance to learn after learning 14 dances," he when he was a child. "It was a corporate event, he was quips. All the ballroom dances are interconnected. He doing Kathak and I did the Pasodoble (Spanish started off with 6 dances and over a period of 8-10 dance). Both the dance forms have similar beats and years, new ones got added. It's a training of though it was a 3-minute jugalbandi, it was a big thing ballroom but it had different sections like how Indian dancing next to him," he says. dances have different sections during the training. The He loved the show that he did with Indian classical technique remains the same but musicality changes. dancer Sonal Mansingh, "I met her 17 years The origins of these dance forms were back and she called me her dancing son and from different countries I call her my dancing mother," he reveals. and there are a total of They were giving a talk in IIM Ahmedabad 11 classical western with all the intellectuals sitting around dances, 10 ballroom them. And Sonal, who is known to be a dances, and 1 ballet.

Every time he watched an Indian classical dance performance, he asked himself, why he was not there performing? But he also feels that sometimes it is good to be a person who watches and admires than to be there on the stage. "Maybe, I could be good friends with them because I am not in their field; every field has got rivalry into it. I'm a big admirer of dance and I'm a good friend of many dancers and I've done a lot of collaborations with various dancers. I know somebody might be a very big name but may not be a good dancer; they have just had the glam attached to them. There are some who might be smaller but they are technically beautiful," he says.

He first saw Indian dance when he was a baby. His mother was a Bharatanatyam dancer and she would always take him for the concerts. He still remembers going to a concert where Pt. Birju Maharaj danced. It was a Kathak and tabla jugalbandi and he was zapped. And in a twist of

THE DANCE INDIA | MARCH 2017 | 37 bold speaker, while addressing Sandip said that there matter you I can even dress up a Bharatanatyam isn't much background to western dances when dancer in Mohiniattam attire and choreograph but you compared to Indian dances. Which he agreed to as can't make a dancer with limitations do 10 styles of India has a 3000 years old history and in comparison, dance. I could make an Indian classical dancer do western dances have a little less but he stood his Ballerina, the grace might be there as a trained dancer ground and iterated that they do have history and but she would have certain restrictions and the quality background. She asked him, to give an example and would suffer automatically. My job as a he spoke about the history of Tango and Samba. Like choreographer and judge is to entertain the viewers," how India has prayer dances, Samba was in a way a he explains. Being a judge he says that 90% of the temple dance. Today, it might be on the streets of Rio people are learning from the reality shows, which is de Janeiro but earlier it was a temple dance. As he not a good platform to learn. He says these shows was speaking, she looked at his face and said, "I want are for fun and entertainment, so like it or dislike it but to say something to this young man. If I had a son it leave it there. It is a fantasy. would have been like you Sandip." According to him, men are most She got up and put her own tika eligible for classical dance because and said that from today onwards our gods are male who danced. he is her dancing son. That was the Very rarely Indian goddesses best memory he has in his career. danced. Today when we talk of best She was like the Nataraj of Indian dancers, Birju Maharaj to Shiamak classical dancing among women. Davar are all male dancers. From his He always admired and read about experience, he sees two reasons her and more so she was a woman why Indian men do not want to of knowledge. Both of them dance. "Firstly, mothers ask them to worked on Doordarshan's "Bharat play football and not dance because Ki Shaan - Rum Jhum", a reality mothers believe that her child will show for 7 months. They also did a become girly if he dances. He might show called 'When Gods Meet' become a girl if it is written in his fate which was almost 12 CDs long. It but definitely, dance would never was a wonderful comparison make someone girly. Secondly, between Indian Gods and Greek girlfriends and wives who feel men Gods. Recently, he performed the should not do classical dances. story of Tulasi at Hampi Utsav in collaboration with They'll ask them to do western dances but not Indian. Prathibha Prahlad. If a man could become feminine doing a classical Talking about his career as a reality TV judge and mudra then he can become so doing a western dance choreographer he said, "Film and TV are about move too. Apart from these, the man himself is to be entertainment. If anybody says that you can learn blamed for not believing in his abilities." dance from watching 'DID' then he must be a fool. Go He brings the example of actor Kamal Hassan's to a classical dance class next to your home and learn dance and how there isn't any trace of femininity in it. dance from there instead of trying to learn from You Some become effeminate when they play the Tube or Television," he says. character of a girl, like Maharaj when he does the girl's He says that as a choreographer he has a lot of part, he does it in a very girly manner and when he limitations. "If a Kathak dancer comes to me, I can does a boy's part he is a boy. He says that make her do beautiful Kathak, the same thing with everybody has two sides in them; it's their individual Bharatanatyam and other Indian dances. For that personality. That should not prevent men from taking

THE DANCE INDIA | MARCH 2017 | 38 THE DANCE INDIA | MARCH 2017 | 39 up Indian classical dance. It's unfortunate that sometimes, male classical dancers are shown as effeminate in the movies.

Another drawback that he points out in Indian classical dances is that they do not break away from the influence of their gurus from whom they learnt and continue to live under their shadow. "Just because my guru did a particular thing doesn't mean that I would do it all my life. An artiste should also have his own personality in his dance," he says. There are also politics that arise because of the insecurities, which artistes should let go. "I see so many gurus who say if you are learning from me then you cannot learn from there. It is up to the student to decide if he has the ability and resources to excel," he suggests.

There is also this notion that artistes perform for free and doesn't realise that they have bills to pay. Finding sponsors for western and Indian dance collaboration, which aim for the exchange of cultures and strive for peace has been an arduous task even for Sandip. Talking about platforms, he says there is a problem with that too. If he does a show with a Pakistani Sufi singer, it could be banned and suggests that somewhere we need to let go off cultural barriers of art. "It is quite tough to attain peace through dance but it is surely possible," he says.

Talking about his future plans he says that he doesn't plan things. "I don't even take bookings for more than two months in advance. If I feel like dancing I dance if not I won't. Fortunately, I come from a family, where even if I don't do anything, I can sit at my home and enjoy life. I came here on a holiday; in the holiday I adopted a child, got married and got divorced. I take it the way it comes. If something comes it comes, but one thing that I can say is that I don't refuse anything. I'll try to give my 100 percent to do whatever I can," he says adding, "Every dance, every appearance, every TV show and travel, teaches me a lot of things." He loves people and he is inspired by the world mythology be it African, Asian, Greek, Roman, and others. It taught him to take life as it comes and believes that there is no need to make plans. "If you make plans for tomorrow the Government might drop a bomb on your head and there is no point," he quips.

THE DANCE INDIA | MARCH 2017 | 40 Over the years, he has been recognised and Knowles, Britney Spears, Kenny G, The royal family of presented with numerous prestigious national and Kuwait and others. He has choreographed several international awards but as an artiste, he never wants Hollywood and Bollywood films, national and to look back and see what he has done or achieved. international musicals, music videos and Neither does he see himself months in advance. "It commercials. He has also been a seasoned judge for may be a good or bad quality. My father being an numerous reality shows both in India and abroad. He army officer would always tell us that you never know, has done extensive productions and dance dramas. I might not come back home and leave because he He had been a brand ambassador for NGO's like was fighting wars. So why not enjoy the time you PETA. He not only trained celebrities but also worked spend with the people at that particular moment," he with differently-abled children. His performance at says. prestigious platforms across the world is a feat in itself. Achievements: Ballroom Studio: In 2004, The Queen of England and The Prince of Wales have written personal letters of appreciation to Sandip Soparrkar's Ballroom Studio has been training Sandip for promoting Ballroom & Latin American crème de la crème of Indian and international dance culture in India. He was the first Indian to be celebrities for quite some time now and has its invited to judge the 'Asian Latin & Ballroom Dance branches across India and its international branch in Championship 2008' held at Colombo where 32 Norfolk, Virginia beach, USA and Kathmandu, Nepal. countries took part with 78 competitive dances. In Popular actors like Hrithik Roshan, Aishwarya Rai January 2011, he was specially invited to perform at Bachchan and others were students of the studio. His the closing ceremony of the 'World Economic Forum', Ballroom Studio has taken initiative to introduce dance Davos, Switzerland. Year after year, he has been as a form of education in various schools in India, representing the Indian dancers and choreographers where dance as well as its history, background, community at the prestigious Cannes International costumes, music, instruments, etc. is taught to Festival. He has taught dance moves to international children. known people like Madonna, Shakira, Beyoncé

THE DANCE INDIA | MARCH 2017 | 41 he prestigious dance festival 2017 was celebrated with great pomp and show by TMadras Music Academy (MMA) recently. Bharatanatyam dancers of no mean acumen, both another flaw that I noticed was that some performers veterans and juniors, were provided with a were chosen to perform again and again. India is a performance place, along with dancers of most of large country with plenty of dance forms and even the other classical Indian dance forms. There were more plentiful dancers. A more even distribution of surprises galore. The fact that Bharatanatyam is performers from all over the country could perhaps not necessarily the preserve of female dancers be better. was proved by veteran male dancers like Vaibhav Arekar and A Lakshmanswamy and upcoming Choice of themes was of course mythology and dealt young dancers P Praveen Kumar and Christopher with gods and goddesses mainly, but there were Guruswamy. These male solo dancers regaled the dancers who chose secular subjects for their audience with their marvelous craft. choreography as well.

It also came to pass that the best Bharatanatyam There was Malavika Sarukkai's Timmakka, which performers are not necessarily Tamilians. Here though not a very recent choreographic work of hers, again, Vaibhav Arekar's name features because he was based on the true-life story of Timmakka who is neither a Tamilian nor a South Indian. He did planted an avenue of 247 banyan trees, whom she exceedingly well and appeared to be a dancer called her children because she could not give birth to who thinks. The best female performers of the an offspring. festival Leela Samson and Rama Vaidyanathan are Rama Vaidyanathan's Vrikashanjali was an ode to the also non-Tamilians. tree. The word poem and its translated version in the Nonetheless, I was happy to note that vocabulary of Bharatanatyam by Rama was Bharatanatyam, which was brought back to its savoured by dance lovers and connoisseurs. glory by pioneers like Rukmini Devi Arundale in Odissi dancer Sujata Mohapatra's Varsha based on Tamil Nadu, has lived up to its name and has Kalidasa's Ritu Samhara was about the many faceted proliferated throughout India. Today, one can quality of the rains. proudly say that Bharatanatyam is truly pan- Indian. Jaipur gharana's Rajendra Gangani's display of technique with minute mathematical calculations was The other dance forms that found its way to this enthralling. festival were Mohiniattam, Kuchipudi, Odissi, and Kathak. The scales did not weigh evenly because Jaikishore Mosali Kanti, the torch-bearer of Vempati these forms were poorly represented. Also, Chinna Satyam style of Kuchipudi, along with his wife

THE DANCE INDIA | MARCH 2017 | 42 Padmavani and troupe made quite a mark with There was an opportunity to have a glimpse of the Narayana Teertha's "Tarangam" in Ragam Malika and stars of tomorrow in this festival. Dakshina coming Adi Talam. from the house of the Vaidyanathan is certainly one. She possesses all the ingredients like poise, Most of the themes showcased by dancers were expressions, and rendition of pure dance. The either about Krishna or Radha or divine Shiva and his Varnam "Mohamaginen" in Kharaharapriya Ragam consort Devi. Some chose Muruga and Ganapati too. and Adi Talam, a composition of Dandayudhapani Jayadeva's astapadis were quite popular with the Pillai proved it. P Praveen Kumar is another star in the performers. Leela Samson's selection of "Nibhruta making "Vadane Navaneeta", a varnam in Ragam Nikunje" showcased erotic love in the most aesthetic Hindolam composed by sage Leela Sukha, manner possible. established himself. Christopher Guruswamy Sujata Mohapatra was superb in spurning Krishna who mesmerised the audience with Ponnaiyya Pillai's "Sami came to her in the wee hours of the morning with signs Ninne Kori" varnam. Anjana Anand remained true to of being in love's embrace writ large on his body and Swati Tirunal's "Sarasa Shara Sundara". Renjit and face in the astapadi "Yahi Madhava Yahi Kesava". Vijna gelled together in each and every piece they rendered. They danced gleefully to Pandit Ratan Christopher Guruswamy, aptly visualised Krishna's Jhankar's "Holi Khelan Ko Chale Kanahaiya" in Ragam remorse in not stopping Radha, when she left after Desh splashing and sprinkling and smearing colours seeing him with a gopi in the astapadi "Manmiyam". on each other. Their mirth was catchy. Bharatanatyam dancer A Lakshman was able to woo Kalakshetra's Choodamani Pradanam Radha with the astapadi "Priye Charushile". choreographed by Rulmini Devi Arundale kept the The astapadi "Kuru Yadu Nandana" was taken up by audience glued to their seats. Firstly, one never gets Mohiniattam exponent Neena Prasad. She was able to tired of seeing episodes from Ramayana and ignite aesthetic flavour in asking Krishna to readorn secondly a choreographic work of the legend is her after their union. always welcome.

Malavika Sarukkai, who performed flawlessly and with In-group renditions, Surupa Sen and Bijayini Satpathy precision, fell short of reaching the peak in astapadi and their group did grand finale and set the stage on "Nibhrita Nikunje". fire. The astapadi Lalita Lavangalata was marvelous. Rama Vaidyanathan's performance left the audience hankering for more. Her performance from the start to the finish was breathtaking.

THE DANCE INDIA | MARCH 2017 | 43 oddess Ganga descended to earth! The Kuchipudi dance ballet 'Bhagiratha Vilasam' thoroughly enthralled the audiences and made them Gexperience the descent of pure Ganga from heaven. The vivacious ballet presented by the Nataraj Music and Dance Academy (the only organisation in Andhra Pradesh with UNESCO's International Dance Council Membership and ISO 9001-2008 certificate) under the choreography of NMDA principal KV Lakshmi mesmerised everyone. The one and a half hour ballet was organised by T Subbarami Reddy Kalapeetam and Veluvolu Trust convener Basavapunnayya

THE DANCE INDIA | MARCH 2017 | 44 during 'Nutana Samvastra Pratibha Puraskhar Mahothsavam' (talent awards festival) at Dr. BR Ambedkar Assembly Hall in Andhra University on February 11.

As per the Kuchipudi tradition, Sutradari (narrator) initiated the dance drama. It began with 'Sri Gajanana', the Vigneswara praise and 'Sagarudante Nene… Satkirthivantudananga…' introduction dharuvu and had a magnetic effect on the gathered audience. Upon knowing the plight of his sons who were burnt to ashes by sage Kapila, king Sagara goes to Bhagiratha with the chorus 'Adigo Adigadigo Bhagirathudu'. Bhagiratha, while citing a solution, explains the consequences that arise when Goddess Ganga's descends to earth. Later, Ganga arrives with the chorus 'Apavayya Bhagiratha Ne Thapamu…' and wields certain clauses and reveals that Lord Shiva is the only one who could hold her. She asks Bhagiratha to convince him. Bhagiratha begins to meditate and calls Shiva. In the meantime, making use of the break Shiva and Parvathi are seen spending some intimate moments with each other singing the chorus 'Ae Rithina Varnichano Parvathi'. Shiva appeared in due course and agreed to receive Ganga falling from heaven in his matted hair. Bhagiratha then prays to

Ganga and requests her to flow down to the earth. The scene where Ganga descends to earth was presented on stage with great technique. KV Lakshmi brilliantly choreographed the whole drama. Especially, the scene where Paravati and Parameshwar were shown spending time in Kailash and dancers doing 'Kanarandi Sivaparvathula Tandavam' on earth.

'Bhagiratha Prayatnam', a phrase, which has been used synonymously by the Telugus since ages in the context of achieving impossibility, was plausibly expounded in the ballet with the help of modern techniques.

Artistes Aruna Paramesh as Goddess Ganga, AR Jogarao as Bhagiratha, BR Vikram Kumar (Vikram Goud) as King Sagara, JVS Sudha as Shiva, Geeta Varalakshmi as Parvathi, B Praveen as Kapila Maharshi, S Narayana as Suthradhari portrayed their roles to perfection and emoted navarasas. The one and half hour Kuchipudi dance drama written by Ayyalasomayajula Rama Jogarao was captivating to the core. Dwaram VGK Thyagaraju's musical score further enhanced its appeal on an evening where classical art lovers had a feast.

THE DANCE INDIA | MARCH 2017 | 45 eniors make a It was the turn of the masters to comeback at classical prove their mettle, as Thane-based SSdance show organised Bharatanatyam school Takshashila by Takshashila Nritya Kala Nritya Kala Mandir organised a Mandir classical dance show titled 'Tarang Ratna' in which artistes aged 35-50 Dance is not just about motion: years displayed their deftness. It emotion is yet another important took place at Dr. Kashinath quotient. This was evident when the Ghanekar Natyagruha in Thane, dancers, who have been practicing Maharashtra. and teaching various forms of classical dances and glorifying the culture-rich Indian tradition for ages, took centre stage!

THE DANCE INDIA | MARCH 2017 | 46 "This was a one-of-its-kind event event was a kairotic moment. A organised at this grand scale in lecturer in economics from Mumbai India for the masters," averred University, Deshpande said, "Such a Guru Kashmira Trivedi, the platform is a dream come true for organiser of the event and founder artistes such as me in this age group. of the dance school. Trivedi added, Dancing in front of such a huge "This being the inaugural event, we audience was like a rebirth of the kept it open only for artistes from dancer inside me." the Mumbai and Thane region. We Another dance expert, Nivedita soon hope to expand our Mukherjee added, "I have organised boundaries." several dance programmes and Since the inception of the dance events but this is one such moment school 29 years ago, Trivedi has when you're a performer, not an been training dance aspirants in the organiser and thus is very special." style of Bharatanatyam. It was a Bhavana Lele, another Kathak showdown of several cultures and dance traditions on exponent is quick to add, "I wish to participate in February 17. Renowned dancers, including Nivedita Tarang Ratna next year as well." Mukherjee (Odissi), Tejaskumar Yadav (Bharatanatyam), Bhavana Lele (Kathak), Saji Menon Girish Dalvi, a Kathak artist who with his team (Mohiniyattam) and Girija Nair (Bharatanatyam), set provides special coaching to students of BMC the stage afire with their mesmerising performances. schools across Mumbai in folk dances also shared his happiness in sharing the stage with many other Dance exponents Guru Deepak Mazumdar and Dr. experienced dancers. "Though we do perform solo Jayashree Rajagopalan graced the event as chief stage shows and train our students, we rarely get an guests. opportunity like this." For participants such as Roopali Deshpande, the

THE DANCE INDIA | MARCH 2017 | 47 atyanjali dance festivals that coincide with sanctum of the temple; a stage on which various holy Maha Shivaratri have been an annual feature rituals take place most time of the year. Indian Nin many Shiva temples of South India. Those classical arts have always been devotional in nature at Chidambaram and Thanjavur, considered to be the and content. For a dancer, what could be a better way abode of Nataraja, are the most popular among of worship than to dance on a stage facing the idol of them. Nataraja and the sacred Sivalinga. Natyanjali Mumbai is not only of performances, but an offering. Inspired by the Natyanjalies of the South, Everyone associated with this event, on stage or Shanmukhapriya, a charity trust set up by Sri elsewhere, will vouch for the divine experience it gives. Subramanya Samaj, Chembur, has been organising Natyanjali every year for the past 13 years. Natyanjali, Started in 2005 as a three-day festival with less than Mumbai, has been providing a wonderful platform to six participating groups, Natyanjali Mumbai has now dancers of Indian classical styles not only from grown into 15 days long festival, with as many as 81 Mumbai and suburbs but also from all parts of India participating groups with more than 200 dancers and the world. ascending the stage. The audience was treated to a veritable feast of Indian classical dances. What makes the Natyanjali Mumbai special is that the dancers are able to dance on a stage, right in the

Disciples of Jayashree Nair

THE DANCE INDIA | MARCH 2017 | 48 The inaugural day and the closing day programmes To sum up, Natyanjali Mumbai has become a meeting deserve special mention. February 10, the inaugural avenue for dance schools and teachers of different day saw "Nruttamaalika" - a garland of dances - a Indian classical dances. The one-on-one meeting and specially choreographed group performance by interaction through the years has now developed into dance teachers of all styles and all age groups. a close-knit bondage and oneness among the Senior gurus in Mumbai like Rajee Narayan, dancers. "Nruttamaalika" the ensemble of Indian Kalyanasundaram, Vasantsena, Nalini Raghu, Vimala classical dances presented by nearly 30 dance Nair and Manjari Deo attended the inaugural day. teachers on the inaugural day this year stands as a After the dance, all of them interacted with the dancers testimony to this close co-operation. and expressed their happiness. "This collaborative Also, it is heartening to note that many established effort was possible only because of the co-operation dance institutes have started organising regular dance and dedication of the participants, who are dance festivals in Mumbai and its suburbs with the active teachers, choreographers and established artistes of participation of the entire dance fraternity. Budding their own styles," avers PS Subramanian, trustee of artistes are getting a lot of opportunities and Shanmukhapriya and Jayashree Nair, dance teacher encouragement through these festivals. and choreographer at Shanmukhapriya. The organisers have been trying to ensure the The regular performances began from February 11 presence of all participating groups, throughout the with 5 slots on weekdays and 9 slots on weekends; programme. "This will give the dancers an opportunity each performance was of 25 minutes duration. There to understand not only different forms of dance but were 45 group performances, 32 solos, and 4 duets. also give knowledge about the subtle nuances and On Maha Shivaratri, the final day, more than 40 style variations in the same art form. We want teachers, from all over India and even from far away Natyanjali to be a memorable event and also a Bahrain offered their Natyanjali before the Lord in their meeting ground for the upcoming artists. With the individual style. The temple was open throughout the grace of the Lord Nataraja, we are sure of the night offering special abhishekams and poojas to continuous support of the performing artistes and the Bhagavan Shiva. encouraging audience," say the organisers.

THE DANCE INDIA | MARCH 2017 | 49 ebruary 27, 2017 was the 96th birth followed by an intricate ladi or footwork pattern that anniversary of late Guru Acharya Parvati was composed on the spot by Maharaj. Maharaj's FKumar. Celebrated annually as senior disciples from Mumbai Renu Sharma, Kiran Smrutikusumanjali (an offering of flower like Bhargava, Vijayshree Choudhary and Preeti Sharma memories), by his prime disciple Dr. Sandhya V from Mumbai and Sangeeta Sinha from Varanasi were Purecha, founder-principal of Bharata College of Fine present to pay homage. Satyaprakash Mishra from Arts, this year it was celebrated through a masterclass Mumbai and Utpal Ghosal from Delhi accompanied by Pt Birju Maharaj and Susri Saswati Sen. on the Tabla.

Maharaj shared his childhood The Bharata College of Fine memories and journey in Arts offers Bachelors and Kathak. After this, Sandhya Masters degrees in shared her reminisces of the Bharatanatyam and Kathak late Acharya's Kathak as well as Diploma courses connection. Parvati Kumar for school children. The had his initial training in Kathak Bharatanatyam from Sundar Prasad. Sundar programme is taught and Prasad was a disciple of both mentored by Sandhya. Jaipur and Lucknow gharanas Other faculty members and had received his training include Rajenthiran Naidu, in Lucknow gharana from Chitra Dalvi and Suhani Bindadeen Maharaj, grandfather of Pt Birju Maharaj. Dhanki. The Kathak programme is mentored by Though Parvati Kumar spent the rest of his life Chetan Saraiya and Paullumi Mukherjee. As a part of exploring Bharatanatyam, with special emphasis on the curriculum, the college conducts classes in yoga, Abhinaya Darpanam, he always had a regard for Sanskrit, music, journalism, travel & tourism and other Kathak and moreover, was a great proponent of allied subjects that are available to all students making learning and knowledge sharing. it a very holistic approach. The administrator of the college, Bhavna Shah, said it is the dream of Sandhya Thus it was most befitting that Pt Birju Maharaj pays and herself that Bharata College becomes a meeting homage to the late Acharya through a master class in place for art and artistes from around the world, a Lucknow Gharana Kathak. The master class began positive space where art can truly blossom. Saswati with Saswati Sen teaching Kasturi Tilakam, a 14th- Sen and Pt Birju Maharaj will be conducting regular century composition written by Bilvamangala Thakur such master classes in the future at the college. and composed by Maharaj in Raag Bhupali. This was

THE DANCE INDIA | MARCH 2017 | 50 ri Sai Nataraja Academy of Kuchipudi Dance, which was established in 1989 at Secunderabad by senior kuchipudi dance exponent Dr. P Rama Devi, celebrated its 27th anniversary on February 27 at Ravindra SBharathi auditorium. Hon'ble Judge of High Court Rajani graced the occasion as chief guest and Kathak exponent Geetanjali Lal accompanied her in lighting the lamp. As a part of the academy's great tradition of honouring gurus, a minimum of five artistes from various fields connected to dance, music, and even art promoters were felicitated. This year the academy had the opportunity to honour Kala Krishna (dance), Kanna Rao (vocal), P Satyanarayana aka Satyam (mridangam), M Sashibhushana Rao (violin) and Voruganti Anand Mohan (art promoter). On the occasion, 55 students who were well trained under the able guidance of Dr. Rama Devi presented ten classical dance items in pure Kuchipudi tradition. Srivalli Sarma and Sweta Prasad on vocal, Renuka Prasad on mridangam, Sai Kolanka on violin, Uma Venkateswarlu on flute and Sreedharacharya on percussions gave a great support to the dancers in the successful execution of these items. Surabhi Kesavaram and troupe, Praveen and troupe did the aharya for these students.

THE DANCE INDIA | MARCH 2017 | 51 urush Kolkata, an all male Indian classical dance festival, took place Pat Gyan Mancha on February 24. It was the first initiative of Kush Kushari, disciples of late Padma Shri Guru Adayar K Lakshmanan.

Indian classical dance has been a female dominated arena for a long time. But this was not the picture during the initiation because only male performers participated. At present, male participation is a minority status. There is also a very common mindset prevalent in the society that male artists are meant for background work which includes all things from accompaniments to nattuvanars. This

scenario of not projecting the male artists is very much prevalent in West Bengal. This festival has been conceived to project the 'Purush' and help them conquer all the obstacles in their path.

Also, to bring out the talent it is necessary to inspire the male population about classical dance and its exploration in various fields. This festival, Purush, is named such to shade off all the inhibitions and to perform like a male participant, without imitating a female performer. The festival was dedicated to the memory of late Padmasri Guru Adayar K Lakshmanan.

The event was divided into two sessions. The first session had a seminar on the topic "Conditions of Male Dancers In West Bengal". The seminar had eminent speakers like Dr Sruti Bandopadhyay, Anurekha Ghosh and Sharmila Biswas.

The second session witnessed performances from four celebrated male dancers from all the corners of India. The festival was inaugurated by offering of flowers to Late Guru Adayar K Lakshmanan. Kush Kushari organised the event to create a platform for male dancers and to stop gender classification. The event ended with brilliant choreographies of Odissi exponent Krisnendu Roy and group. The entire event was supported by Kalavandita Academy.

THE DANCE INDIA | MARCH 2017 | 52 " dancer paints in space and creates moving The second half of the programme was a unique paintings". These words often said by Kathak presentation of Nritya Yog focusing on the intersection Amaestro Pt Birju Maharaj resonated at MES of dance and yogic principles. Nritya Yog began with Auditorium, Kothrud, Pune on January 29 morning Shivyog presented by Rasika Gumaste and troupe in when the Design 14 team took the stage. Aural, visual Odissi. Rasika and her troupe presented Shiva the and visceral, all senses were activated by the music, eternal yogi through a confluence of soothing music costumes and choreography of Design 14 done by and graceful dance. This was followed by Anand- Anjali Patil from Canada. The first act of Design 14 was Sadhana presented by Asmita Thakur along with an ode to the Sufi spirit that is embodied in all Kathak. Shruti Apte Mrunalini Khatavkar, Janhavi Kulkarni and The unique feature of the music was the use of claps Megha Nagarad. Asmita explored the importance of to give the theka of the taal. It went very well with the music in creating a meditative atmosphere. The use of Sufi ethos. Qawalli has often used clap marking and footwork as a representative of the cosmic rhythm that gave an appropriate connect between Sufi kalam that connects human beings to each other was truly and Kathak. The finale to the Sufi piece showed the an effective use of Kathak technique to portray the use of an aroha or ascendance of chakkars of subject. different variety ending in a crescendo. The last presentation was Dwaita-Adwaita by Rama This was followed by the central piece; an exploration Kuknur and Yashoda Patankar. A brilliant of Taal Dhamaar or 14 beats time cycle. The stamina choreography representing the yin and yang or intensive, the high-energy choreography was balance that is an important part of yog through presented very well by Anjali Patil and her troupe. mirror image choreography.

The programme was presented by Kalanubhuti The finale was a Tarana presented by Rasika, Asmita Society for the Arts. Dance doyennes Manisha Sathe and Rama. and Sucheta Bhide Chaphekar graced the event with their presence.

THE DANCE INDIA | MARCH 2017 | 53 umbai and Thane dancers received a few lessons to hone their dance skills at the cultural symposium held this month. Organised by Dance India magazine's editor-in-chief BR Vikram Kumar, the seminar Mcreated awareness about the Indian Council for Cultural Relations (ICCR) and how it can be used to develop their stage skills. He explained the significance of this government organisation for the dance performers and gurus. ICCR is an autonomous government organisation involved in India's external cultural relations, conducting cultural exchange programmes with other countries. It was founded in 1950 by Maulana Abul Kalam Azad, the first education minister of independent India.

Outlining the advantages of registering with the ICCR, Vikram Kumar explained to the artistes the selection and application processes. He also informed them about the cultural festivals which are held across India and how they could enroll for participation in them. This apart, he also spoke about the steps involved in gaining financial support for their dance institutions and cultural festivals, thereby creating an opportunity for the artists to explore and expand. - Anusha VenkatVenkat, Thane, Maharashtra

THE DANCE INDIA | MARCH 2017 | 54 cultural symposium "Gostha" was organised Aby the Dance India magazine on February 5 at Siddharth Hall, Panaji, Goa. A number of artistes from various art fields attended the symposium. Dr. Kshitija Barve welcomed the editor-in-chief BR Vikram Kumar and the local coordinator for Mumbai region, Kashmira Trivedi, with a bouquet of flowers. The participating artistes in Gostha introduced themselves and Vikram Kumar presented a power point presentation on the topic "Performing Arts and Career Opportunities". After his lecture, the artistes at the symposium discussed several issues related to the current dance scenario and problems in our country. On the occasion, Dr Kshitija Barve was appointed as the coordinator for Goa and Kolhapur region and Mitali Naik for Goa region. The artistes present at the symposium were delighted to know about the career opportunities in the field of art and expressed their gratitude to The Dance India. - Dr. Kshithija Barve, Goa

THE DANCE INDIA | MARCH 2017 | 55 alent and passion when nurtured with devotion experienced teacher Madhusudan Ban who was and dedication would make an individual into based in Vadodara. Her vocal training helped her to Tan influence. Vrunda Upadhyay from Mumbai win several competitions in singing. She is currently is one such soul who has tapped into her inner being trained in Carnatic music by the renowned potential to become a talented Bharatanatyam dancer, vocalist NN Shivaprasad. teacher, choreographer and a singer of She has a diploma in harmonium and she herself has unprecedented and graceful intensity. trained many students in music and dance for nearly Despite being a computer engineer by qualification, four years at a Mumbai-based CBSE school. She is Vrunda Upadhyay chose to currently working in an explore the rich cultural ICSE school as a music heritage of India through teacher. She is a Bharatanatyam. She began registered examiner at her training at the age of 5 Akhil Bharatiya years under the guidance of Gandharva Guru Kubernath Tanjorkar Mahavidyalaya Mandal (Sangeet Natak Academy since 2009. Awardee), Guru Ramesh She is the founder/ Tanjorkar and Guru Leela director of Mudra Tanjorkar from Vadodara, Dance Academy - a Gujarat. She pursued her non-profit organization, advanced training in dedicated to promoting Bharatanatyam at the college Indian traditional dance under the guidance of and classical vocal. Her renowned Guru Dr Sandhya academy promotes Purecha from Mumbai. She completed her Master of India's cultural heritage by teaching and performing Fine Arts in Bharatanatyam from the Bharata College with these next generation dancers and strives to of Fine Arts & Culture, Mumbai. Under the tutelage of expand the tradition's expressive range through her gurus, she was privileged to receive various innovative choreography and quality training. awards. Academy students got great opportunities to perform She is also a trained singer and a Visharad in in almost all Dombivli-based festivals and Hindustani classical vocal. She learnt her vocals under celebrations. Guru Neela Rahalkar of Gwalior Gharana for almost Vrunda performed extensively not only in India but eight years. She was trained and guided for practicing across the globe. old film songs of Lata-Asha for six years from an

THE DANCE INDIA | MARCH 2017 | 56 Some of the important international  'Panchamveda Nrutya Sadhak Award 2016' by performances include: the Panchamveda Fine Arts Academy Ambajogai, Latur, Maharashtra in January 2016  '21st World Congress on Dance Research' organised by the 'International Dance Council -  'National Nritya Shiromani Award 2016' by the UNESCO' held at Greece in September 2007 Utkal Seva Sanskrutik Sangh Cuttack, Odisha in January 2016  Annual function conducted by Tanjore Dance Music and Art Research Center in July 2007  Felicitated with honorarium and selected in the prestigious festival 'Pallavotsava 2015' organised  'International Youth Festival' held in Canada in by Vasundhara Performing Arts Centre, Mysore June-July 2006 organised by UNESCO with a in September 2015 government sponsorship  'Satyabhama Award' by the Nataraj Music and  Performed at the USA's Moot Festival, North Dance Academy, Vishakhapatnam, Andhra Carolina (United States of America) organised by Pradesh in the Satyabhama Yuva Nrithyotsav UNESCO in July 2001 held in July 2015  Selected for government cultural tour and gave  As a Guru she represented herself and dance dance performance at 'International Youth Dance academy in Natyanjali Festival held at Thiruvarur, Festival 2000' held in Seoul, South Korea during Kumbakonam and Tanjore in February 2015 May 2000.  'Tarang Padma Award' by the Takshashila Some of her achievements include: Nrityakala mandir, Thane in September 2014  'Kala Sudha Shree Samman Apurva Pratibha  'Lasya Mohini Award' at Edapally, Kerala in Award 2016' by PURVAI in association with ICCR, September 2014 Kolkata in May 2016  National Nritya Bhushan Award' by the Utkal Seva  Felicitated by Birla School, Kalyan for the Sanskrutik Sangh, Odisha in September 2013 remarkable contribution in the field of Bharatanatyam in February 2016

THE DANCE INDIA | MARCH 2017 | 57 Text: Mandakini Trivedi, a writer, accomplished performer, teacher and choreographer in the style of Mohiniattam. She can be reached at [email protected]

Continuation of text from page 61 in the 4. A student oriented to practice the dance January 2017 Issue movements with a deep awareness of yoga will hile the dance may be practiced for become sensitive to the raising of energies through professional, pecuniary reasons, a tool for the practice of the form. The dancer will realise that Wsurvival, those values and motivations each stance, each step or adavu is an asana should not over power or gain preference over the connecting energy circuits in the inner body. The sadhana element. The dance education has to dance form will then not become a display of virtuoso strongly inculcate this value. If this shift in perspective skills, an ego-trip or a mere embellishment of the is not made in dance education, then the dancer personality. herself will not benefit from the therapeutic, energising, 5. Giving an all rounded dance education will also awakening and sublimating quality of the art and the open up many options for engagement with classical dance community too will be overwhelmed with Indian dance and help the dancer to channelise her negativity. creative energies more fruitfully. It is important to Let us consider the advantages of a dance suggest to the student that performing is a small part education that posits the option of practicing of the art. Classical Indian Dance is a whole world of classical dance as a sadhana - possibilities. There is research, there is 1. The deep internalisation of the themes and study of documentation, there is analysis of the form in light of the yogic images of Shiva, Vishnu, Krishna, Devi, aesthetic theories, there is application of the technical would automatically lead the student inward and make texts on dance to current classical Indian dance her/him contemplate on these great truths. The more practices to create a verbal notation system for the these are studied the more the mind becomes still, art, there is literature and music and of course there is meditative, questions its own compulsions, desire, teaching and passing on of an exquisite, value based, greed, and all other motivations that bind and make meditative form to future generations so that their life us limited individuals. The dancer would thus evolve is lighted like ours. by the practice of her art. 2. The more these themes are danced with deep The performing arts are 'prayoga - pradhana" and contemplativeness, the larger picture regarding the hence are meant to be actualised and crystallised in meaning and purpose of life will emerge. That performance. No doubt performing is a very liberation from the 'narrow' will itself release enjoyable and vital part of the art. It is responsible for tremendous positive energy and joy. the continuity of dance traditions and allows it to be a 3. A dance education that is nurtured through a study living tradition. It gives a first-hand experience of the of shastras and spirituality will sublimate the collective art for the dancer and spectator and therefore all the discontentment, commercialisation and politicking spiritual values that it stands for are directly within the community creating a community that experienced. But performing also has the danger of spreads peace and harmony. becoming a narcissistic activity. In a sense,

THE DANCE INDIA | MARCH 2017 | 58 performing can become the most selfish and 5. Mythology, theology and the symbolism therein, egotistical of all dance related activities and therefore it as also it fine connection with the dancer's life here is not surprising that it is the most popular. It is and now has to be regularly delved into. The student important that dance education mitigates the dangers has to be inspired and his creative, imaginative- of this dance activity through cultivation of intuitive faculties are to be developed so that they introversion, study & contemplation. Are we not short understand that they are much more than mere selling classical Indian dance by restricting its scope mortals caught in the struggle for survival. Only thus to mere 'performing'? Then again can we redefine will they see the grand vision of the sacred arts. 'performing'? 6. All the above inputs must be shared in the practical 6. The current scenario is divided between the class itself and not as some 'theory' certificate course, performer and the scholars. The performer dances so that it is becomes immediately relevant. In short on the stage while the scholar expound theories in every dance session has to be a dance-satsang that seminars. Both are handicapped. The former is blind affirms again and again the real purpose of the and the latter lame. A well rounded dance education classical arts. will erase the gap between practice and philosophy 7. It would be a good idea for the dance community (widely and erroneously referred to as 'theory'). too to periodically organise dance satsangs to To teach the art as a sadhana and make it more than discuss the finer points of the art, their creative just a professional discipline, the following value- process and questions that will deepen their study of based additions to a standard classical dance training the sacred arts. Such satsangs can have book programme may be suggested - readings of e.g. the works of bhakti poets, commentaries and texts 1. Some form of invoking the on the Natya Shastra higher energies in the form of etc. This will inspire prayers, stotras, subhashitas younger dancers and and affirmations to inspire the teachers to maintain the student, can be made a purity of the art. regular feature of every dance class. Such an approach to dance education should 2. Practice of yogasanas, spread at the grassroot meditation and other scientific level and become the norm rather than an exception. forms of fitness must be introduced in the dance class. Only then will the collective intelligence and overall 3. Awareness of food and nutrition should be an energy of the field change. important area of the grooming of a dancer. In a Finally, the dance community will stop aching for lucre sacred art, the body is a precious tool to reach the found in other professions, especially those from the divine and the student has to be taught how its entertainment industry, only when they realise that their energies can be kept pure. In fact, nutrition and fitness earnings are not just in terms of what is reflected in should be the beginning of the dance discipline. their bank balance but includes the enrichment, the joy 4. All the pieces that are learnt in the dance class, of always being in the presence of beauty and the especially the narrative abhinaya portions have to be peace that comes from a grand vision of art and of explained in their larger context of philosophy, world- the self. This peace, this joy, this beauty that is not view, the religious movement that gave rise to it and found in most other professions, is an invaluable the aesthetic theories that have influenced them. That 'take-away' from the practice of classical Indian way the student will see that their form is much more dance. Only thus will the dancer realise what a than just performing. Regular book-readings of texts blessing it is to be chosen to practice a sacred form on classical poetry and aesthetics should be a part of like classical Indian dance! the dance curricula.

THE DANCE INDIA | MARCH 2017 | 59 nternationally acclaimed Odissi Guru and The credit goes to the president of Utsav, artistic director as Padma Shri awardee Ranjana Gauhar and her well as choreographer of Nal Damyanti, Guru Ranjana Gauhar Igroup returned to India from Spain after a very to present on stage something that has never been successful and artistically satisfying tour from showcased by any Indian dance group abroad in the January 24 to 29, 2017. The visit was on the knowledge of Spanish organisers and hosts, according to invitation of the Indian Council for Cultural Relations their laudatory comments. (ICCR) and hosted by local organisers of the The dance production is a uniquely bold attempt where pure beautiful cities - Leon and Valladolid. The group classical dance styles of from Utsav is the first dance Odissi and Chhau came troupe of India that took the together in a very newly introduced direct flight to contemporary setting i.e., and fro from Delhi to Madrid juxtaposed with animation. for the programme which was Nal Damyanti was, therefore, held under the Indo-Spanish said to be experimental as Cultural Exchange well as path-breaking in the Programme. ouvré of Utsav, Ranjana The two performances and Gauhar's Odissi Dance master class by Ranjana Academy based in Delhi. Gauhar were held at Valladolid The characters played by in LAVA Laboratory of Arts Of the artists in the narrative, Valladolid and in Leon at danced in sync with the Auditorio Ciudad De Leon, an animation sequence on the expansive world-class theatre screen. The effect was with a seating capacity of magical and the aura of the 2,000. What played to the presentation cast a spell on advantage of the group was the state-of-the-art the audiences rendering them awestruck and speechless. venues. The world-class technical facilities came The warm hospitality and care by local organiser and host, with liberal help forthcoming from the Monica, a Bharatanatyam dancer from Kalakshetra, came as commendably efficient technical staff throughout a blessing to soothe the weary mind and body during the the tour. Their supportive attitude helped to hectic schedule. Driven by the love for the arts, she has set up showcase the first of its kind dance production the beautiful 'Casa De La India' (India House), which was "Nal Damyanti" in all its grandeur where the equipped with an informative library, instruments, sculptures beautiful blend of the classical arts and modern and other works of arts. The ambiance was virtually that of a technology-animation, worked in perfect tandem mini India which emitted an aura of spirituality and meditative to cast a spell on the audiences. tranquility. This homely space with lots of empty, studio like

THE DANCE INDIA | MARCH 2017 | 60 areas for practice was the venue for the master class conducted by Guru Ranjana Gauhar. The extensive workshop which covered the basics and foundation of Odissi, the nuances that make up this art form were explained in detail to the young Spanish students, which left them with a sense of deep understanding of not just Odissi but also the discipline and general lifestyle demands of dance.

Though language was a barrier, it did not stop mutual communication because the love for the art, served as a bridge to bond hearts between the locals and the members of Nal Damayanti group. The thunderous applause by an enlightened, eager and enthusiastic audience after the final bow continues to echo across the oceans, the abundant love and appreciation of the beautiful production.

A visit to the idyllic towns of Spain-Valladolid and Leon, rich in art, culture, and history was an experience for the group. They soaked in the beauty of these aesthetically pleasing, scenic

and romantic towns, a visual delight and treat for the The group has returned with a sense of satisfaction members. The dreamy ambiance created by Nal and a new found zeal to spread the magic of Nal Damyanti on stage, was like out of a fairytale similar to Damyanti created in the sophisticated theatres of the two towns which are surrounded by snow clad Spain's beautiful cities - Leon and Valladolid, before an mountains. The sun-kissed scattered clouds warmed esteemed and highly appreciative audience of the the spirit of the artists when they strolled on the Spanish elites, who love and have a profound streets. understanding of the arts.

THE DANCE INDIA | MARCH 2017 | 61 adma Bhushan Ustad Zakir Hussain and Padma Shri Mattannur Sankarankutty Marar got together at CNN Boys High School, Cherpu, Thrissur, in Kerala. In connection with "Thrukalam" - Saga of a Village: An Arts PStory honoring the tabla maestro. 'KELI', Mumbai organised the event. Born on March 9, 1951, Zakir Hussain is an Indian tabla player, musical producer, film actor and composer. The Government of India awarded him the Padma Shri in 1988 and the Padma Bhushan in 2002. He was also awarded the Sangeet Natak Akademi Award in 1990. In 1999, he was awarded the United States National Endowment for the Arts's National Heritage Fellowship, the highest award given to traditional artistes and musicians.

THE DANCE INDIA | MARCH 2017 | 62 anasree Sengupta was a Bengali singer who lent her voice to Bengali, Hindi, BBAssamese, Bhojpuri and Odia films. She was known for recording some of the evergreen songs in 1960's till 1980's. She was born in a family of musicians. Her father, Sailendranath Roy, was a musician and classical singer who taught her. She later progressed under the guidance of famed composer Sudhin Dasgupta. She moved to Kolkata after marrying Santi Sengupta. She has regularly been on Aakashvani and Doordarshan from her teenage days and had her presence in HMV (Saregama HMV) from

shutosh Prasad Patnaik was an ○○○○○○ 1966. Aaj Bikeler Dake Tomar Chhithi Pelam, Amar eminent writer, scholar, poet and chronicler Angey Jaley Rangmoshal, Chhi Chhi Eki Kando AAof Odisha maritime history. His insightful Korechi, Dur Akashay Tomar Sur and Sundar Boney research on the cult of Jagannath was incredible. Sundari Gachh were some of her popular songs. The

In many ways 'Mahadevata', his book on ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Government of West Bengal conferred her with the Jagannath cult was path breaking. His voluminous Sangeet Samman (2012) and the Mahasangeet work on Odishan maritime history is pioneering Samman (2013) for her contribution to music. and he was a brilliant poet and story writer. 'The Her demise was a considered an irreplaceable loss to Early Voyagers of East', 'Unveiling the Mystery of the world of Bengali music by many fans who paid Jagannath, The Supreme God on the Earth' and their tributes at Rabindra Sadan. West Bengal chief 'Aaa Kaa Maa Boi' were some of his popular minister Mamata Banerjee expressed her deep works. sorrow at Sengupta's demise. She was 71 years old Prasad Patnaik breathed his last at the age of 85 when she passed away on February 19 in Kolkata. years on February 19 at his residence in Bhubaneswar. He is survived by his wife and son Deboo Patnaik, founder and director of Hotel Crown and Dalma.

THE DANCE INDIA | MARCH 2017 | 63 ''' i Mulundkar Pratishthan' established in the year 2010 would be MM organising their annual event 'Maha'Maha Rangoli' marking Gudipadva (Marathi Newyear) on 28 March at Mulunda, East Mumbai. Odissi, Bharatanatyam, Kathak and Mohiniattam artistes would perform together to a concept by Kashmira Trivedi who also choreographed the 'Vande Mataram' to be performed on that Day. To bring all the Sanskar Bharti Artist together and make a huge Rangoli of 120 x 120 feet is the concept of Maha Rangoli.

THE DANCE INDIA | MARCH 2017 | 64 THE DANCE INDIA | FEB 2017 | 64 CLASSIFIEDS

KUCHIPUDI KATHAK

Nataraj Music & Dance Academy Alaknanda Institute for Performing Arts (AIPA) Teacher: K V Lakshmi Teacher: Alaknanda 50-1-50/1, ASR Nagar, Seethammadara C/o. Brhamanada Public School Visakhapatnam, Andhra Pradesh, India A-62 A, Sector-20, Contact No: + 91-955322969 Noida - 201301, Uttar Pradesh. India. Contact No: +91-9810254233

Sri Mayuri Nrutyalaya Dhamar Dance Institute Teacher: M. Sridevi Krishna, MA Dance Teacher: Sanchita Lahoti # 9-7-5, East Balji Street, 2723/13,2nd floor, 14th main road, Near Vinayaka Temple Vizianagaram 2nd stage, Attiguppe main Road, 535001, Andhra Pradesh, India RPC Layout, Bangalore, Karnataka, India Contact No: 91-8142106671 Contact no: +91-08880565690

Durga Sanskratik Kala Kendra Teacher: Poonam Saraswat BHARATHANATYAM Durga Colony, Chharra Adda, Surendra Nagar Alighar, Uttar Pradesh Geeta nritya vidyalaya Contact No: + 91-9412596004 Teacher: Girija Nair ‘Gurukul’ 32/2 Powai Chowk behind Shastri Nagar, Saibaba temple Mulund colony Nritya Tapshya Kathak Dance Acdemy West Mumbai – 82, Maharashtra, India Teacher: Chetan Saraiya. MA, Kathak. Contact No: +91-9867234249 Vasai Nallasopara. Kandival. Grand Road Pune, Maharashtra, India Contact No: +91-9821138190, Mudra Dance Academy +91-8655136981. Teacher: Vrunda Upadhyay Regency Estate, Dombivli (E) - 421203, Thane, Maharashtra, India Contact No: + 91-9920021299

Takshashila Nrityakala Mandir Teacher: Kashmira Trivedi A-405, Asawari Co. Op. Hos. Soc. Pokhran Road No-1, Varkat Nagar. Thane(W)-400606,Maharastra, India Contact No: +91-9820649671

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