DOCSLIB.ORG

One 1 Mark Question. One 4 Mark Question. One 6 Mark Question

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

10. Rukmini Devi Arundale. One 1 mark question. One 4 mark question. One 6 mark question. Content analysis About Rukmini Devi Arundale. Born on 29‐02‐1904 Father Neelakantha StiSastri Rukmini Devi Arundale Rukmini Devi Liberator of classical dance. India’s cultural queen. Rukmini Devi Fearless crusader for socilial c hange. Champion of vegetarianism. Andhra art of vegetable-dyed Kalmakari Textile crafts like weaving silk an d cotton a la (as prepared in) Kanchipuram Banyan tree at Adyar Rukmini Devi The force that shaped the future of Rukmini Devi Anna Pavlova Anna Pavlova Wraith-like ballerina (Wraith-like =otherworldly) Her meeting with Pavlova. First meeting : In 1924, in London at the Covent Gardens. Her meeting with Pavlova. Second meeting: Time : At the time of annual Theosophical Convention at Banaras. Place : Bombay - India. The warm tribute of Pavlova Rukmini Devi: I wish I could dance like you, but I know I never can. The warm tribute of Pavlova Anna Pavlova:NonoYoumust: No, no. You must never say that. You don’t have to dance, for if you just walk across the stage, it will be enouggph. People will come to watch you do just that. Learning Sadir. She learnt Sadir, the art of Devadasis . Hereditary guru : Meenakshisundaram Pillai. Duration: Two years. First performance At the International Theosophical Conference Under a banyan tree In 1935. reaction Orthodox India was shocked . The first audience adored her revelatory debut. The Bishop of Madras confessed that he felt like he had attended a benediction. Liberating the Classical dance. Changes made to Sadir. Costume and jewellery were of good taste. George Arundale presented the art as a spiritual dance. Changes made to Sadir. Renamed it “Bharata Natyam” meaning It meant the dance of the sage Bharata, author of the Natya Sahstra. It also meant the three components of the dance Bhava ,Ragg,a, Tala. Kaaalak sh etr a She formed the International Centre for Arts Under a tree At the Th eosophi ca l Soc ie ty With only one student - Radha Radha Burnier D/O Nilakanta SiRSri Ram Kaaalak sh etr aaa at Ch enn ai Kalakshetra The Banyan tree at Kalakshetra Kaaalak sh etr a Dance was the core activity at Kalakshetra. TiiTraining a t klkhtkalakshetra was impeccable. (perfect) Kaaalak sh etr a Rukmini Devi was a purist. She never compromised on the quality of classical arts. Kaaalak sh etr a There were great masters like Papanasam Sivan and Kaaalak sh etr a Mysore Vasudeva Acharya. Kaaalak sh etr a The teaching was in Gurukula style. Classes were held in open. It was like Shantiniketan of Gurudev Tagore. Kalakshetra Classes were held in open Shantiniketan of Gurudev Tagore. Shantiniketan of Gurudev Tagore. Kalakshetra It was like Shantiniketan of Gurudev Tagore. Kalakshetra It was like Shantiniketan of Gurudev Tagore. Manyyp sided splendor of R D A Fearless crusader for social change: Though born in an orthodox filhfamily, she marridied George Arundale, a foreigner. Rukmini Devi with her husband Manyyp sided splendor of R D A Learnt Sadir the art of Devadasis. Gave a public performance. Manyyp sided splendor of R D A She was nomitdinated twice to India’s upper House of parliament, the Rajya SbhSabha. Manyyp sided splendor of R D A She was nominated twice to India’s upper HfHouse of parliament, the Rajya Sabha. Manyyp sided splendor of R D A She pushed and got passed the Bill for PtiPrevention of Cruelty to Animals in 1960. Manyyp sided splendor of R D A A lover of wild life and champion of vegetarianism. Manyyp sided splendor of R D A Helped found many schools ifin memory of Anni Besant and Arundale. Manyyp sided splendor of R D A Brought Maria Montessori to India and set up the first MiMontessori kindergarten in India. A scene from Kutrala Kuruvanju. Yamini Krishnamurthy Yamini Krishnamurthy Ballet Ballet Ballet 01. Name the force that shaped the future of Rukmini Devi Arundale. (force =influence) 01. Name the force that shaped the future of Rukmini Devi Arundale. (force =influence) - Anna Pavlova 02. Name the art of Devadasis. 02. Name the art of Devadasis. Sadir 03. How long did RkRukmi iini DiDevi learn Sadir? 03. How long did RkRukmi iini DiDevi learn Sadir? 2 years 04. Who taugh t her Sadir? (Name the hereditary guru that taught Sadir to Rukmini Devi.) 04. Who taugh t her Sadir? (Name the hereditary guru that taught Sadir to Rukmini Devi.) Meenakshi sundaram pillai 05. Where did RkRukmi iini DiDevi give her first performance? 05. Where did RkRukmi iini DiDevi give her first performance? Under a banyan tree at the International Theosophical Conference. 06. How did orthodox India react to her first debut? 06. How did orthodox India react to her first debut? Orthodox India was shocked 07. How did her first audience react to her first debut? 07. How did her first audience react to her first debut? Adored her revelatory debut. 08. How did bis hop of MdMadras react to her first debut? 08. How did bis hop of MdMadras react to her first debut? He confessed that he felt like he had attended a benediction. 09. Name the changes she made to the dance form, Sadir. 09. Name the changes she made to the dance form, Sadir. She renamed it Bharatanatyam. 10. The woodrd Bhaaataatyaratanatyam denotes _______________and __________________. 10. The woodrd Bhaaataatyaratanatyam denotes _______________and __________________. it is the dance of the sage Bharatha, author of the Natya Shastra and the dance of ‘Bharatha’, the India. 11. Rukmini Devi foun ded ___________________ to promote dance and music. 11. Rukmini Devi foun ded ___________________ to promote dance and music. The International Centre for Arts / Kalakshetra. 12. GGeive instan ces to soshow her contribution to the field of education. 12. GGeive instan ces to soshow her contribution to the field of education. She foun de d Ka la ks hetra. She helped found schools in memory of Annie Besant and of Arundale. continued ….. She broug ht Mar ia Montessor i to India and set up the first Montessori kindergarten in India. 13. GGeive instan ces to soshow tatthat she was a fearless crusader for social change. 13. GGeive instan ces to soshow tatthat she was a fearless crusader for social change. 1. Though born in an orthodox family, she married George Arundale, a foreigner. continued ……. 2. Though born in an orthodox family, she learnt Sadir and gave a public performance too. 14. She was nomidinated twice to __________________________. 14. She was nomidinated twice to __________________________. India’ s Upper House of Parliament , the Rajya Sabha. 15. Mooajrarji Desai suggested her name for the office of ________________________. 15. Mooajrarji Desai suggested her name for the office of ________________________. the President of the Indian Republic 16. Naaeme ttehe bill tatthat was passed when she was a member of Rajya Sabha. 16. Naaeme ttehe bill tatthat was passed when she was a member of Rajya Sabha. The Bill for Prevention of Cruelty to Animals in 1960. 17. Who was RkRukmi iini Di’Devi’s first pupil? 17. Who was RkRukmi iini Di’Devi’s first pupil? Radha, her brother’ s daughter. 18. What made RkRukmi iini DiDevi ,a universal athai to all her pupils? 18. What made RkRukmi iini DiDevi ,a universal athai to all her pupils? Radha, her first pupil , called her ‘Athai’(father’s sister, in Tamil) So, all her pupils called her ‘Athai’. 19. The teaching at KlkhKalakshetra was in ________________style. 19. The teaching at KlkhKalakshetra was in ________________style. Gurukula 20 The classes at Kalakshetra were held in open, ___________trees of Adyar. 20 The classes at Kalakshetra were held in open, ___________trees of Adyar. Under the shade of ggyreat banyan 21. When did Rukmini Devi meet Pavlova for the first time? 21. When did Rukmini Devi meet Pavlova for the first time? In 1924. 22. What act of Rukmini Devi shkdhocked orthdhodox Ind?dia? 22. What act of Rukmini Devi shkdhocked orthdhodox Ind?dia? Her public performance of the dance. 23. Why did the Bishop of Madras compare Rukmini Devi’s dance to a benediction? 23. Why did the Bishop of Madras compare Rukmini Devi’s dance to a benediction? Because George Arundale had presented the dance form as a spiritual art. 24. Why did Rukmini Devi rename Sadir as “Bharatanatyam”? 24. Why did Rukmini Devi rename Sadir as “Bharatanatyam”? To bring social respectability to the dance form. 01. How did Rukmini Devi liberate classical dance? Or Why is Rukmini Devi considered as a liberator of classical dance? Or Why did Rukmini Devi rename ‘sadir’, Bhara thana tyam? Rukmini Devi’s greatest contribution was liberating classical dance. She learnt Sadir from Meenakshisundaram Pillai for two secretive years . She gave her first public performance in 1935 at the International Theosophical Conference under a banyan tree. Sadir was the dance of Devadasis and had no social respectability. So, she made certain changes to the dance form. She renamed Sadir as Bharatanatyam. The name suggested two thin gs. It suggested that it was the dance of the sage Bharata, the author of Natya Shastra. Moreover it stood for Bhava,Raga and Tala, the three components of the dance. She founded Kalakshetra to promote dance and music. She appointed the best teachers at Kalakshetra. She toured all over the world giving dance programmes. Thus she liberated the classical dance. 02. Rukmini Devi was a fearless crusader for social change. EliExplain. Or Write a note on Rukmini Devi’s contribution to social change. Rukmini Devi was India’s cultural Queen as well as a fearless crusader for social change. Explain. (March 2008) Or Explain how Rukmini Devi is not only a liberator of classical dance but also a crusader for social change.
Recommended publications
  • How Modern India Reinvented Classical Dance

    How Modern India Reinvented Classical Dance

    ESSAY espite considerable material progress, they have had to dispense with many aspects of the the world still views India as an glorious tradition that had been built up over several ancient land steeped in spirituality, centuries. The arrival of the Western proscenium stage with a culture that stretches back to in India and the setting up of modern auditoria altered a hoary, unfathomable past. Indians, the landscape of the performing arts so radically that too, subscribe to this glorification of all forms had to revamp their presentation protocols to its timelessness and have been encouraged, especially survive. The stone or tiled floor of temples and palaces Din the last few years, to take an obsessive pride in this was, for instance, replaced by the wooden floor of tryst with eternity. Thus, we can hardly be faulted in the proscenium stage, and those that had an element subscribing to very marketable propositions, like the of cushioning gave an ‘extra bounce’, which dancers one that claims our classical dance forms represent learnt to utilise. Dancers also had to reorient their steps an unbroken tradition for several millennia and all of and postures as their audience was no more seated all them go back to the venerable sage, Bharata Muni, who around them, as in temples or palaces of the past, but in composed Natyashastra. No one, however, is sure when front, in much larger numbers than ever before. Similarly, he lived or wrote this treatise on dance and theatre. while microphones and better acoustics management, Estimates range from 500 BC to 500 AD, which is a coupled with new lighting technologies, did help rather long stretch of time, though pragmatists often classical music and dance a lot, they also demanded re- settle for a shorter time band, 200 BC to 200 AD.
  • The Secret Doctrine Symposium

    The Secret Doctrine Symposium

    The Secret Doctrine Symposium Compiled and Edited by David P. Bruce THE THEOSOPHICAL SOCIETY IN AMERICA P.O. Box 270, Wheaton, IL 60187-0270 www.theosophical.org © 2011 Introduction In creating this course, it was the compiler’s intention to feature some of the most com- pelling and insightful articles on The Secret Doctrine published in Theosophical journals over the past several decades. Admittedly, the process of selecting a limited few from the large number available is to some extent a subjective decision. One of the criteria used for making this selection was the desire to provide the reader with a colorful pastiche of commentary by respected students of Theosophy, in order to show the various avenues of approach to Mme. Blavatsky’s most famous work. The sequence of the articles in the Symposium was arranged, not chronologically, nor alphabetically by author, but thematically and with an eye to a sense of balance. While some of the articles are informational, there are also those that are inspirational, historical, and instructional. It is hoped that the Symposium will encourage, inspire, and motivate the student to begin a serious and sustained exploration of this most unusual and important Theosophical work. Questions have been added to each of the articles. When referring to a specific quote or passage within the article, the page number and paragraph are referenced. For instance, (1.5) indicates the fifth paragraph on page one; (4.2) indicates the second paragraph on page four. A page number followed by a zero, i.e ., (25.0) would indicate that something is being discussed in the paragraph carried over from the previous page, in this case, page 24.
  • Rukmini Devi Arundale

    Rukmini Devi Arundale

    Rukmini Devi Arundale January 6, 2021 Rukmini Devi Arundale(1904 – 1986) “I was very intuitive from an early age. I responded to people just as I responded to art – through an inner feeling which is difficult to explain. I just felt some things were right and some were not…” Rukmini Devi was born on 29 February 1904 in Madurai of Tamilnadu. She was the first woman in Indian history to be nominated a member of the Rajya Sabha. Rukmini Devi Arundale was an Indian theosophist, dancer, and choreographer of the Indian classical dance form of Bharatnatyam, and an activist for Animal welfare. The most important revivalist of Bharatanatyam from its original ‘sadhir’ style prevalent amongst the temple dancers, the Devadasis, she also worked for the re- establishment of traditional Indian arts and crafts. She was awarded the Padma Bhushan in 1956 and the Sangeet Natak Akademi Fellowship in 1967. In January 1936, she along with her husband established Kalakshetra, an academy of dance and music, built around the ancient Indian Gurukul system, at Adyar, at Chennai. Today the academy is a deemed university under the Kalakshetra Foundation. She also became very close to Annie Besant and helped her with her work. She went on to become the President of the Theosophical Society after Dr. Besant’s passing and Rukmini Devi herself was an active member of the Theosophical movement. She gave her first performance at the Diamond Jubilee celebrations of the Theosophical Society in 1935. Theosophists hailed her as the World Mother, to her family in Kalakshetra she is Athai (paternal aunt).
  • Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan

    Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan

    Table of Contents From the Publications & Outreach Committee ..................................... Lakshmi Radhakrishnan ............ 1 From the President’s Desk ...................................................................... Balaji Raghothaman .................. 2 Connect with SRUTI ............................................................................................................................ 4 SRUTI at 30 – Some reflections…………………………………. ........... Mani, Dinakar, Uma & Balaji .. 5 A Mellifluous Ode to Devi by Sikkil Gurucharan & Anil Srinivasan… .. Kamakshi Mallikarjun ............. 11 Concert – Sanjay Subrahmanyan……………………………Revathi Subramony & Sanjana Narayanan ..... 14 A Grand Violin Trio Concert ................................................................... Sneha Ramesh Mani ................ 16 What is in a raga’s identity – label or the notes?? ................................... P. Swaminathan ...................... 18 Saayujya by T.M.Krishna & Priyadarsini Govind ................................... Toni Shapiro-Phim .................. 20 And the Oscar goes to …… Kaapi – Bombay Jayashree Concert .......... P. Sivakumar ......................... 24 Saarangi – Harsh Narayan ...................................................................... Allyn Miner ........................... 26 Lec-Dem on Bharat Ratna MS Subbulakshmi by RK Shriramkumar .... Prabhakar Chitrapu ................ 28 Bala Bhavam – Bharatanatyam by Rumya Venkateshwaran ................. Roopa Nayak ......................... 33 Dr. M. Balamurali
  • “History of Education Society Bulletin” (1985)

    “History of Education Society Bulletin” (1985)

    History of Education Society Bulletin (1985) Vol. 36 pp 52 -54 MONTESSORI WAS A THEOSOPHIST Carolie Wilson Dept. of Education, University of Sydney, New South Wales, Australia In October 1947 Time magazine reported that world famous education- ist Dr. Maria Montessori, though 'almost forgotten', was none the less very much alive in India where she was continuing to give lectures in the grounds of the Theosophical Society's magnificent estate at Adyar on the outskirts of Madras. 1 Accompanied by her son Mario, Montessori had gone to India at the invitation of Theosophical Society President, George Arundale, in No- vember 1939 and had been interned there as an 'enemy alien' when Italy en- tered the Second World War in June 1940. The Dottoressa was permitted however, to remain at Adyar to continue her teacher training courses and later to move to a more congenial climate in the hills at Kodaikanal. 2 At the end of the War she made a short visit to Europe but returned to India to undertake the first teacher training course at the new Arundale Montessori Training Centre.3 The Centre was established as a memorial to former Theosophi- cal Society President, Dr. Annie Besant, whose centenary was being celebrat- ed at Adyar in October 1947.4 In view, no doubt, of her continued residence at Adyar and the gener- ous support the Theosophical Society extended to Montessori and Mario during the War years, the Dottoressa was asked on one occasion under the shade of the famous giant banyan tree at Adyar, whether she had in fact become a Theosophist.
  • Visionary Craft

    Visionary Craft

    Chennai • CITY EDITION • FEBRUARY 28, 2020 Arts | Dance | Music | Movies www.thehindu.com/FridayReview Theatre | Review | History & Culture | Faith Lakshmi Viswanathan CCCCCCCCCCCCCCC of the soul to the Highest. It needs the sential feature of India’s art is that it is same devotion, the same great flights A leap year child, founded on a spiritual outlook,” she et me begin by paying my of imagination that produces reli­ Rukmini Devi said. She often emphasised that “ homage to the founder of gious feeling. Added to these are the spirituality” was above religion. “In Kalakshetra, Rukmini De­ creative spirit which, blossoming out Arundale was also a India there is no religion apart from vi Arundale. I knew her, of the artist produces great works of non­political activist our daily lives.” interacted with her, and art. Think of some of the great tem­ in my own modest way, ples and the bronze images of South and a woman known Path-breaking experiments Lhelped her with some of her thought­ India. These were not made by so­ for her refined Such clear thinking moulded her ful ventures like the Kalakshetra Jour- phisticated people… they may not vision for dance and thus was born nal. I admired her as a leader of In­ even be able to speak to us about ab­ aesthetic sense the institution Kalakshetra. She was dian culture, a thinker and a creative stract philosophy… nevertheless they the first to understand the value of a artiste. She knew that the arts have to were the people who created master­ school for dance.
  • The Theosophical Seal by Arthur M. Coon the Theosophical Seal a Study for the Student and Non-Student

    The Theosophical Seal by Arthur M. Coon the Theosophical Seal a Study for the Student and Non-Student

    The Theosophical Seal by Arthur M. Coon The Theosophical Seal A Study for the Student and Non-Student by Arthur M. Coon This book is dedicated to all searchers for wisdom Published in the 1800's Page 1 The Theosophical Seal by Arthur M. Coon INTRODUCTION PREFACE BOOK -1- A DIVINE LANGUAGE ALPHA AND OMEGA UNITY BECOMES DUALITY THREE: THE SACRED NUMBER THE SQUARE AND THE NUMBER FOUR THE CROSS BOOK 2-THE TAU THE PHILOSOPHIC CROSS THE MYSTIC CROSS VICTORY THE PATH BOOK -3- THE SWASTIKA ANTIQUITY THE WHIRLING CROSS CREATIVE FIRE BOOK -4- THE SERPENT MYTH AND SACRED SCRIPTURE SYMBOL OF EVIL SATAN, LUCIFER AND THE DEVIL SYMBOL OF THE DIVINE HEALER SYMBOL OF WISDOM THE SERPENT SWALLOWING ITS TAIL BOOK 5 - THE INTERLACED TRIANGLES THE PATTERN THE NUMBER THREE THE MYSTERY OF THE TRIANGLE THE HINDU TRIMURTI Page 2 The Theosophical Seal by Arthur M. Coon THE THREEFOLD UNIVERSE THE HOLY TRINITY THE WORK OF THE TRINITY THE DIVINE IMAGE " AS ABOVE, SO BELOW " KING SOLOMON'S SEAL SIXES AND SEVENS BOOK 6 - THE SACRED WORD THE SACRED WORD ACKNOWLEDGEMENT Page 3 The Theosophical Seal by Arthur M. Coon INTRODUCTION I am happy to introduce this present volume, the contents of which originally appeared as a series of articles in The American Theosophist magazine. Mr. Arthur Coon's careful analysis of the Theosophical Seal is highly recommend to the many readers who will find here a rich store of information concerning the meaning of the various components of the seal Symbology is one of the ancient keys unlocking the mysteries of man and Nature.
  • The Science of Spirituality

    The Science of Spirituality

    THE SCIENCE OF SPIRITUALITY By Ianthe Hoskins THE BLAVATSKY LECTURE delivered at the Annual Convention of The Theosophical Society in England, at Besant Hall, London, May 28th, 1950. As the Theosophical Society celebrates this year the seventy-fifth anniversary of its founding, occasions will not be wanting for the review of its history and for some appraisal of its achievements. Without entering into historical particulars, which are amply recorded elsewhere, it may be safely stated that certain currents of thought which are noticeable in the world of today trace their origin or their wide develop- ment to the Theosophical movement. The similarities between the great religions of the world have become common knowledge among educated people; the doctrine of reincarnation is an accepted theme in Western literature; the problem of survival has passed from the field of popular superstition to that of academic research; symbolism, astrology, telepathy, spiritual healing, all have their serious students and a significant body of literature; the Western reader may now have direct access to oriental thought through the commentaries and translations of many sacred and philosophical texts. Furthermore, individual Theosophists have made notable contributions to progress in the varied fields of religion, science, art, literature, education, politics, and human welfare. Indeed, Theosophical thought has been productive of such diverse expressions that one may easily lose sight of the principles which they attempt to embody. While, therefore, we may gain profit and inspiration from the review of the past, it is of the first importance that we should continually look beyond the superficial and transitory to the essential elements of the Theosophical system.
  • FINE ARTS ART and CULTURE ‡ Bhangra (Punjab) - Folk Dance of Harvest Season, Coinciding with the Festival of Baisakhi

    FINE ARTS ART and CULTURE ‡ Bhangra (Punjab) - Folk Dance of Harvest Season, Coinciding with the Festival of Baisakhi

    78 FINE ARTS ART AND CULTURE ‡ Bhangra (Punjab) - folk dance of harvest season, coinciding with the festival of Baisakhi. ‡ Lalit Kala Academy was set up in 1954 at New Delhi. ‡ Tamasha (Maharashtra) - Nautanki (U.P.), Garba ‡ Sangeet natak Academy was established in 1953 at (Gujarat), Chhow (Orissa, Bihar). New Delhi. Its function is to conduct survey ‡ There are two forms of music in India - Carnatic and research of different art forms in India. Hindustani. ‡ Sahitya Academy was established in 1954 at New ‡ Sama Veda deals with music. Delhi. Its aim is to encourage production of high ‡ Purandaradas gave shape and form to Carnatic class literature in several languages of India. music. ‡ The National Book Trust of India was set up in ‡ The trinity of Carnatic music is Thyagaraja, Syama 1957. Shastri and Muthuswami Dikshitar. ‡ ASI - Archaeological Survey of India - was established in 1861. Its headquarters is in New Names Associated with Indian Music: Delhi. ‡ Ustad Alla Rakha - A master of the Tabla. ‡ Indian Council for Cultural Relations was established ‡ Bala Murali Krishna - A singer of Carnatic music. in 1950, and it strives to promote and to strengthen cultural relations and mutual understanding between ‡ Bhim Sen Joshi - A Hindustani singer. India and other countries. The Council administers ‡ Pt. Hari Prasad Chaurasya - Flute player. the Jawaharlal Nehru Award for the promotion of ‡ Pt. Jasraj - Famous singer of Hindustani music. peace and international understanding. ‡ Parveen Sulthana - Hindustan style singer. ‡ NSD - National School of Drama - was set up in 1959 in Delhi. ‡ Neralathu Ramapothuval - Sopanam. ‡ Dances : There are two main branches of Indian ‡ M.S.Subha Lakshmi - Carnatic music.
  • Chapter 1 Uday Shankar and Locating Modernity

    Chapter 1 Uday Shankar and Locating Modernity

    CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead.
  • It Will Be My Greatest Happiness to Know That in Its Own Humble Way, Kalakshetra Is Helping to Make More Beautiful, More A

    It Will Be My Greatest Happiness to Know That in Its Own Humble Way, Kalakshetra Is Helping to Make More Beautiful, More A

    "It will be my greatest happiness to know that in its own humble way, Kalakshetra is helping to make more beautiful, more artistic, the lives of all - that in the education of the young, creative reverence for that spirit of the beautiful which knows no distinction of race, nation or faith has a pre-eminent place..." Rukmini Devi Arundale INTRODUCTION RUKMINI DEVI COLLEGE OF FINE ARTS BHARTANATYAM REPERTORY CARNATIC MUSIC VISUAL ARTS MAP OF KALAKSHETRA PART TIME COURSES SCHOOLS MUSEUM LIBRARIES, ARCHIVES AND PUBLICATIONS PERFORMANCE SPACES CONTACT DETAILS ABOUT OUR FOUNDER RUKMINI DEVI ARUNDALE 1904 -1986 ukmini Devi was born in the temple town of Madurai in Rthe erstwhile Madras Presidency, now in Tamil Nadu. She spent her early years there along with her eight siblings. Her father Neelakanta Sastry who was very “forward thinking” initiated the family into the philosophy of the Theosophical Society, which freed religion from superstition. She grew up in the environment of the Theosophical Society, influenced and inspired by people like Dr. Annie Besant, Dr. George Sydney Arundale, C. W. Leadbeater and other thinkers and theosophists of the time. In 1920, she married Dr. George Sydney Arundale. Although they faced a great deal of opposition from the conservative society of Madras, they stayed firm in their resolve and worked together in the years that followed. KALAKSHETRA'S ORIGINS n August 1935, Rukmini Devi along with her husband Dr. IGeorge Sydney Arundale and her brother Yagneswaran met with a few friends to discuss a matter of great importance to her – the idea of establishing an arts centre where some of the arts, particularly music and dance, could thrive under careful guidance.
  • Abhinaya in Bharatanatyam

    Abhinaya in Bharatanatyam

    PAPER 6 DANCE IN INDIA TODAY, DANCE-DRAMAS, CREATIVITY WITHIN THE CLASSICAL FORMS, INDIAN CLASSICAL DANCE IN DIASPORA (USA, UK, EUROPE, AUSTRALIA, ETC.) MODULE 19 THE EARLY FEMALE GURUS AND DANCERS OF BHARATANATYAM From early 1900 A D, some brave girls and their families started a journey, going where earlier it was a great taboo to go. The courage, conviction and love for dance prompted them to venture on a path which at that point had no direction and was beyond worldly gains. Also in such a tumultuous time, to be born to that tradition was really tough. We need to know, understand and get inspired by these women, due to whom millions are not only learning Bharatanatyam, but it has given dignity and purpose to the art. Here we study a few of them. SMT. BALASARASWATI Balasaraswati was born in 1918 and died at 1984. She rose on the solo Bharatanatyam horizon through her sheer genius. She belonged to the devadasi tradition and was extremely proud of it, though she was never initiated into any temple service. The only dancer to be conferred the prestigious Sangitha Kalanidhi title; she reacted sharply to compartmentalizing the dance into sacred and profane water-tight divisions. For Bala, Shringara / �रĂगार was an all- 1 encompassing mood which included all the other moods. In 1975, speaking at the Annual Conference of Tamil Sangam, Bala made the famous statement, "In Bharatanatyam, the shringara we experience is never carnal, never, never!" Bala came from a home where musicians like Dharmapuri Subbarayar / धरमऩुरी, Tiruvottiyur Tyagier, Hayagrivachari / हयाग्रिवाचारी (from Dharwad / धारवाड़), Govindaswamy Pillai, Ariyakkudi Ramanuja lyengar were frequent visitors, who came to meet and listen to Bala's grandmother, the inimitable Dhanammal, the veena player.