P 2 | SEPTEMBER 2017 Contents Volume 2, Issue 3 | September 2017

Editorial Team 04 Beacons of Light 24 ‘Panchalakshanas’ Editor’s Note 05 are mandatory for any learner: Cultural Bulletin 06 Sanjib Bhattacharya

Torch Bearers 10 Reviews 39 'Suvarna Nalanda': An Indian Classical Extravaganza

Reports 44

Scholarly Corner 52 : The Past, Beyond Borders 30 Present and Future Dance Runs in my Veins: New Jersey audience enthralled by ‘Dancing with Krishna’ Cover Story 14 Tourism a Boon for the Country Coastal Tourism Frozen in Time 57 Kindled Spirits 58 Tributes 60 Special Supplement 36th Annual Battery Dance Deacades of Brilliance Festival Guru and Ganesa Natyalaya

Rays of Hope 36 In Sight 82 Jyothi Reddy: Classifieds 83 Age is just a Number P 3 | SEPTEMBER 2017 Editorial

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

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

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

P 4 | SEPTEMBER 2017 We have numerous reservations in the country for castes, ex-servicemen, poor and women, but none for those who serve in the field of art and culture. They are not eligible for any reservations. We have numerous art forms and lakhs of artists who have dedicated their lives to the cause of Indian art and culture. There are thousands of tribal folk, traditional art and classical art forms that still go without proper support.

The Union ministry of culture is in- charge of preservation and promotion of art and culture. It has many grants in support of Indian art and culture but BR Vikram Kumar those in need never receive them. Most artists have settled Editor-in-Chief in Delhi and those with influence enjoy benefits from the ministry and its associated bodies. Several crores of rupees have been given to these artists in the form of building grants, production grants, salary grants and others. But the tribal folk and traditional art forms across the country are gravely neglected. Practitioners and custodians of this rich heritage have been begging in the streets to keep these art forms alive for posterity. Some of them have been earning by working as daily wage labourers. Is this how we honour our Indian art and culture? No, it should not be so.

We have witnessed many development programmes and stunning decisions taken by the government under the leadership of Prime Minister Narendra Modi but there is no security for an artist in India. There is no health policy, retirement scheme, permanent profession, proper programme remuneration or food and travel allowance for artistes in our country. If this system continues, then soon we will forget Indian cultural heritage.

Swachh Bharat has been the mantra for the last several years but only when we have our 'Sanskar' we will achieve 'Swacchata'. Able commissions and radical reformations in the cultural bodies are a need of the hour. The present government should think positively and aim for 'Samskrutik Bharat'.

Jai Hind!

BR Vikram Kumar Editor’s Note

P 5 | SEPTEMBER 2017 Source : PIB

Cultural Extravaganza the Freedom Movement that includes Nandlal Bose's Celebrates the Spirit of New famous Haripura Panels was held at the National India Movement Gallery of Modern Art from August 17 to 31. The resolve of 'Sankalp se Siddhi' resonated through ' ankalp Parva- Sankalp Se Siddhi' (Attainment 'Natya Sangeet' rendered by students from the through Resolve), a Sankalp Sandhya National School of Drama on the Red Fort lawns on organised by the ministry of culture at Indira S August 22. A 'Sankalp Wall' was set up at the National Gandhi Kala Kendra Auditorium in Noida, celebrated Museum on August 14. A 'Sankalp Sandhya' was also the spirit of New India Movement. Dr Mahesh Sharma, organised at Noida on August 17. The Sandhya was minister of state (independent charge) for culture and an amalgamation of different visual and performing art tourism was the chief guest of the function. He forms, highlighting the need for attainment through administered the New India Pledge to the participants. resolve, 'Sankalp se Siddhi'. The ministry of culture so far has organised two Exhibition on Sankalp Parva in Coimbatore on August 12, 2017 and "Indian Historical Monuments New Delhi on August 16, 2017. The ministry plans to in Company Painting School" celebrate 'Sankalp Se Siddhi' in different destinations Begins in National Museum throughout the country such as Ahmedabad & Bhuj, Bangalore & Mysore, Varanasi & Allahabad, Shillong The additional secretary, ministry of culture, Sujata & Aizwal, Agartala & Kohima, Dharamshala & Shimla, Prasad inaugurated an exhibition "Indian Historical The & Shantiniketan and Puducherry & Chennai.

The Delhi-festival included the following-

On August 9 an exhibition on Quit India Movement and Azad Hind Fauj- 75thAnniversary (1942-2017) was launched at the National Archives. An exhibition on P 6 | SEPTEMBER 2017 CULTURAL BULLETIN monuments in Company Painting School" in Ajanta Hall, National Museum, New Delhi. The exhibition presents illustrated paintings on Indo-Islamic monuments with scenes of Mughal architectures made with photo realistic approach.

Dr Mahesh Sharma Inaugurated Exhibition 'Quit India' and 'Azad Hind Fauj

On the occasion of 75th anniversary of the Quit India Movement and the Azad Hind Fauj, Dr. Mahesh The National Museum took a new initiative on a "Small Sharma, minister of state (I/C) for culture and tourism Temporary Exhibition" from its reserve collection. The inaugurated an exhibition "Quit India and Azad Hind exhibition was based on several themes to attract a Fauj - 75th Anniversary (1942-2017)" in the National large number of visitors every fortnight. Through such Archives of India, Janpath, New Delhi. programme, National Museum is trying to draw visitor's attention and allows them to experience the The exhibition is based on public records, private collection on many significant art pieces of reserve papers, photographs, newspaper reports and storage, which generally remains out of focus. proscribed literature banned by the British Government which came out during the last phase of The temporary exhibition is formulated to display a the freedom movement. Some of the original papers variety of objects for six months. are on display in this exhibition.

P 7 | SEPTEMBER 2017 All the states and UT's have been directed to issue necessary direction to local municipal bodies and concerned departments to keep the area 300 metres from the boundary of a protected monument as a polythene free zone.

need of the hour is not 'Do or Die', instead, to resolve, Tagore National Fellowship for to come together, persevere and work relentlessly for Cultural Research making a new India. Jawaharlal Nehru University (School of Art & Ministry's Updates Aesthetics) is the only participating institution under the "Tagore National Fellowship for Cultural Research" The minister of state (independent charge) for ministry Scheme. It is situated in New Delhi. of culture Dr Mahesh Sharma in his written reply to the House in Rajya Sabha has given updates regarding This fellowship does not relate to students and covers various developmental activities by his ministry. This academicians, scholars and artists of repute. The included Polythene Free Zones near Protected selection of fellows/scholars under Tagore National Monuments, Problems faced by ASI in Protecting Fellowship for Cultural Research for the financial year Monuments and Sites, Tagore National Fellowship for 2016-17 is under process. Cultural Research and Introduction of Cultural Talent Introduction of Cultural Discovery Scheme. Talent Discovery Scheme Polythene Free Zones near Protected Monuments The government has launched a scheme namely 'National Mission on Cultural Mapping and Roadmap' Dr Sharma has recommended a prohibition on the on March 29, 2017 with the main objectives of talent use of polythene. Archaeological Survey of India has hunt as well as a collection of a database of artists, declared all ASI protected Monuments and artisans and various art forms across the country. Archaeological Sites as 'Polythene Free Zone'. All the The objective of the mission is not only to collect the field offices of ASI have been directed for necessary database of artists, artisans and various art forms but compliance. In this regard secretary (culture) has also also to applaud new talent and protect all age group issued a D.O. letter to all the chief secretaries of states of artists by organising activities under 'National to elicit their active cooperation for making centrally Cultural Awareness Programme' from Block level to protected monuments as polythene free zone. National level.

P 8 | SEPTEMBER 2017 P 9 | SEPTEMBER 2017 P 10 | SEPTEMBER 2017 Ranjana has also produced documentaries for various government departments, agencies and other institutions. Chandrika, Saundarya Lahari - a 5-episode serial, based on "Sri Geet Govindam" of the 12th Century poet Jaidev, Nectar in Stone - a film depicting the cultural relations of India with Vietnam and Cambodia through ancient Hindu Temples, The Celestial Dancer in the Temple of Jagannath and Manas Mandir, Prerna and Nupur are some of them.

She says contemporisation of classical he is a staunch believer who says, "Dance is beyond dances to some extent is acceptable but one the physical… it is a spiritual connection between should not try to change the basics. If an you and your God. As a dancer you are carrying S individual feels contemporising is the only within you a great light, a great treasure, perhaps the very solution for existing or experimenting or kingdom of God, in your performance. For a dancer, the mind, body and soul must always be aligned at all times."

Talking exclusively to The Dance India, Ranjana said she was passionate about dancing from the beginning. Seeing this, her parents allowed her to learn Kathak at the age of 6 years and she continued it till she was 16 years. She was always fascinated by the dance and used to get self-invited to see programmes. However, realising and recognising the importance of Odissi and her unknown soulful attachment to the dance form, Ranjana started learning Odissi from the early twenties. The more she learnt, her fascination, attraction and attachment towards the dance grew.

Born and brought-up in Indraprastha (Delhi - the then Kingdom capital in Dwaparyug and now the country capital in Kalyug), Ranjana parallelly learnt many other arts.

Revealing her contribution in the field of arts, Gauhar said all her productions were being documented to ensure that they are passed on to the next generation. She has done some projects on Doordarshan and it was dedicated to some stalwarts of the field. Her performances were telecast in all national channels of Doordarshan. Apart from this, they were highly appreciated across the world at many national and international festivals.

P 11 | SEPTEMBER 2017 Utsav Educational & Cultural Society in 1987. It endeavours to generate awareness of arts by organising annual festivals, music seminars, workshops, lecture demonstrations in educational institutions and other places. 'Utsav' through its artists have made an impact at prestigious festivals held in the country and abroad for its high standards of excellence in performance. The same has been highly appreciated as well.

Ranjana Gauhar receiving Padma Award from the The cultural ambassador of India, Ranjana Gauhar, with President of India Dr. APJ. Abdul Kalam. her art of Odissi dance has performed in many innovating, it is better to leave it and move out of prestigious international festivals at Berlin, West it. "I never moved out of tradition while Germany, Italy, France, Greece, Serbia, Cyprus, composing, choreographing or producing. Kuwait, Switzerland, Tunisia, Yugoslavia, Japan, Though they are my brainchild, composing any Holland, Poland, Czechoslovakia, Austria, Croatia, item only with music without literature (Sahitya) is Mauritius, China, Singapore, Philippines, Egypt, meaningless," she says.

Replying to a question, which side of the stage she loves more and prefers to be, Ranjana, diplomatically said, "I love, performing, stage and audience but at the same time youngsters have to be given a chance."

On being asked her opinion about others who keep changing their gurus, she said teachers are not meant to be changed unless any compulsion arises. "I never changed my guru because I felt Ranjana Gauhar receiving National Sangeet Nataka nothing short in my guru. He was wealthy and Academy Award from The President of India Pratibha Devi Singh Patil. rich in all angles viz-a-viz compositions, poetry etc. He was an architect." Cambodia, Bhutan, Sri Lanka, Vietnam, Africa, South Korea apart from Latin American countries like Moving a step forward, Ranjana with an Colombia, Panama, Mexico etc. She produced and objective to preserve, promote and propagate directed a number of ballets depicting modern and India's vast performing arts has established mythological themes. She authored a book called "Odissi - The Dance Divine".

One of the foremost exponents in the world of , renowned Odissi dancer and multi- dimensional personality Ranjana Gauhar, whose interests also include theatre, painting, choreography, has been honoured with one of the highest civilian award 'Padma Shree' in 2003 for her longstanding services in the field of arts (Odissi Dance). She is also the recipient of the National Akademi Ranjana Gauhar receiving "Mahari" Award from the dignitaries. Award from the then President of India, Pratibha Devi

P 12 | SEPTEMBER 2017 Singh Patil, in 2007, Senior Fellowship for her research in the temple tradition of Odissi dance by the Ministry of Culture, , Indira Gandhi Priyadarshini Award, Mahari Award and much more.

Despite all the above feathers in her crown, she had to fight against all odds, as her parents were never in favour of making dance a career and there was no support at all from anybody including her guru. Yet Ranjana boldly paved her own path and stood as a strong pillar (Sthupam). "Dancing was passion at that age and question of career did not arise. My family was never in favour of dance," she says. In her own way, she once again proved the Urdu saying by Ameer Khusro "Khud Ko Kar Itna Buland Ki, Takdeer Likhne Se Pehle, Khuda Bande Se Pooche, Ke Bol Teri Razaa Kya Hai". With dedication, hard work, sincerity and positive attitude, everything is possible. Even after such esteemed achievements, Ranjana is simple, humble and down to earth and says, "Whatever I am doing is to take my guru's legacy forward as guru dakshina." This has not only made her a doyen of art, but also an icon, a 'Torch Bearer'.

P 13 | SEPTEMBER 2017 P 14 | SEPTEMBER 2017 he World Tourism Day came into existence to to so many lives and livelihoods all over the world. raise awareness on the role of tourism within the The question that he puts forward as we celebrate World international community and to demonstrate how T Tourism Day 2017, is how we can enable this powerful it affects social, cultural, political and economic values global transformative force to contribute to make this worldwide. The United Nations World Tourism world a better place and to advance sustainable Organization celebrated the first World Tourism Day on development. September 27, 1980. The Statutes of UNWTO were adopted and it was considered a milestone in global The UN General Assembly declared "Sustainable tourism. Tourism - a Tool for Development" as the theme for 2017.

Ignatius Amaduwa Atigbi, a Nigerian national, was the one who proposed the idea of marking September 27 Tourism in India of every year as World Tourism Day. He was recognized Tourism in India is economically essential and is growing for his contribution in 2009. rapidly. The country with its development and reasonable Accordingly to Taleb Rifai, Secretary-General, World ground transport infrastructure, scores high on natural Tourism Organization (UNWTO), tourism is today the and cultural resources. There are a lot of factors that 3rd largest export industry in the world after chemicals make India a sort after destination for tourists from all and fuels. It brings hope, prosperity and understanding

Vittala Temple, Hampi

P 15 | SEPTEMBER 2017 diverse cultures, such as Indian religions, Indian Port Blair philosophy and Indian cuisine, have had a profound impact on the world. Most of the Indian festivals are religious in origin - Diwali, Ganesh Chaturthi, Thai Pongal, , Durga Puja, Eid ul-Fitr, Bakr-Id, Christmas, and Vaisakhi are some of the important ones.

India's coastline measures more than seven thousand kilometres in length including the Andaman, Nicobar, and Lakshadweep island chains where by creating plenty of opportunities in diversified areas, which also include tourism. Coastal cities and towns have been centres of attractions for tourists. Major rivers that over the world. From Kashmir to Kanyakumari, India is substantially flow through India like the Ganges, the home for some of the picturesque landscapes and Brahmaputra drain into the and the undulating terrains - be it the mighty Himalayas in the Narmada and the Tapti drain into the Arabian Sea. These north, alluvial Sundarbans delta in the east, marshy Rann water bodies are of great significance and played a of Kutch in the west or quaint backwaters of Kerala in pivotal role in shaping communities and clusters of the south. It is the seventh-largest country by area and people in the country. the second-most populous country with over 1.2 billion people. Geographically, it is bound by the Indian Ocean Arts and architecture have always been a part of the on the south, the Arabian Sea on the southwest and the cultural fabric. Thanks to thousands of years of Indian Bay of Bengal on the southeast. history and invaders from other countries who ruled India, much of Indian architecture, including the Taj Mahal, Indian cultural history spans over thousands of years. It other works of Mughal architecture, and South Indian is believed that the foundations of Hindu philosophy, architecture, composites ancient local traditions with mythology, theology and literature were laid during the imported styles. Performing arts create that immersing Vedic period and even today many beliefs and practices experience that tourists and travellers would cherish. such as dhárma, kárma, yóga, and mok?a, still exist. It Indian music ranges over various traditions and regional served as a knowledge hub. Historians often cite the styles. Classical music encompasses two genres and spice trade between India and Europe as the primary their folk offshoots: the northern Hindustani and southern catalyst for Europe's Age of Discovery. The country is Carnatic schools. Indian dance also features diverse remarkable for its religious diversity, with Hinduism, Buddhism, Sikhism, Islam, Christianity and Jainism among the nation's major religions and with this diversity Fatehput, Sikiri comes various cultural and religious practices spread across the country. It is an amalgamation of thousands of distinct and unique cultures of all religions and communities. It is also a land of numerous sites with Geo heritage tag. Every feature in Indian sub continent makes it a perfect destination for both foreign and domestic tourism.

Indian languages, religions, dance, music, architecture, food, and customs differ from place to place within the country and they have been influenced by a history that is thousands of years old. Many elements of India's

P 16 | SEPTEMBER 2017 Udaipur (City of Lakes)

folk and classical forms. Among the better-known folk Jodhpur, Varanasi, Mysore, Chennai, Kochi, , dances are the Bhangra of Punjab, the Bihu of Assam, Darjeeling, , Jim Corbett National Park, Port Blair, the Chhau of Odisha, West Bengal and Jharkhand, Pushkar, Khajuraho Group of Monuments, Dharamsala, Garba and Dandiya of , Ghoomar of Rajasthan, Pune, Alappuzha, Madikeri, Gangtok, Kodaikanal, and the Lavani of Maharashtra. Classical dance forms Haridwar, Nainital, Ellora Caves, Hampi, Ahmedabad, like Bharatanatyam, Kuchipudi, Odissi, Kathak, , Fatehpuri Sikri, Chandigarh, Bikaner, Kanha Tiger Mohiniatam, Sattriya and Manipuri have made their Reserve, Mussoorie, Havelock Island, Amritsar, presence felt across the globe. Theatre in India has been Pondicherry, Madurai, Pangong Tso, Mount Abu, a combination of music, dance and dialogue often Thiruvananthapuram, among many based on Hindu mythology, but also borrowing from others are some of the frequently visited tourist spots in medieval romances or social and political events, Indian India. theatre includes the Bhavai of Gujarat, the Jatra of West The Ministry of Tourism is the nodal agency for the Bengal, the Nautanki and Ramlila of North India, Tamasha formulation of national policies and programs and for of Maharashtra, Burrakatha of , the coordination of activities of various Central Terukkuttu of Tamil Nadu, and the Yakshagana of Government Agencies, State Governments/UTs and the Karnataka. Private Sector for the development and promotion of Agra, , Jaipur, Bengaluru, Goa, New Delhi, tourism in the country. Manali, Shimla, Jaisalmer, Udaipur, Rishikesh, Kolkata,

Bangalore Palace Golden Temple Amritsar

P 17 | SEPTEMBER 2017 developmental departments, upcoming strategies to A Case Study of improve the present day tourism movements. This city has burgeoned into a bustling port and an industrial hub Bay Cities on the east coast of India. Let it be any bay city its scenic beauty, geographical conditions, natural marine Text: Challapilli Nikitha resources, climatic change and tourism plays a vital oastal tourism is one of the chief role to take its finest form. Visakhapatnam, the city of economic and social phenomena in the destiny, has numerous tourism spot like the Dolphin's Crecent years. Andhra Pradesh is situated nose which figures a rock heading into the sea with a in the southern peninsula of India and has a superlative natural harbour. The geographic location of coastline stretching 974 km. It is well known for its this city provides copious opportunities to trade and social, economic and industrial expansion. Coastal witness enormous economic growth which in return Andhra comprises nine districts -- Srikakulam, generates commercial advantages. Cities which adjoin Vizianagaram, Visakhapatnam, East Godavari, Aerial View of at Vizag West Godavari, Krishna, Prakasam, and Nellore. The opulence of these districts can be ascribed to various portions of its rich agricultural lands, abundant water supply, fisheries, climatic conditions, etc.

Considering the case study of Visakhapatnam which is one of the bay cities, we come to know about various aspects of the tourism concerns, geological conditions, efficient functioning of the P 18 | SEPTEMBER 2017 One of the Buddhist sites in Bay City

the sea can have excellent means of water transportation long beaches and tourist spots where it can be an ideal for trading purposes or travel. With abundant natural place to live and work. Hill stations can also be found at resources in its hinterland, well-developed means of these Bay cities. Undoubtedly, they are a part of Indian exports and imports, extraction of fossil fuels along with national heritage and culture. Taking Visakhapatnam as other available mineral resources from the sea, oil an example, we can find Buddhists monasteries which refineries, shipping services, fishing activities it can even throw light on Buddhist culture, practices, various become the commercial capital of the state. institutions of ancient Buddhist period and their architecture. We can also find the naturally formed caves Performing all the above activities can create an which are popularly known as . These take employment for the public and can even pave its path us to the geological study of ancient India and the natural to public-private partnerships. Adequate business formations. The list goes on with many tourist places in ventures can take its form by collaborating with other Visakhapatnam. international firms in the midst of exchanging goods. Communal harmony can also be promoted with These tourism departments headed by the government sustainable relations. Coming to the most important bodies' play a crucial role in preserving the cultural and phase of coastal cities, tourism has been advancing heritage aspects of the location. They have been from time to time. These tourist places exert a pull on working efficiently for the upliftment of the economic people who like to explore every part of nature. For status. They are in a way creating convenience to the example, few tourists' places in Visakhapatnam like the Port, Indira Gandhi Zoological Park, , Beach Train entering one of the tunnels in KK line on Visakhapatnam -Araku Rail Route Road, Rushikonda, , , the Submarine, Victory at Sea, Vuda, Tenneti Park, centers of pilgrimage for spiritual tourism and many other scenic places would contribute in income generation. One can find other private entities who participate in economic development like the Rama Naidu studios, IT SEZ, private universities, etc. The pleasant climate of the city would benefit to create effective learning centres in the form of educational institutions. It can extend to establishment of many star hotels, recreational facilities,

P 19 | SEPTEMBER 2017 It is a known fact that India is a land of diversity. Here, everything is visitor-friendly. Consequently, every part of the country comprises varied traditions, culture, religion, heritage and rituals. These are all factors which are like long-lasting attractions for the tourists. The inclusion of scientific practices like Yoga and Ayurveda can take its form into natural health resorts in a way to fascinate tourists. Local handicrafts, especially jewellery made out of seashells, etc. can captivate many foreign tourists. It has been proved according to a survey that “Borra Caves” in Araku Valley area. most of the money is spent on shopping by the tourists. Therefore, this can be an added advantage of converting public to visit many popular tourist places and in return it into an income generation venture. Domestic tourism creating income resulting in an increase in GDP. We is another outline which has a sustainable growth. Coastal have few wetlands in Andhra Pradesh consisting of Tourism can be an effective instrument in poverty marshes or swamps or simply saturated land. In coastal mitigation, employment generation and sustainable Andhra, we have two major lakes, i.e. Kolleru and development. It has got a great impact in shaping the Pulicat. Kolleru is a natural sweet water lake located in society in terms of social, economic, political and West Godavari district and also a wildlife sanctuary structural form. Foreign exchange kitty will also swell in and nominated as a wetland of international the process as tourism has become the second largest importance under the International Ramsar net foreign exchange earner for the country. Convention. Another famous attraction of the south Therefore, tourism in coastal cities has got relevant India is the Pulicat, which is the largest salt-water lake importance in building the state and then the nation. Few in the country located in Nellore which spreads implementations in the ministry of tourism can bring a between Andhra Pradesh and Tamil Nadu. Here, river vast difference economically. Qualitative services should Godavari splits into several distributaries like the be rendered and comprehensive human resource Gouthami, Vashista, Vainatheya and Vruddha development programmes should be conducted for Gouthami before emptying into the Bay of Bengal. personal orientation of an individual who would assist Therefore, these wetlands are also a part of tourist the tourist. Moreover, an efficient and effective teamwork attractions in the state where people flock to visit. should be developed with a common goal of progress.

Aerial view of Beach Road in Vizag

P 20 | SEPTEMBER 2017 Aerial view of Submarine Museum The Scenario of “INS Khurusura” near RK Beach, Vizag. Coastal Tourism and its Scope Text: RMK Sharma

It is practically seen and proved phenomena that tourism such unique and antique site is Sri Kurmam in Srikakulam plays a big role in overall development of a country. district. It houses the temple of Lord Vishnu's Kurma Tourism contributes in the exposure of a country. If a avatar (tortoise). This temple can be developed under coastline is available it is considered a boon for that spiritual tourism. country. Realising the potential most countries have Visakhapatnam city has tourist spots like Bavikonda (a started working on those guidelines and benefited with Buddhist heritage site with good archaeological very little availability of seacoast as well. presence), Erra Matti Dibbalu (a natural beauty scenic However in India, Andhra Pradesh and especially place) and Hotel Marina (an old-time hotel visited by Visakhapatnam not much development is seen on these popular poets, lyrics, music composers, writers). The lines for various untold reasons. Instead, the government hotel is believed to be a launchpad for cine stalwarts. is always seen focusing on industrialisation to attract Telugu literature and film writer Srirangam Srinivasa Rao investments. popularly known as Sri-Sri and his nephew Bhagawatula Some time ago, there came a sigh of relief and hope in Aarudra were residents of the same area and used to the form of a proposed six lanes coastal highway spend much time here. Apart from this famous music connecting all the coastal cities, towns, villages etc. director of Bollywood Madan Mohan made many of his starting from Ichchapuram in neighbouring Srikakulam compositions in this hotel. In the same area lies three district to Nellore covering a stretch of almost one places of worship atop three hills i.e. Temple of Lord thousand kilometres. But for unknown reasons, the Venkateswara, Ishaq Madina Wali Dargah and Rose project has not progressed. Mary Church alongside rail, waterways and road. The same can be developed as heritage/ secular tourism. North coastal districts of Srikakulam and Vizianagaram have ancient historical places near the coastline. One The government could also plan partnerships with private hotels to develop infrastructure along the coastline. Any form of development in the area would generate direct and indirect employment to the people. This can be applied in all coastal areas across the country.

Tourism means Fun, Food and Entertainment: Sriramulu Naidu

Tourism means fun, food and entertainment for enjoyment and relaxation and where ever these are available, tourists get automatically attracted, said regional director of Andhra Pradesh Tourism The Regional Director of Andhra Pradesh Tourism Development Corporation, Sriramula Naidu Development Corporation (APTDC) Sriramulu Naidu.

P 21 | SEPTEMBER 2017 Nagarjuna Konda and Amaravati. The same is at the sanctioning stage with Government of India.

Regarding the upcoming projects, Sriramulu informed that a proposal has been submitted to the Government of India for developing a Coastal Corridor under the 'Sagarmala' project. Under this project, jetties will be set up at Kalingapatnam and Bheemili to accommodate Tourist Spot “Chaparai” big cruise and to develop water sports. in Visakhapatnam Dist. He further informed that towards the development of Talking to The Dance India, Sriramulu Naidu clarified that new destinations, Rs 5 crore has been sanctioned to the government always wished to do a lot in the field of APTDC for constructing a resort at Lambasingi. Rs. 3 tourism. However, to implement its plans, the crore out of the total cost of the project Rs 20 crore was government has to clear hurdles related to culture, sanctioned for resorts at Dallapalli. Sanction of Rs 2 acceptance and livelihood. The government has identified crore was awarded for developing water sports (Marina) various projects (zone-wise) and is implementing them at Mangamaripeta. for overall development of tourism. Some of them are Projects at landing stage Special Tourism Zone, Eco tourism, Coastal Corridor- Talking about the projects which are either progressing Sagarmala, Spiritual and temple tourism, Heli-tourism, towards completion or at the landing stage, the regional knowledge tourism, festivals etc. director (RD) said that under the phased manner Projects under DPR stage expansion program of Rushikonda beach area, n ex-naval officer and one of the experts in the field has construction of amenities like roads, toilets, stalls, been appointed as a consultant for the feasibility study resorts, changing rooms, sitting area (phase-I) has been of a suitable place on the beach road to install the INS completed and sanction for the proposed works for Viraat as a museum. A detailed project report (DPR) for execution in the second phase is awaited. Rs 1.5 crore the same is under preparation which will be submitted have been sanctioned for the development of beach to the government for further action. front at Yarada and the same is expected to be completed by the end of this financial year. Land measuring minimum 500 acres has been identified at 'Mulakuddu' on the seacoast near Heli-tourism and aircraft museum for setting up of Special Tourism Zone and developing The RD further said that a memorandum of amenities related to hospitality and entertainment. The understanding (MoU) has been signed between VUDA DPR is under preparation. and Pawan Hans for undertaking heli-tourism in Bay With an idea to develop an eco-tourism, the government City. All arrangements have been done at VUDA Park to has appointed IADC as a consultant to prepare DPR for developing a project including several places of tourist interest like Araku, said Naidu.

Projects at sanction stage

To develop knowledge-based tourism, a DPR has been submitted to the government for developing Buddist Tourism Circuit comprising different locations like Saalihundram, , Bavikonda, Thotlakonda,

P 22 | SEPTEMBER 2017 Garden atop Kailasa Giri in Vizag operate "City Joy Ride" and the same is scheduled to come into existence this month. An MoU has also been signed by the VUDA with a Japanese company for setting up of Sky Towers atop Kailasagiri Hills and the same is in the active stage. Apart from these, an aircraft museum with TU142 is getting executed at a cost of Rs 10 crore. Development has been done by the APTDC and VUDA will take care of execution.

Festivals

The APTDC plans to organise monthly mega festivals in Bay City to provide additional entertainment to the For the first time in Bay City 'Yacht Pentagon' will be held tourists during the season starting from September to in December. It will be a three-day event organized on February with an estimated cost of Rs 16 crore, apart the coast of Bay of Bengal between Bay City and Dutch City (Bheemili). During this period tourists will stay Sri Kurmam Temple, onboard yachts in the sea and arrive at the shore only Srikakulam Dist. for lunch and dinner breaks. Apart from this as usual will be organized in the city and Araku Utsav at the hill station. 'Cooking Olympiad' will be organized in the month of January.

On declassification of beachfront land from CRZ norms, Sriramulu said if the proposed notification gets clearance then there would be a good scope for development of tourism at various places in the Bay City and Bheemunipatnam. It will also encourage private players to purchase land or take on lease to develop tourism.

APTDC is providing incentives to players for new projects to increase the present room availability from 500 to 1000 in the hospitality sector in and around the from organizing festivals in the hill stations. Elaborating city. Some developers are Tejvivan, KSR Developers, on this, Sriramulu Naidu said, "We like to start with 'Sounds GS Bangarraju Resorts, GKR Constructions, Radisson, in the clouds of Vizag' in the month of September. This Club Mahindra, Maha Hotels, he said. festival is planned to identify hidden talent and to promote the same through digitalisation. Under this The RD also said liberalisation in liquor policy would section creative works from the people, especially youth, attract international tourists. He also said that with more will be invited through given website. After scrutinising, number of shacks, more employment for the locals the shortlisted will be displayed and the meritorious will could be generated. be awarded. 'Fring Fest' will be organized in the month Also, the Greater Visakhapatnam Municipal Corporation of October. 'Sand Marathon' will take place in the month (GVMC) has to play a vital role in earmarking the of November." appropriate areas and ensuring the cleanliness and Probably from this year, the month of December (at hygiene for overall development of the people, city, state least this calendar year) will witness two mega festivals. and nation, Sriramulu said.

P 23 | SEPTEMBER 2017 P 24 | SEPTEMBER 2017 ' anchalakshanas' (five qualities), as preached in In an exclusive to The Dance India, the President's the Upanishads, are necessary for a learner, Awardee, Manipuri dance choreographer Sanjib Psays Manipuri dance exponent Sanjib Bhattacharya said all these qualities are to ensure that Bhattacharya. These are Kak-snanam meaning taking no time is wasted unnecessarily. Whoever follows the shower or bath as fast as crow, Baka-dhyanam means above qualities strictly, would surely taste success and concentration, patience, attentiveness like a crane, reach great heights. Swana-nidra means to sleep like a dog such that the Sanjib Bhattacharya hails from a family with a cultural sound of a pin drop could awake you, Swalpa-haari background. His father was a doctor by profession but means taking light food and Girh-tyaagi means ready also a multi-talented person. His mother was a to leave home in pursuit of knowledge. housewife but an artist. Even his siblings were artists. Sanjib started learning classical dances at the age of 5 years. While watching his elder perform, he used to advise them on dance. His first guru was his elder sister Pratibha.

Noticing his interest in dance, Sanjib's parents contacted Mamata Shankar, the daughter of who is known as the pioneer of contemporary dance direction with a perfect blend of classical dances. On her advice, he auditioned and got selected as a fresher and joined Uday Shankar Gharana.

After completion of schooling in the early 80s, Sanjib's journey as a professional artist (dancer) began. He learnt a lot in all fields while doing a world tour and performing at different places.

After having learnt three dance forms - Kathak, Kathakali and Bharatanatyam from different teachers, when he reached a blank and confusing phase in life where he had to choose an art form as his career, it was Manjushree Chaki Sircar who advised him to choose Manipuri. He then joined Guru Bipin Singh in 1991 and established himself as a Manipuri artiste. "Guruji has given life to me and guided me in building my career. He was not only my guru; he was my father, guide and role model. I learnt from Guruji and guru Mata Kalavathi Devi", he says.

In 2000, he shifted to Delhi and since then became his mentor. Initially, he joined the school for a livelihood, but gradually he started teaching and established an institute of his own. The journey, however, was not a bed of roses. He started P 25 | SEPTEMBER 2017 as a solo performer and slowly gathered people and also with eminent Gurus and icons of Indian classical setup a group. dances like Padma Vibhushan awardee Sonal Mansingh, Padma Shri awardee Darshana Jhaveri, At present, he is an established performer of great Padma Shri awardee Ranjana Gauhar, Pratibha repute having extensively performed across India and Prahlad, Gopika Vermer, Sadanam Balakrishnan, abroad. He is not only performing as a solo artist but Parwati Dutta and other eminent gurus all over the P 26 | SEPTEMBER 2017 country and abroad. He runs several dance academies taste," he says. A lot is being done to develop the and schools in India while conducting lecture traditional music of Manipur with local tribal demonstrations and workshops regularly in India, instruments. He started re-choreographing Manipuri United Kingdom, Poland and the United States on music. In fact, when Guru's last composition Teen-Tal Manipuri dance. was composed he was one of the three people who were present. His speciality is to take out solo pieces Replying to a question, Sanjib clarified that maintaining from the original group-based Manipur dance. the basic tradition of Manipuri, he does change a bit of presentation by contemporising the composition on When asked about his goal in life, Sanjib said that he demand to make his piece more attractive. Finding a works for the blind, orphans, street children and want source of income to start an old is also important. age home for With thorough artists. His dream knowledge on the project is to build subject and good an auditorium. grip on the taste of He does the audience, he choreographic knows which item productions, has to be lecture performed. demonstrations and workshops On why Manipuri for different could not get its organisations for due, Sanjib said the uplifting street dance form could children, blind not be developed children, children for quite a long in orphanages time because the and people in old age homes at Cleveland, USA; Delhi, initial Manipuri gurus were not well educated and did Gurgaon and Madhya Pradesh, India. not explore the world. They had weak communication skills and were a bit conservative. They did not try to Major performances in India come out of their place but with time and having learnt Khajuraho Festival, Konark Festival, Vysakhi from the past, the young generation picked up and Nrithyotsav (Visakhapatnam, Andhra Pradesh) Indra- they are doing a better job. In future it would definitely Dhanush Festival, Uday Shankar Festival (Kolkata & be on par with other classical forms, he affirmed. Guruji Jaipur), Sammelan, Ghungroo Festival, was one of the first to do much work to develop Swarna Nritya Pratibha (Chandigarh), Biswa Banga Manipuri dance. It was basically from West Bengal and Sammelan (Kolkata), Udayan Cultural Festival, Chaitanya Mahaprabhu brought it to Manipur. Kalaghora Festival, World Dance Week (Chennai), About taking the work of his guru forward, Sanjib said, Prayag Festival, Vrindavan Gobardhan Puja Festival, "I am trying to establish Guru Bipin Singh gharana in ISKCON temples (Vrindavan, New Delhi, Gurgaon, Manipuri style to take the tradition forward. We follow Punjab, Mumbai, United States, Canada, Poland), India Vaishnav Shastra text, literature, oral version and co- Habitat Centre (New Delhi), Sangeet Natak Academy relating. Upgradation is must to suit the audience's (New Delhi), Mumbai Doordarshan, IGNOU (New P 27 | SEPTEMBER 2017 Sanjib Bhattacharya receiving awards from the Sanjib Bhattacharya receiving awards from the President of India Dr. APJ Abdul Kalam President of India Pratibha Devi Singh Patil Delhi), Epicenter (Gurgaon), Homi Bhava Centre Major Performances Abroad (Mumbai), ONGC projects, DPS Dadri(UP), Indian Raas Utsav (Bangladesh), Rath Yatra Festival (Los Festival (Lucknow), Spicmacay Festival (Mumbai), and Angeles, USA), Manipuri Dance Vision (Los Angeles), 's production "Mahavidya" Festival of Helsinki (Finland), Festival of Indo-Polish (Chidambaram, Kumbha Konam, Nyelvelli and Collaboration (Poland), Kala Bharti (Montreal, Canada), Pondicherry), Kali Dasa Samaroh (Ujjain), Sharang University of Pittsburgh (USA), Nandanik Dance Deva Samaroh (Aurangabad), Kala Ghoda Festival Academy (USA), Nritya Creations (USA), Duquesne (Mumbai), National Centre For Performing Arts University (USA), and Natya Academy (USA), Natya (Mumbai) and many others. Academy (North Carolina), NABC (San Francisco), NABC (Las Vegas), NABA (NY & New Jersey), Palace (Bangkok). Apart from Performances and Workshops in China, Japan, Mongolia, Thailand, Singapore, Australia, Germany, Sweden, Philippines, Indonesia, England and Scotland, the USA and many others. Major Achievements

Sanjib got many achievements. Some are the Senior Scholarship Award from the Department of Human Resources Development of Ministry of Culture, for three consecutive years from 1994 to 1997. Also, Production Grant to create "Udhukhal Rass" for the 50th Anniversary Celebration of Indian Independence, the award of Junior Fellowship for two years for the project 'Tandava Lasya' from the same department under the Ministry of Culture. Received Production Grant from the Ministry of Tourism & Culture, New Delhi, for his the Productions 'Jeevan Darpan' and "Poonascha." He has been a regular performer in a lead role with Padma Vibhushan awardee Sonal P 28 | SEPTEMBER 2017 He received special recognition awards from President of India twice from Dr APJ Abdul Kalam in 2006 and Pratibha Devi Singh Patil in 2011 for his outstanding performances. He got trained under the tutelage of revolutionist of Manipuri dance art form Guru Bipin Singh, Kalavathi Devi, Padma Shri awardee Darshana Jhaveri, Manjushree Chaki Sircar and Mamata Shankar. Apart from these, Sanjib is the recipient of the Title Award "Singarmoni" from Sur Singar Samsad, Mumbai, in 1997 and "Nartan Visharad" from Manipuri Sanjib Bhattacharya with the Former Prime Minister Dr. Manmohan Singh Nartanalaya, Kolkata, in the year 1998. Mansingh in her various productions like "Krishna," He strongly feels that dancers and artists should try to "Swaralayamadhuri," "Kumarsambhavam," "Nayika," learn and appreciate each other. Cultivating such a etc. good feeling and strictly following the 'Panchalakshanas' have made Sanjib Bhattacharya a Sanjib got selected as the Indian dance representative beacon of light. for the prestigious Asia Pacific Cultural Exchange programme organised and hosted by The University of California at Los Angeles. Also, he was invited by Kala Bharti (Montreal, Canada) for a two-month project on 'How to develop Multiple Intelligence through Dance' under the title "Dance and Child." He was also invited by Viva Cultura Foundation (Poland) to conduct an eighteen-city tour consisting of 50 performances and 40 workshops.

As part of International Artist Residency Programmes, Sanjib was invited to perform in Asia Pacific Cultural Exchange Program (APPEX) held at University of California, Los Angeles, USA by World Dance Department in 2006, Dance and Child Project at Kalabharati in Montreal, Canada in 2006 and Creative Fusion International artiste Residency Program, Cleveland Foundation, Ohio, USA in 2012.

Educational Documentary Films Sanjib Bhattacharya with the President of India Dr. APJ Abdul Kalam As part of Educational Documentaries, Sanjib, worked in dance documentary based on Environmental Issues at Pegasus Theatre in Oxford, England 1991. He worked in dance documentary based on Environmental Issues for Educational Archives, IGNOU, Delhi, India 2010. He worked with NGOs in both India and abroad. P 29 | SEPTEMBER 2017 he community of East Windsor was treated to a mesmerising Tand colourful evening of Kathak, Kuchipudi and Kalbeliya dance (a Rajasthani dance performance). The event, named "Dancing with Krishna" - was presented by the non-profit organization Nupur Zankar Foundation, on July 22, 2017, at the Melvin H. Kreps Middle School, East Windsor, New Jersey -USA. It was the foundation's first such event in East Windsor. It was conceived and directed by internationally renowned Kathak dance exponent Shila Mehta who is the founder and artistic director of Nupur Zankar Foundation. The performances included solo Kathak dance recital by Shila Mehta. Graceful moments, subtle expressions and sophisticated use of rhythm were the attractive features of Shila's dance.

Her two most talented disciples from Belgium Maya Sapera and Aaricia Ponnet stole the show with the presentation of 'Kalbeliya' folk dance and Kathak. The evening was enriched with fantastic music support from Mike Lushkis on tabla, Indrani Chakraborty

P 30 | SEPTEMBER 2017 on vocal, Rohan Mishra on values of life'. The organisation was sarangi and Tej Mehta on drum. founded in 1983 in Kolkata, India as They enthralled the audience with a way to share the joy of Kathak their powerful and energetic classical dance with those with no rhythm. Another artist Swathi Atluri, exposure or appreciation for the a Kuchipudi dancer, successfully arts. In 1998, Nupur Zankar presented a dance drama relocated to Mumbai. Shila was 'Krishanaparijatham'. Anoop driven by a passion to spread Bhargav, a popular resident poet, dance as an art form, even earning beautifully presented the whole evening. The evening the status of being on the Government of India's opened with an energetic and motivating welcome by prestigious panel of Indian Council for Cultural the Mayor of East Windsor Janice Mironov. Relations (ICCR).

The Nupur Zankar Foundation's belief is that 'Art is a Shila stated that the reason for the performance in East bridge to connect to the self-discovery enriching the Windsor was to bring more awareness and appreciation to dance as art and educate people on its benefits. She firmly believes that art is the backbone of society. If one wants to see a healthy society, art cannot be neglected. It is very important to create awareness about dance as a form of education. It enhances the quality of education if treated properly.

Being a resident of East Windsor, she feels it is her responsibility to reach out to the local community and introduce dance as a form of the art to them.

P 31 | SEPTEMBER 2017 attery Dance was thrilled to present the 36th Annual Battery Dance BFestival in lower Manhattan from August 13 - 19. The Festival featured performances by over 30 dance companies hailing from Belgium,

P 32 | SEPTEMBER 2017 Botswana, Dominican Republic, India, Iraq, Schimmel Center in which the Belgian dance company, Spain and Sri Lanka; and various parts of the Bollylicious, entranced the audience in their American U.S. Audiences swelled to 1,500 each of the five debut with their special take on Bollywood and nights that were presented outdoors at Wagner Rajasthani Kalbelia in between performances by Park in view of the Statue of Liberty. An overflow Battery Dance of its refugee inspired work, "On Foot", crowd attended the final performance at and an exuberant song and dance performance by

P 33 | SEPTEMBER 2017 Botswana's Mophato Dance Theatre in its American debut. Standout performances by Chennai-based Bharatanatyam couple Viraja and Shyamjith Kiran opened the August 15th Independence Day program that is a 10-year tradition of Battery Dance with its partner the Indo-

P 34 | SEPTEMBER 2017 American Arts Council under the banner of Erasing Borders Festival of Indian Dance. Sruthi Mohan (), Dimple Saikia (Sattriya, Anka Naat), Aakansha Maheshwari and Malini Taneja (Rajasthani Folk Dance), Kalamandir Dance (Contemporary Indian), and Kalanidhi Dance (Kuchipudi) followed with stunningly crafted performances as the sun set over the Harbor.

P 35 | SEPTEMBER 2017 P 36 | SEPTEMBER 2017 eople have wishes in their hearts, but only a Yamini Reddy. With the support of her husband and few get fulfilled. If the same gets converted into mother, she pursued her dream of becoming a Pa desire then they can be achieved if we stay classical dancer. She is the first person in her family to focused and face continuous trials without giving up. learn Kuchipudi and perform on the stage. She This was proved in the case of Kuchipudi dancer cultivated the interest in her daughter and both mother Jyothi Reddy. In her childhood, she was inspired by and child started performing. She wishes to spread Sudha Chandran's semi classical multi-lingual movie this divine form through her performances in the world. 'Mayuri' and wanted to become a classical dancer. She made her Rangapravesam in 2016. Though it

She wanted to make it a career. But because of her age, helplessness and various other factors, her wish to become a classical dancer was suppressed and instead she had to focus on her academics. Decades later, Jyothi saw her five-year-old daughter practising Kuchipudi at the institute and her unfulfilled and suppressed wish blew- up into a new desire.

Born in 1980 at Vajjavari Kandriga village of Chittoor seems to be a simple and regular phenomenon, it was district in Andhra Pradesh, Jyothi Reddy is an a great challenge and hard task for a woman like Jyothi engineering graduate in software discipline from BITS to maintain a balance between family and professional Pilani and a software engineer by profession. Bound responsibility. Thanks to her passion, she could by the family and responsibilities, it is a rarity for a execute it in a fine manner. Noticing her interest and woman to ever have her wish to be taken into dedication towards the art, gurus Dr Raja Reddy and consideration. Following the same pattern, Jyothi got Radha Reddy paid special attention to her. She was married to Vikram Reddy and started a family and her awarded the title 'Natya Mayuri". In 2017 she got 'Natya desire to learn dance got suppressed. Tarangini' award from Natraj Music And Dance Academy in' Natya Tarangani Festival' and other Later, things took a turn and Jyothi started learning awards in various dance festivals. Kuchipudi from teacher P 37 | SEPTEMBER 2017 She claims that she never tried fusion and in her opinion as long as traditional techniques are followed, it would not affect the purity of the dance. Giving expressions during a performance to lyrics written by somebody else is a hidden language of the soul, she says. As there are many languages and dialects, each and every fusion and experiment would add to the already growing repertories of dance.

She gets her inspiration from the performances of co-dancers and experts. She wants to perform as gracefully as them. Whenever she watches students practising in a dance academy, she wants to become a learner with equal passion.

Her aim is to establish a school with dance as a curriculum for economically weaker section of kids in her native village.

Jyothi Reddy with the dignitaries at a function

P 38 | SEPTEMBER 2017 'Suvarna Nalanda': An Indian Classical Extravaganza - 50 years of Nalanda Research Centre at NCPA's August Dance Residency

Text: Paul Spurgeon Nicodemus

er presence on the stage brought an enigmatic fragrance to the packed Hauditorium at National Centre for the Performing Arts (NCPA) in Mumbai. Renowned Indian classical artiste, educationist, research scholar, and doyenne of Mohiniattam, Dr has contributed immensely to the upliftment and perpetuation of Indian classical arts in India. Her work in developing, restoring and documenting the art form of Mohniattam is both scientific and unparalleled. The egalitarian who recently celebrated her 80th birthday, along with some of her best students and alumni of Nalanda, performed a show titled 'Suvarna Nalanda' - The Golden Nalanda as part of the ongoing August Dance Residency at the NCPA on August 18. Dr Rele's choreographic works, spanning over decades, were performed by her students like Bharatanatyam dancer Deepak Mazumdar, Mohiniattam dancer Sunanda Nair and the current principal of Nalanda, Dr Uma Rele to

P 39 | SEPTEMBER 2017 mesmerise the gathered audience. Students from incident in her extended family where a girl was cheated Nalanda presented selections of pure dance in into a marriage, which was inadequate. "I could Bharatanatyam and Mohiniattam. sympathise with her but our social norms would not allow her to leave her husband and in-laws," she said. Nalanda Research Centre now in its 51st year brought To address such issues in the society, she decided to their history to the NCPA's August Dance Residency, go to our own Indian ethos of Gandhari, the princess through a site visit 'Nalanda Parichay' to Nalanda Nritya of Gandhar in the Mahabharata, and how she was Kala Mahavidyalaya in Juhu, Mumbai on August 14, cheated to marry a blind man. She thought that she 'Suvarna Nalanda' - The Golden Nalanda show on was coming to Hastinapur to become the future August 18 and a two-day workshop on the 'Facets of empress but then all her young teenage dreams were Bhakti Rasa' by Dr Kanak Rele at NCPA on August 19 dashed to the ground when her Sakhi told her that her and 20. husband was blind from birth and according to the On the evening, she was accompanied by some of her Shastras he cannot become an emperor. She best disciples as she expounded on her legacy of 50 accepted to be without any light in her life and Dr Rele years. Her solo performance included two excerpts beautifully presented her anguish. Kavalam Panicker's from her internationally renowned compositions - exquisite poetry in showcased Gandhari in Gandhari and Kubja. a sympathetic way and Rele elevated it through her One cannot deny Sarojini Naidu's words: "The hand brilliant abhinaya. that rocks the cradle rules the world". Gandhari was Dr Her second presentation, 'Kubja,' narrated a story of a Rele's tribute to Indian women. It was inspired by an woman with a hunchback who served as a slave to the

P 40 | SEPTEMBER 2017 News

wicked king Kamsa. Once again it was Kavalam's Bharatanatyam dancer Deepak Mazumdar, Dr Uma poetic recreation of Gyanpeeth awardee Dr Sitakant Rele, Dr Meenakshi Iyer Gangopadhyay, Shivani Mohapatra's writing that drew Kanak Rele's attention. Trivedi, Vaidehi Rele, Apeksha Ghatkar, Priya Vinod, Through the character of Kubja, she presented the Geetanjali Shrivastava and Kranti Thorat proved their sufferings and tribulations faced by the women in metal with the presentation. The Bharatanatyam society. Towards the end, she beautifully presented performance in Kasta sarees was vivacious and Kubja's jubilation and transformation into a beautiful enthralling to the core. woman when she Dr Rele then invited encountered Lord her senior most Krishna at Mathura. Mohiniattam disciple Rele's expert Sunanda Nair on to storytelling, the stage for dynamism and presenting 'Amba', a emotive abhinaya story of the eldest made the evening a daughter of the king special one for of Kashi from the everybody in the Mahabharata auditorium. seeking revenge C Gopalakrishnan against Bhishma. on nattuvangam, She considers the MS Gireeshan on Kuru prince Bhishma vocal, KNP Nambishan on mridangam and Edakkya responsible for her misfortune and her sole goal in life performed orchestra for Kubja and Gandhari. was his destruction and to fulfil it she was reborn as Shikandi, a transgender warrior. Buffeted by the Later, it was time for 'Santavani', a work based on the society, Amba entered fire to be born as Shikandi. He abhangs written by the saint poets of Maharashtra then takes the chariot into the war to kill Bhishma who singing the glory of Lord Vitthala of Pandharpur. The destroyed his womanhood in the last birth. Effective entertaining and aesthetic rendition depicted the pranks narration by Kanak Rele before the enactment by of child Krishna - a miraculous child playing mischief Sunanda was praise worthy. Sunanda portrayed the with gopis of Gokula. It was conceptualised and misery of Amba and revenge of Shikandi with vigour choreographed by Dr Kanak Rele and Narayan Mani and intensity. composed the music. Disciples of Dr Rele,

P 41 | SEPTEMBER 2017 Meera Bhai Charit presented by Nutun Patwardhan, Tanvi Palav, Shweta Padwal and Nikita Sant of Nalanda in Kathak style venerated the life of the mystic poet and her devotion towards Krishna. Kathak has been one of the strong faculties at Nalanda apart from Bharatanatyam and Mohiniattam.

Senior disciples of Kanak Rele who came down from various countries to mark the occasion, Madhuri Deshmukh, Dimple Nair, Saji Menon and Sunanda Nair, presented Bhavayami by Swati Tirunal in Mohiniattam style. Dr Rele did not pick the entire epic and enactment began from the time when Rama, Sita and Lakshman go on Vanavasa to Dandakaranya (forest). The characters were dressed in suitable costumes for an effective presentation. In the dance drama, Sunanda Nair took the role of a narrator and represented several characters of the Ramayana - a commendable performance.

Nandanaar performed by Deepak Mazumdar told the story of an untouchable bhakta of Lord Brihadeeshvara. He was kicked and insulted by the priests while going for darshana of the Lord. He tries to

P 42 | SEPTEMBER 2017 see through the gate but the statue of Nandi blocks his view. He beseeches Nandi to move. Taking pity on him God pushed Nandi aside and gave Darshana to Nandanar. Deepak Mazumdar beautifully presented the Bharatanatyam recital with transcendental conviction.

In the end, Thillana by Bharatanatyam students of Nalanda - Vaidehi Rele, Trusha Panchal, Sonali Tambe, Pranali Kalyankar, Paridnya Kalyanpur and Bhakti Mahajan sealed the conducted at NCPA from 10 am to 5 pm and several evening with power packed footwork and perfect interested dancers enrolled for the workshop and poise. It had vocal and nattuvangam by Ambika learnt from the master. Vishvanathan, mridangam by Shaktidharan and violin She also established Nalanda Nritya Kala by Balasubramaniam. Mahavidyalaya in 1973 and has so far produced On the August 19 and 20, a two-day workshop on the numerous artists who have taken the Indian classical 'Facets of Bhakti Rasam' by Dr Kanak Rele was dance to greater heights.

P 43 | SEPTEMBER 2017 Jayashree Patnekar Sanjeev Abhyankar Vishnu Digambar Jayanti Festival 2017

Text: Shaili KhannaKhanna, Pics: Avinash Pasricha

elhi's Annual Music Festival, the Vishnu Ramakant Gaikwad Ayaan Ali Bangash Digambar Jayanti, to mark the birth Danniversary of Pandit Vishnu Digambar Paluskar, was held from August 18-20 at Kamani Auditorium, New Delhi. The festival opened with Vidushi Jayashree Patnekar, veteran erudite musician representing Gwalior Agra and Jaipur gayaki. Her opening rare Raga Lalita Gauri set the pace for the rest Pravin Godkhindi Niladri Kumar of her recital. After her came 7th generation sarod player Ayaan Ali Bangash who started his recital with Raga Kamod. Sadly, his nails gave him problems, and unusually, but much to the delight of the audience, his concert was concluded by his legendary father Ustad who played Raga Hafiz Kaus.

The next day, Ramakant Gaikwad who was introduced PravinNandini Godkhindi Shankar to Delhi audiences for the first time, enthralled with his rich baritone, and measured performance in Raga Gorakh Kalyan, followed by the evergreen "Yaad Piya Ki Aye". Niladri Kumar, who impressed with a neatly defined Raga Shudha Kalyan followed him on the sitar. He then played his own new creation Raga Tilak Nat. Niladri on request concluded his performance with "Raghupati Raghav Raja Ram" composed by Pt. GMV students singing Vishnu Digambar.

The final day started with violin recital in the morning by the youngest performer Nandini Shankar who lived up

Ustad Amjad Ali Khan

to her famous grandmother Dr N Rajam's standards. This was followed by a vocal recital by Pt. Sanjeev Abhyankar. Flute by Praveen Godkhindi and vocal by Pt. Venkatesh Kumar performed to a packed audience at Kamani Auditorium was a fitting finale to the festival. P 44 | SEPTEMBER 2017 News

of Appreciation and shawl by the guest of honour K Anniversary Parvati Kumar (global chairman, World Teachers Trust) Celebrations and and clothing & fruits by Academy's honorary secretary Eminence Awards GRK Prasad (Rambabu). The week-long programmes started with the traditional he Vishaka Music and Dance Academy (VMDA) practice of lighting up the lamp, Vinayaka Vandhana on the occasion of its 31st-anniversary and Saraswathi Vandana followed by Carnatic vocal by Tcelebrations and National Eminence Awards Priya Sisters accompanied by VV Srinivasa Rao function has honoured Padma Vibhushan awardee and (violin), Vidwan Dihi Sairam (mridangam), Vidvam BS renowned classical dance exponent Dr Yamini Purushotham (kanjara) on August 14. Grand Krishnamurthy with multi-awards in an extravaganza at Nadaswaram Concert by Gurivilla Appanna from Vizag Kalabharathi Auditorium in Visakhapatnam. The awards accompanied by Dilleswara Rao Shankara (Nadaswaram), G Durga Rao (Dolu) and R Venkateswarlu (dolu) from Guntur followed soon after. On day 2, grand Hindustani vocal concert by Manjusha Karmakar Patil (Pune) accompanied by Vidwan Suhan Sastry (Tabla) and Surendra Bharathi (Harmonium) captivated the audience. On day 3, the festival witnessed a grand Carnatic vocal concert by

Priya Sisters accompanied by W.Srinivas (Violin) Vidvan Dihi Sairam (Mrudagam) and Vidvan B.S. Purushottam (Kanjara) Presenting Carnatic Vocal include - 'Naty Vidya Bharati' - 2017 and 'Swrana Kamalam' by the chief guest of the function and president of Madras Music Academy (MMA), SN Murali, cash award of Rs 1 lakh and garlanding by the VMDA president and organiser, CSN Raju, Certificate

TM Krishna accompanied by RK Sriram Kumar (violin) and VV Ramana Murthy (mridangam). On day 4, grand Carnatic vocal concert by Shankara Shastry (Bangalore) accompanied by MSN Murthy (violin), P Jaya Bhaskar (mridangam) and S Hanumanth Rao (ghatam) was presented and on day 5 'Mahahrshi Valmiki', a drama directed by Megada Ramalinga Swami, was presented much to the delight of the audience. Renowned Classical Dance Exponent and Padma Vibhushan Awarde - D. Praveena Dr. Yamini Krishna Murthy Receiving Honors (Multi -Awards) by Dignitaries at VMDA's Annual Program

P 45 | SEPTEMBER 2017 India and Karnataka. That too only influential people A Journey of got opportunity in those.

Sai Nrithyotsav started in a humble way 8 years and 4 100 Episodes months ago. It was an experiment and they wanted to establish a monthly festival on the first of every month. Text: Paul Spurgeon Nicodemus It was never expected to last this long. Completing 25 months was a great achievement, but they did not relax hen organising a small event is an arduous after that and it went on celebrate 50 episodes or the task, Sai Nrityotsav organised by Sai Arts Golden Jubilee. Then came 75 Platinum Jubilee, a point International on the 1st of every month at W where they wanted to wind it up but the pressure to Bengaluru under the guidance its founder president Sai continue was so immense that it has now completed a Venkatesh has achieved an extraordinary feat - it hundred editions. "Nobody can imagine, how we completed 100 monthly festivals. reached hundred monthly festivals with no proper Sai Nrityotsav happened accidentally, "After setting up support from the government, co-sponsors or funds," Sai Arts International, we have been trying to put up he says. some show for more than 30 years. We never named it Challenges a festival but right from 1987-88, we started doing a lot of things. We gradually picked up and annually we Sai Venkatesh never faced a challenge from the artist were doing 2-3 festivals without branding them. Later, community; the only challenge for him was from World Dance Day and National Dance Day caught up. economic quarters on financial matters. He could not Sai afford to Nrithyotsav organise the started out of festival in demand bigger from young theatres and dancers. I had to used to search for attend a lot of smaller Arangetrams, setups. The I organised only photography, problem videography was to fetch and event money for Festival Director Sai Venkatesh along with Dancers' family members management," Festival Director Sai Venkatesh along with Dancers' family members the theatres. Suparna Venkatesh(Spouse) and Shweta Venkatesh (Daughter) says Sai He did face Venkatesh. During that phase, a lot of young dancers difficulty when artists from far off places like Delhi, and their parents lamented that there were no Kolkata and Assam participated. Providing them programmes and platforms after the Arangetram. boarding, lodging and travel were a challenge. Festivals were a rarity in those days. There were only "Those were the times when I needed to arrange one or two festivals organised by the Government of money. The state did not help me nor did the Centre, P 46 | SEPTEMBER 2017 News only my friends and community helped and a lot of Sai Nrithyotsav mostly encourages professionals who people cooperated. I applied for central support and are above the age of 18 years and usually steers away received only Rs 4 lakh in total from the state when from senior artistes who are above 50 years as they others received Rs 19 lakhs for a festival. A dancer with are already reputed. Performing arts is such a thing much influence received Rs 25 lakh for a single festival. which has space for only those who are fit. For We don't have influence and hence we are not example, in Russia, the ballerinas are expected to have recognised," he said. Thousands of dance artists from certain features and they have to acquire certain points all over the world have performed at the monthly to be eligible to perform. It might not be applicable in festival for more than 8 years yet there is no proper the Indian context for everybody as there are several support from the government. "I don't feel the need to artists who create magic even in the 70s and 80s. stand in the queue after these many years of service," "I have to thank so many people who have stood by he added. me in this long journey. Kapini Anna, who has been Corruption organising with me even at the age of 84 years and one of my own students Somshekar who has been Corruption in the cultural bodies has to end. "Every doing the poster work and design throughout. These time a file moves when you bribe people and this has people have not only charged me but also have been been happening for the past 70 years. Everybody doing these things with a motto of service. I have to wants to make easy money. In other countries like thank all the dance artists and their gurus, who keep England and America, dance companies apply and if asking for opportunities. Some theatres have been the project is approved, they receive lakhs to present really kind enough to provide the place at concessional the production. But here, it is not the same. Even for a rates. My family has been with me all through the grant of Rs 2 lakhs, we have to run after government journey and now my daughter is seriously looking into officials. Corruption has to be eradicated. The whole it. cultural department should be replaced. The ministry of culture and are the examples, Message it starts right from the selection of awards," he laments. "As organisers, we have to fight our way out. It is the Future survival of the fittest and we have to fight for our survival. We can't depend on the government or public Dates have already been fixed for 5-6 months in Sai sector for financial support. I request all the festival Nrithyotsav and many are waiting in the pipeline to get organisers to dive deep and start doing more festivals an opportunity to perform. "I'll try to push it as long as I in a simple and systematic way. I see some festival can with the grace of God and friends who can organisers spend a lot of money in one festival when support us," he says. When it comes to screening, the the same amount can be spread out over a year. committee goes through their profile and encourages Budgeting should be done in a simple way and an mostly professionals. Armatures come and go but it is economic strategy should be adopted. During my the professionals who are going to sustain Indian art journey, I have seen several festival organisers wind up and culture. They try to recognise professionals who their festivals after six months, 1 year or in a short are looking for a platform and encourage them. period of time. It is difficult to organise festivals for a Another approach was to contact gurus like Dr Kanak long period as a lot of economic planning is needed," Rele, Dr Saroja Vaidyanathan. he concluded. P 47 | SEPTEMBER 2017 The evening unfolded with a prayer song on Ganapathi 1st Anniversary beautifully rendered by Sujatha Nair followed by short Celebrated performances of few dancers representing their guru/ institutions. The gurus/teachers represented were Guru at Mumbai Jayashree Nair, Guru Vijayashree Pillai, Preetam Sebastian, Ramya Shetty and Vrunda Shukla. There Text: Paul Spurgeon Nicodemus were a few solo performances by senior dancers/ year passed since the launch of "Dance India", teachers namely Sashi, Vasanthi Joshi and Uttara Unni. a magazine released by Vikram Goud in 2016; a magazine exclusively for Indian Dance forms The presence of eminent gurus and scholars in their A respective art forms and honouring them with for the benefit of art lovers across the globe. The first

Editor in Chief of the Dance India Magazine and Founder Director of Natraj Music and Dance Academy Bathina Vikram Kumar Goud addressing the gathering/Artists performing, during its 1st Anniversary Celebrations in Mumbai.

anniversary was celebrated in a grand manner on mementoes added much allure to the celebrations. August 19, 2017 at Sri Subramanya Mutt Hall, Chedda Among the gurus present and honoured were Nagar, Chembur. The Maharashtra coordinator of the Udyogamandalam Vikraman, Vasant Kumar, Tushar magazine Kashmira Trivedi organised a wonderful Guha, Deepak Muzmudar, Debi Basu, Jayashree evening for dancers, teachers and art lovers. She has Rajagopalan, Mandakini Trivedi, Malathy Agneeswaran been the key person to initiate maximum subscriptions and Jayashree Nair. All of them need no introduction to for the magazine from Maharashtra in the last one-year. dancers and art lovers, as they are exponents in their respective fields. P 48 | SEPTEMBER 2017 News Each of the honourable gurus shared their views about Mangesh Parab (videography) and Paul Spurgeon the magazine and also suggested few inclusions for Nicodemus (photography) efficiently captured the future subscriptions. All of them wished the magazine complete event on camera. long years of circulation, distribution and expansion The event concluded with a formal thanksgiving by throughout the country. Shyamal Pawar. She with great humility thanked each Kashmira Trivedi and her senior students worked as an one present on the occasion and expressed her efficient team and administered the event to the fullest. gratitude on behalf of Vikram and Kashmira. Jayashree Nair, T Sudhakaran Nair and Sujatha Nair As the celebrations neared conclusion, there was a Sanjay ably supported them. To work more efficiently sense of achievement and inspiration within the in future, a sub-committee under the authority of organisers to continue the good work of including

Kashmira, was announced and the appointed various articles and spreading knowledge about all members were Vrunda Shukla and Kala Srinivasan. arts forms to the younger generation with extensive support from seniors and scholars; a sense of A special highlight needs to be mentioned about the responsibility towards dancers and a sense of very tasty prasadam prepared and served by the Mutt deliverance of information through the future priest for all guests. The personal interest taken by the subscriptions throughout the country. Mutt authorities in making arrangements deserves a humble gratitude. Wishing Dance India more years towards success.

P 49 | SEPTEMBER 2017 Karunasadana". The third performance by Isha "Mamavathu Sri Saraswathi", the NRITYAANTARANGA next followed by Vindhya Text: M Gopal, Shimoga "Paramapurusha Jagadheeshwara" is a Venkatesh Kumar Vishnu Sthuti. The fifth dance was "Devi Sthuthi " by Shreya Kalluraya . The next ' rityaantaranga' is a series of dance through which the attempt is made to understanding the art form better. It is a journey to performance was given by Kum. Prarathana. B "Ananda Nthe inner substance of dance especially Bharathanatyam. It is Thandaveshwarana". Akshaya a dream project of B. Deepak Kumar, Director of Sri Mookambika Cultural Academy. Deepak kumar had a taught creating a plot form for performed in depecing devotion on Rama "Brochevarevarura". The upcoming young talents performing solo performance to show their concluded item with " Sri Ramaa talent and training them in facing audience in future. Today 'Nrityaantaranga' fame was spread all over the state and many artistes Saraswathi" performed by all six artistes, then moved to Mangalam. from outstation come here to perform. It completed successfully 28 series . The 29 th series was performed by B. Deepak Kumar in Smrt. Raksha Kashyap of Bengaluru 'Shashi Shankara' auditorium in Darbe . The evening was inaugurated gave a beatuful Kathak performance in by Smt. Sarojini Nagappyya, a National Awardee she appreciated the Nrityaantaranga 31 series. The evening achievements of B. Deepak Kumar and his academy . Vidwan was inaugurated byAkshavani and Deepak Kumar performed ' Bhakti Marga' the evening started with a Doordarshan artiste Puttur Panduranga Sholka praising Mother earth, then moved to Sankeernachapu Alaripu Nayak . Kum. Akshatha gave which was newly choreographed by this event. Moving in the Varnam introductory note. Lakshmi did Deepak portrayed all shades of devotions to ultimate Lord of Dance invocating recital. Kum Dhanyashree and Natraj , the next number was a beautiful on Lord Rama Usha Alva gave the opinin on behalf of composed by Tulasidas in Yaman Kalyani Raga. Deepak portrayed the audience ; Vidwan Deepak Kumar the various characters of Ramayan the evening was concluded by conducted programme.On this Thillana with unique Shollukattus. Vidushi Preethikala , Deepak's wife occasion, Isha Sulochana Muliya , a supported on both Nattuvanganam and vocal. talent of thde academy who represented Sri Mookambika Cultural Academy of Puttur which is regularly India in Japan for cultural exchange programme, was felicitated by Vidushi conducting dance series 'Nrityaantaranga' which was successful 30th Preethikala. series by its own young talented troupe 'Shadkona'. Shadkona, as the name says is a group of 6 upcoming artistes with dedication and Raksha performed Ganapathi Moorath enthusiasm. Kum. Isha Sulochana Muliya, Akshaya Parvathi Saroli, as invocatory piece. Later on Phala Vindhya Karanth, Shama Chandukudlu, Shreya Kalluraya and Netra- a Shiva Sthuti was presented with Prarthana .B are the students of B. Deepak Kumar who has given vibrant movements and footwork the successful show. The evening was inaugurated by Dr. Shobitha next was Drupad on little Krishna which Sathish, lecturer and artiste. Vidwan Deepak Kumar welcomed the described his pranks,mischieves in gathering and the event started with the able Nattuvanga by Deepak Gokul. Continued item was again on kumar, vocal by Vidushi Krishna with Sringara rasa. Raksha gave Preethikala . The soothing mild expression in portraying evening started with Gopikas Charecters. The concluded Ganesh sthuti item was Tharana in Darbari Raga performed by all the six choreographed by legendary guru late dancers. The next item Dr. Maya Rao . The presentation of was performed by Raksha with neart beautiful foot work Shama Chandukudlu blocked all the vision of audience. "Gajavadana

P 50 | SEPTEMBER 2017 KATHAK each other .This was followed by an Ashtapadi PERFORMANCE AT 'Lalita Lavang' Neha potried character of Radha SAGAR A BY NEHA suffering pangs separation from Krishna and showed how sakhis celebrating Vasantha SESHADRINATH season composed and choreographed by Dr. Maya Rao. Ibrahim Adil Shah's 'Ek narri Text: Gopal dekhiya' showcased the influence of Mughals . Neha concluded the evening recital with a Tarana, eha seshadrinath, an ardent practitioner of it portrayed the pure joy of dance inersepered Indian Classical dance, presented a solo with tukdas , paranas and tihays. NKathak performance in Sagara for the Antaranga Trust. The artist, a disciple of Smt. Nirupama and Sri T.D.Rajendra began the evenng's rectical with Shiva Stuti. Choreographed by Late Dr. maya Rao,this composition showcased the different attributes of Lord Shiva this was followed by a nritta composition 'Alankar' which explored the Vilambit lay in Khatk. The highlights o the composition was the presentation of 'Thaat' which displayed the subtle nuances and the stylized pose of the art form. This was choreographed by her gurus and music composition by Ustad Faiyaz Khan.

Neha presented three compositions abhinya aspects of Kathak. In the first composition she depicted Radha and Krishna doing Shringara getting ready to meet P 51 | SEPTEMBER 2017 ur motherland has given a the past, present and future of great gift to this world. It is Bharatanatyam. our culture. But, what is O Bharatanatyam is one of the culture? Culture is a spiritual ancient classical dances of India, manifestation which is linked with having had its beginnings in religion and classical arts. The history ancient Tamil culture and mingling of captures the spirit of with the Sanskrit culture culture. One of its functions is to give enveloping the whole of India. a symbolic expression to religious Overwhelming literary, concepts. This close relationship of architectural and epigraphical dance and religion began very early in evidence testify to its antiquity. Hinduism. How was dance practised in the older ages? Are there any The earliest literary work in Tamil is pieces of evidence or any "Tolkappiyam" (1st- 4th century references? Did the arts face BC), a work of grammar offering changes? How was it preserved? insights into the art and life of How is it being handled now? How will the people. The earliest of it be in future? Every artiste should not Tamil literature grouped into only know the technical aspects but schematic anthologies contain also the real history of every art. references of both female Through this article, I will try to outline

P 52 | SEPTEMBER 2017 (Virali or Kuttiyar) and male (Kuttar) dancers, mainly pouring water in a ritual gesture on the fire were victory and celebratory probably the precursors of women in later temple dances, and travelling musicians (Porunar). The rituals. Similarly, evidences about dancing girls are also earliest archaeological evidence of dance in Tamil Nadu available in Upanishads, Sutras, etc. The divine right of is found in rock-cut caves of Era dynasty by prince kings as God's representatives on earth was never in Ilango Adigal who composed the Tamil epic doubt. They employed hundreds of people to please "Silappadikaram"(1st century AD) (Silambu means the gods. God became king and therefore "God" too anklet and Adikaram means a Chapter). This study of needed all comforts. Devadasis became the the anklet, with the central character of a dancer, adornments of both temple and court. They danced "Madavi", is a treasure trove of information on dance. and sang for a divine purpose. The song of the The Natya - Ganikai, as the dancer is called, is Devadasi became the cry of the human soul to be mentioned as having mastered dance and the allied united with the divine soul… the Jivatma yearning to be discipline of music for seven years before her debut or one with the Paramatma. To secure her position in the Arangetram on a stage of prescribed measurements. temple, her duties were codified and sanctified by the The stage is a simpler version of the stage mentioned divine authority. The importance of dance and dancers in Natya Sastra, the oldest in ritual worship was sanctioned by what is known as treatise on Indian theatre, of the Agamas. Separate Agamas grew around Siva and which dance was a part. The Vishnu temples. The Agama that deals with Siva commentary on Silappadikaram worship is known as Kamika Agama, while the written by Adyarkunallar in the Pancharatra Agama specifies the details of Vishnu 12th century and Manimekhalai worship. Agamas prescribed a fourfold path for temple by Chitalaichaththanar of the service: Sangam Age (500 BC-AD 500) 1. Karya are important from the point of 2. Kriya explanations regarding some of 3. Yoga and the aspects of the art of dance. 4. Jnana The dance is referred to as "Kuttu" in Tamil works. Every activity, like the cleaning of temples singing the Lord's praise, dancing, reciting hymns, lighting lamps, Bharatanatyam has a clear and established history of gathering flowers and making garlands out of them its concepts. As we all know the first dance drama was was sanctioned by the Agamas as ways to attain choreographed by saint Bharata which in detail is given salvation. For example, the Uccikala puja or mid-day in his "Natya Sastra". This was to entertain the Gods. worship was accompanied by the dance of the Since Bharata required women actors and dancers or Devadasi. With symbolic hand gestures, she marked a celestial dancing nymphs, Brahma created apsaras. time measure (tala) with her feet. A song accompanied Details regarding the Devadasis are also available in her dance, with drums beating the rhythm. This routine Rig Veda and Atharva Veda. The oldest mention of a was repeated again the next day to herald a new phase courtesan is probably in Rig Veda where the goddess in the life of the universe. A prescribed pattern of daily of dawn Usha is compared to a dancing girl richly clad worship was followed in temples for centuries. Even in revealing embroidered garments. The Atharva Veda today, while dance is a forgotten factor, this time table describes the courtesan as a Gandharva-grihita of rituals with singing and playing of instruments is (possessed by a Gandharva). Women dancing and observed in all the big

P 53 | SEPTEMBER 2017 temples. When a deity is carried in a procession, the Literary forms that were charted included palakku bearers dance to the accompaniment of the o Curnika Nagaswaram music and drums (periya Melam). In o Ashtaka ancient times, four hours were needed to complete this o Venpa list on festival days. Each direction has specific o Kalittogai and presiding deity, with Brahma the creator of o Viruttam which had varieties like trinity at the centre. Each of them had to be propitiated o Ammanai with suitable hand gestures, songs and dances. These o Vannam specific compositions came to be known as o Ula Kautuvams. Temple festivals were important annual events, as they are even today. To commence the Before the deity was taken out in procession in dances festival, an auspicious day was chosen. The temple flag were performed to certain compositions played on is hoisted (dvajarohana) "Bali" is performed to ensure Nagaswaram like Alarippu & Mallari. God was the king the safe and successful conduct of the ten days of kings and devotees expressed their innermost festival. The Nava Sandhi Kauthuvam was performed by devadasis during this time; this was accompanied by Sarva Vadhya. The rituals included a recital of selected hymns followed by Pushpanjali - a simple dance with flower offerings. A thematic dance, supposed to be important, known as Bhujanga Nrityam, was also performed while the oduvars sang Tevaram, Tiruvacakam and Tiruppallandu, The dancers followed suit with Pushpanjali. This custom is even followed now in modern dance recital. The mridangam was played in rhythm known as Brahmatalam. Dance which used gestures and which was known as nrityam was performed at each sacred spot around the temple in a sequential order. As we known K.P. Kittappa Pillai the successor of Tanjore quartet preserved the original feelings with uninhibited passion. The perfect genre for manuscripts, published them in 1950 as the music and this was the dance-drama performance in the temple. dance movements of Nava Sandhi Kauttuvam. The Kuravanji Natakam, sivakama sundari parinayam and comprehensive list of ritual songs and dances gives us other such ballets for which Tiruvarur temple was a splendid idea of the evolved state of the role of the particularly famous, were enacted as part of the festival Devadasi. The musical forms were: in many rich temples. Dance is one among the shodasha upacharas prescribed the agama. The o Gitam duties that have to be followed by the Devadasis are o Varnam completely given in Agama. o Kirtanam o Kriti Thus, we can understand that it is in the temple that the o Padam classical arts were preserved and nourished. o Tillana and As time passed from the temples dance and other o Sloka classical arts slowly moved to the courts. But an item

P 54 | SEPTEMBER 2017 Gitam, Dvipadas, Brahmara Gitam, Dandakam, Srnagara Padam, Savathikayyam, Vendu Kolly, Gujjari, Vilvedu, Danda lasya, Kanduka Krida, Kuravanji, Gujarathi, Desi (varieties), Darus, Hela Padam, Nidi Padalu, Sankeertana, Aelyatma, Valviccu, Chanpadam, Padakelika, Jakkini, Padachali. During their period "Yakshagana" ballets was perfected. Skilled dancers performed novel dance items before Nayak and his courtiers in an elaborate stage put up. Like Nayakas, Marathas made a cultural history during their rule. The new padams, Darus, yakshgana dramas etc were composed during their period. While talking about the new format of dance, King Serfoji introduced Nirupans (a story narration with all features of dance repertoire). that was performed in the temples was not performed The root seems to have been from Maharashtra Kirtan, elsewhere. An item that was performed in court was Popularly known as Kathakalakshepam. Serfoji's mostly composed in praise of the king. Since the 7th Nirupanas are presented with single theme woven with century AD, Kanchipuram and a good portion of 18 different types of dance compositions: Jaya Jaya, Kaveri delta came under the jurisdiction of the Pallavas Saranu, Alaru, Sollu, Sabda, Varnam, Pada, Swarajati, and lasted up to 980 AD. Then Tanjavur had been Abhinaya pada, Tillana, Arjita pada, Jakkini, Giti, occupied by the Mutharaiyars and the power of the Prabandha, Triputa, Sloka varna, Kauuva and Mangala. Pandyas had not been completely eclipsed. The Seven Nirupanas of King Serfoji are the following: Pandyas suffered defeat at the hands of the Cholas later. After Chola, evidently, the Nayaka and Maratta o Parvatopakhyana - Yadukulakambhoji- Adi regimes at Tanjavur are marked by an unprecedented o Saripatacha - Purvikalyani - Adi leap in the development of this art. During Nayaka o Dandaniti - Sama - Adi period many varieties of items were introduced in solo o Sakhine nayaki - Arabhi - Ata dance recitals. Darpanam, Sangeetha o Sakhine nayaki - Pantuvarali - Adi Muktavali by Devanacharya gives the repertoire of a o Kute re - Ahiri - Adi dance performance. Sangeeta darpanam gives the o Suladi - Saveri - Rupaka following items: Mukachali, Yati nritta, Sabda Chali, Though these Nirupanas are in the Marathi language Udupa, Dhruva, Souda Sabda, Kavada, Gita, Cintu, they are set to Carnatic mode. This forms a good Desi Kattari, Vaipota, Sabda nritta. Sangita Muktavali background for sadir dance. Apart from Nirupanas, gives the following items: Pushpanjali, Mukachali, Serfoji composed Suladi in Raga Tala Malika, Kalpita Suddha Yatinritta, Raganga Yatinritta, Sabda nritta, Katha in raga Atana & tala Adi. This dance piece Rupa nritta, Devanritta, Sabdachali, Sudagita, Gita explains various kinds of Salams, (salutations) to the Prabandhas, Cintu, Darus and Dhrupad. kind Serfoji in his darbar. A novel form patronised by

Vijayaraghava Nayak in his dance drama Vipranarayan Serfoji II was Kuravanjis in the Marathi language. His a Charitram explains that a dance drama should be a Devendra Kuravanji and Tristhaitirthayatra Lavani, (folk Natya Kadamba imbibed with Navarasas. He mentions variety in Maharashtra) are interesting compositions. many items which should be incorporated while Prabandhas of Sahaji Maharaj was very popular. The composing a dance drama and they are: Gopika innovation of Kriti and Kirtanam replaced the old P 55 | SEPTEMBER 2017 Bharatanatyam faced its dark side during the British rule. After so much struggle, Bharatanatyam regained its respect because of the great legendary artistes like , Bala Saraswati, Uday Shankar, Vayjeyanti Mala Bali, Harikrishnan, Dr Padmasubramaniam, Santhana Dananjeyan, C.V.Chandrasekar, Lakshmi Vishwanathan, Chitra Vishveshwaran, , etc.

Bharatanatyam is now, I feel, becoming fashionable. prabandha form of musical Lavani. Generally, Fashion does belong to art. But there are few who still prabandhas denote any work based on Purana or a follow the tradition. We must think more of this art piece of literature. A prabandha is a composition with reflecting the spirit of India in all its creative genius and four angas and six types of dhatus (elements). Dhatus we must make this art once more a living art. We have include svara, pada (lyric), biruda (ornamentation of gone away from temple spirit. No theatre can replace pada), pata (rhythmic syllables), tala (beat) and tenaka the temple. But dancers can bring the atmosphere to (words like om, nam, tam etc). The prabandhas of the audience through their dance that they are sitting in Sahaji are a compilation of various types of darus like Chidambaram or Tanjavur. vigneswara daru, sringara daru, Leeladaru, Abhinaya daru, Jakkini daru etc. Each daru is mentioned with Rukmini Devi Arundale, in her speech about "Future of appropriate names of raga and, tala. Apart from tuning Bharatanatyam" in the oriental conference at Tirupati on the "Sarabhendra bhupala kuravanji", Tanjavur brothers March 22, 1940, said, "It is necessary to study books in systematised and composed the repertoire of the order to know something of what other people have present day Bharatanatyam recitals like Alarippu, said, but a person who studies must not be a mere Jatisvaram, Sabdam, padavarnam, Javali, Padam, repeater of what books have said, but must try to enter tillana, svarapada, kavuttuvam etc. In present day most into the minds of the persons who wrote the books. of the Bharatanatyam recitals do not start with Alarippu. And it is this that gives learning proper foundation. It is They start with pushpanjali, melaprapthi and Mallari. really this particular spirit that can bring new creative art Very few dance programmes begin with Alarippu (of into the modern world and form the foundation of panchanadai Talas.ie. Tisra, Chatusra, Kanda, Misra future work. It is this which gave birth to creative art and and Sankirnam) as a novelty in alarippu is that the usual genius in ancient India and there is no country in the tatakaram is said in the background and a Tirupugazh world that had greater genius than India". From these is sung by the vocalist in the natai raga. The item words of Rukmini Devi Arundale, what I feel is, we must Todayamangalam (item performed only in the go back to the original foundation but must not stay beginning of a dance drama during Maratha period) is there. We must progress and create from this firm now performed as invocation piece. Following this foundation. So we shall progress according to the dance on Lord Ganesha, occasionally a prayer song spirit which has been given to the world for the benefit on Siva, Vishnu etc are performed. This is followed by of mankind and only if we enter into that stream of padavarnam, pada, kirtana Javali, ashtapadi or Bhajan creative art, India once again can achieve her or kavadicindu at the end tillana followed by Mangalam greatness. or Tirupugzh or sloka.

P 56 | SEPTEMBER 2017 ecently decommissioned naval aircraft - TU-142 M long-range maritime patrol aircraft being installed on the Beach Road in Vizag. The aircraft had served 29 years in the Rdefence and now it will continue to serve as an Aeroplane Museum.

P 57 | SEPTEMBER 2017 he is 15-year-old girl studying in Class 10 in SEtasi Timpany Senior Secondary School, Visakhapatnam. While most of the students are busy with their academics, she has excelled and shown brilliance in the area of Indian classical dance. Her recitals are such that anybody who watches her perform on stage would definitely concur that she is a dancer with virtuosity.

Kumari Peesaapti Maanasi Tejaswini started learning classical dance at a tender age of 5 years. She took her first steps in Bharatanatyam from Guru Uma Maheswari. Later she continued learning Bharathanatyam from Guru Lakshmi Mahanthi, w/o Guru Mahanthi Venkateswara Rao. She gave her first dance performance on stage during Durgashatami celebrations in Visakhapatnam.

P 58 | SEPTEMBER 2017 She performed the role of Lord Krishna in the dance ballet - Sri Krishna Leelalu. She gave her first solo performance - Alarulu Kuriyaga Adenede, an Annamacharya Kriti, in the year 2011. On the same stage, she also performed in the group on the song 'Kolonitho Parike Gobbillo'.

In 2012 she started learning Kuchipudi under the able guidance of guru AB Balakonadala Rao and in December of the same year, she participated in 'Mahabrinda Naatyam' during Silicon Andhra Dance Festival and etched her name in the Guinness Book of World Records. She performed for the cultural celebrations held by Government of Andhra Pradesh at various celebrations.

In January 2017, she made her Arangetram in Kuchipudi at Kalabharathi Auditorium in Visakhapatnam, under the guidance of guru AB Bala Kondala Rao. After her performance, Kuchipudi Kala Kendram conferred her with the title 'Natya Ratnam' and renowned Kuchipudi dance exponent Manju Barggavee presented it. Her recent performance at the 5th Satyabhama Yuva Nrithyotsav, an Indian Classical dance festival organised by Nataraj Music and Dance Academy, was a work of art and she was awarded the title 'Natya Manjari'.

P 59 | SEPTEMBER 2017 Shanta Sarbjeet Singh

Eminent art and Sangeet Natak Academy and head of UNESCO's culture critic Shanta APPAN. She had a successful stint in several national Serbjeet Singh dailies and had also been president of the Indian passed away on Women's Press Corps. She was married to noted August 2, 2017. artist Serbjeet Singh and is survived by two sons and She died of a grandson. cardiac arrest. Singh (81) had Born on January 11, 1936, Shanta Sarbjeet Singh's been reportedly craft of writing was unparalleled. She was valued for ailing for some sharp but sensible critiques of films in the 1960s and time. She had dance in 1970s. She was a largely loved and looming contributed richly figure. She was the elegant first lady of dance writing to art criticism and promotion of arts in various in Delhi in the '70s. Her eagle eye made her someone

capacities, including as the vice-president of the not to be taken lightly.

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Painkulam Damodara Chakyar

Renowned artist of the traditional theatre art form Koothu and Koodiyattam, the oldest surviving specimen of ancient Sanskrit Theatre, Painkulam Damodara Chakyar passed away in Bangalore on July 26, 2017. He was 82. Damodara Chakyar was the uncrowned monarch of Prabandha Koothu for over half a century.

Hailing from a small hamlet of Painkulam in the form. When Painkulam Rama Chakyar crossed the Thrissur district of Kerala, Damodara Chakyar was seas with his troupe to perform Koodiyattam for the embedded with the Kutiyattam art form deep in his European audience, his nephew Damodara Chakyara genes and training in it was just a domestic affair. As a was an essential member of his team. Together with child, he waddled around the Koothambalams the great artists of Kalamandalam (a major centre for (temple theatres of Kerala), clenching the hands of his performing arts in Kerala), Damodara Chakyar uncle, the great Painkulam Rama Chakyar, who performed in Poland, France, Germany and Thailand became his first guru. With decades of training, besides making appearances at the major festivals Damodara achieved mastery over this intricate art within the country. form. In addition, he also learned Sanskrit Literature from Poomulli Neelakantan Namboothiri, which is a The Government of India conferred Painkulam prerequisite to becoming a good artist. Damodara Chakyar with the prestigious Kendra Sangeet Natak Akademi Award in 2012. He received Damodara had his feet firm in Koodiyattam and the Kerala Kalamandalam Award in 2004 and the became an established artist and teacher in the art Kerala Sangeeta Natak Akademi Award in 2006.

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he believes in the proverb, "The journey of a University as a secretary of the Information Bureau thousand miles should begin with a single and her mother Kanakam Dharmarajan was the vice- Sstep". She took the first step and established principal of a school. Both were, however, innately Ganesa Natyalaya, an exclusively training centre for passionate about art. Indian classical dance Bharatanatyam at New Delhi. Now, several decades down the line as Guru "They were very good nature painters. I made a big Dr Saroja Vaidyanthan celebrates her album with their work. My mother was very good at 80th birthday this embroidery, flower making month, The Dance India and she was also a good once again looks into her singer," Saroja recollects. life, legacy and her Her father wrote guidebooks institution and wishes her for students, while her many more happy years. mother wrote short crime stories, novels and pocket She is an inspirational books. As a seven-year-old, personage, an exemplary she was interested in dance. artist and a living legend. But even as music was She embraced classical allowed in the family, dance dance and music at the was not. Initially, her family age of 7 years and ever members disliked the idea of since her hunger for art her learning dance, but kept growing and ran having looked at her interest deep into her soul. She is in sports and art, they a guru, author, allowed her to train in dance, choreographer, exponent vocals, music, veena and the of Bharatanatyam and flute and even encouraged founder president of her to take part in the sports Ganesa Natyalaya who won several awards and like netball and badminton. "I joined a nearby school accolades including Padma Shri in 2002 and Padma under Guru Lalita at the age of seven in Chennai. I am Bhushan in 2013. so glad that my parents supported me," she adds.

Born to an orthodox family at Bellary, Karnataka, on For several years, Saroja enjoyed the art education September 19, 1937, Saroja Vaidyanathan's journey under accomplished teachers. Her Guru Lalita into the world of art began at Chennai. Her family was imparted dance, veena, vocal, violin, flute and academically oriented. Her father Dharmarajan, who mridangam classes. Later, Saroja studied music at worked in the Royal Air Force during the Second Madras University under professor Sambamoorthy World War, came back and joined the Madras and practised Shankara Bhagavatar at home. She

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Awards

1 PanchaliSabadam (of SubramaniaBharathi) 1982 Tamil 2 AdiSankara (the story of Sureshwara&Sharada) 1988 Sanskrit & 3 AarupadaiVeedu (Six episodes of Lord Muruga) 1988 Tamil 4 Rudram from Yajur Veda 1992 Tamil 5 Paramacharya 1994 Tamil 6 Hare Krishna Om Skanda 1995 Tamil 7 Anmol Moti (Freedom fighters of pre independence) 1997 Hindi 8 Bheeshma Katha (From Mahabharata) 1997 Tamil 9 Varsha (The Rain - Nature) 1998 Instrumental 10 RudraBharataBhaaratham 1999 Sanskrit & Tamil 11 Krishnarpanam 1999 Sanskrit & Hindi 12 Bhavayami (Ramayana) 2002 Sanskrit 13 Jalapraya (Water) 2000 Hindi 14 Jagriti (theme based on drugs and AIDS) 2002 Hindi 15 Ganga (Shiva &Bhagiratha story) 2002 Sanskrit 16 Dasavatar 2002 Sanskrit 17 Women Empowerment (Based on SubramaniaBharathi`s poems) 2002 Tamil & Hindi 18 Five Elements 2003 Sanskrit 19 Pradosham (Origin of ) 2003 Tamil & Sanskrit 20 Buddha 2005 Hindi & Tamil 21 Women Empowerment 2008 Multi Lingual 22 RabindraSangeet 2010 Bengali 23 Karanas 2010 24 Bharathiar Katha Kalakshebam 2011 Tamil 25 "From Zero to Infinity" & "Nakshatra" Choreographed by DakshinaVaidyanathan 2012 26 Yashodhara (Story of Gautham Buddha`s wife) 2013 Tamil 27 Ramayana (Thailand) 2016 Sanskrit

P 64 | SEPTEMBER 2017 Dr.SarojaVaidyanathan - As an AUTHOR Published four art books on classical dance and music, compiled an encyclopaedia on Bharatanatyam for NCERT and wrote a fellowship Paper on the Aharya aspect of dance. Publications and CD`s 1. MahakaviSubramaniaBharathi Vol -1 $ Vol - 11 1982 2. The Science of Bharatanatyam 1984 3. CarnatakaSangeetam 1989 4. Bharatanatyam an In-depth study 1997 5. The Classical Dances of India 2005 6. Encyclopedia of Bharatanatyam 1994 7. Fellowship from Govt. of India 2004 8. Two volumes of CD (based on SubramaniaBharathi`s poems) 2004 9. Two Margams (CD) 2008 10. Syllabus (Practical) Video for IGNOU 2009 11. CD on the life of Paramacharya 2013 12. VCD of Basic Abhyas, Adavus, Hastas, Viniyogas, Bhedas, Rasas and Ga

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But more criticism and rejection was yet to come her A dance presentation is also an elaborate task. Saroja way. Recollecting an incident she says, "Once I visited selects her subject and critically analyses it first to a particular official during Prime Minister Indira understand if it is suitable for her presentation. Then Gandhi's tenure with a copy of my book. On receiving she does research and takes out the nuances, which the book, she advised me to look after my family and are important for her to convey the message through not waste my time as I was a married woman and the medium of art. After that, she meticulously there were already many artistes in Delhi." chooses the words and lyrics and if that doesn't At home, she got a lot of encouragement from her happen then she asks lyricists and poets to make mother-in-law, who was herself a harmonist. Saroja beautiful verses of the story, based on mythology and was her beloved till her death and this helped her with society or even personalities like Shabari, the career. "I knew the value of time and knowledge Soorpanakha, Draupadi, Sita, Urmila, Mandodri or and developed a belief that hard work would surely any great human being like Subramania Bharathi. take you to the top," she said. Then she sits down with the lyrics and selects either a part of the life or part of the story with the strongest Though she never wanted recognition, it started pouring message. That is then elaborated as a particular in towards the later part of her life. People started scene. "If it is a dance drama, I close my eyes and recognising her sincerity and standard of presentation visualise the characters and select my disciples as she choreographed different ballets based on social accordingly," she explains. and mythological themes. Her dance ballets were always full of happiness, struggles, hard work, patience, knowledge and the faith in the Supreme One.

Growing through struggles was no cake walk but it made her what she is today. From being a student of arts, sports and academics to a professional performer, teacher, choreographer, author, administrator and social worker, life taught her valuable lessons through various struggles. "Solving and going through troubles led me to a peaceful and calm life," she says.

She believes that artistes can spread a message through dance as they could easily convey it through expressions on the stage. "We have to fuse mythology with social and sensitive themes based on women, child labour and health and bring awareness in the society," she suggests.

P 66 | SEPTEMBER 2017 Vysakhi Life-Time Achivement Award, Visakhapatnam

All this is mostly done in the early hours of the was divided into four parts - family, dance, teaching, and morning as she believes that it is the best time for construction. Early in the morning, before anybody woke the creative process. "I start recording the music, up, she practised dance for an hour. Later during the day repetitions, melody, raga, tempo, instruments, she took care of her family and visited the site. Post pitch and other components. After completing all lunch, she took classes until the evening and again these analytical work, I record the music and then I enjoyed quality time with her family. start teaching. Sometimes I get great ideas while composing the choreography and I change the Even now, her day starts at 4:30 am which she dedicates music on the spot," she adds. to meditation, choreography, writing her dairy and replying to all emails and messages. "It is the best part of Initially, she practised dance full-time and her entire the day to do something creative," she suggests. day revolved around practice and performance, but then that changed in 1974 when she started her Apart from dance and music, Saroja loves gardening. "I school. From then on, she had to divide her day love to see the plants grow!" she exclaims. Every day in into academic classes and dance practice. In the morning, she spends at least half an hour moving in 1982, when the Delhi government provided the her small garden, watching each plant, flower, vegetable, land for constructing a building of her own, her life and tree. She also follows the news and enjoys reading

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Workshop at Vignan School in Visakhapatnam

magazines. She says watching challenging movies, Speaking about the younger generation, she says that crime stories and investigations broadcasted on they are smart, quick and focused. While feeling television channels like Discovery interests her. "I happy about their dedication, she also feels sad that really love them," she admits. As a family, they talk they are impatient. "Today's generation wants to about family matters and crack jokes. Indian acquire everything in a flash. Our art is an ocean; there classical dances with their rich cultural heritage have is no end to it," she says. She always advises impacted the world, cutting across different cultures youngsters who train under her to be patient, practice and have been widely accepted and appreciated. constantly and focus on the subject. Hard work would Whenever Saroja travels abroad, she feels extremely eventually bring recognition. "If they learn to be patient proud and happy to represent a classical art form that and respect our culture, I am sure we would have has been in existence for more than 2000 years more scholars in the generations to come. More before a foreign audience. In her workshops and research workers should come forward to propagate dance performances, she grabs every opportunity to Indian culture. Though there are a lot of books and talk about her country's history and heritage. "I feel scripts, the younger generation with all the modern proud and happy that I am an Indian and God has technological advancements could do wonders and a given me the opportunity to present our country's lot more than what we previously did," she says. heritage and history to the world," she says with patriotic fervour.

P 68 | SEPTEMBER 2017 Gurus of Saroja Vaidyanathan in Music and Dance (Tanjavur Bani) Tanjavur Kattumannar Muthukumaran Pillai, Tanjavur (1894 - 1960) He was a well-known pioneer nattuvanar and a guru of his time in Tanjavur. Though he was a performing artiste and used to dance along with the legendary Thiruvalar Gaanam, he emerged as a guru of great eminence, when he migrated to Madras in 1936. He was born in 1894 at Kattumannar Koil (Mannargudi) village, 14 miles from Chidambaram. He studied directly from his mother, Yogam Ammal, who was a dancer and a musician and also studied under famous nattuvunars like Maharaja Pillai of Pandanallur, Sabhapati of Rajamannar Koil and Arunachalam of Kattumannar Koil and studied abhinaya from other devadasis and Thiruvalar Gaanam. His arangetram happened when he was barely nine years old. He was well versed in the Shastras and also wrote a book Sangeeta Swaragnana Bodhini in Tamil. He used to study rare

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three hours and come back with beautiful compositions. In 1940's, Guru Lalita wrote all the lyrics in the form of a book and published recorded music for her disciples, especially for those who are not from Chennai. "Sometimes, I feel extremely sad that she was not properly recognised for her work because the society during those days was not ready to accept a woman who disowned her married life. Also coming from a high-class Brahmin family to the world of art made things even difficult," Saroja laments.

It was her performance at the famous Gokhale learned the veena, flute and other arts at the Saraswati Hall in Chennai at the age of 16 years that changed her Gana Nilayam for a brief period. life. Renowned producer Madhavan watched her performance and approached her for a role in his film. Having a guru, who believed in divinity and dedication, Outraged, the whole family got to together to end her instilled all the right ingredients in the artistic life of dance training and get her married to CR Saroja Vaidyanathan. Bharata Natyam was the only Vaidyanathan, an IAS officer of Cadre, who had classical dance form taught and practised during just entered the service. those days in Tamil Nadu. Guru Lalithamma, director of Saraswathi Gana Nilayam, a school based in "When I got married at the age of sixteen and a half, I Chennai for the over seventy years, was her teacher. thought my whole career was over," she remarks. She was herself a disciple of Tanjavur Kattumannar Eventually, they had two children Ramachandran and Muthukumaran Pillai, a great legend of yester years. Kamesh. She taught both of them sitar and tabla. Though vaguely, Saroja still remembers her guru taking her to and learning the song 'Padari In Bihar in 1964, she got another chance to rekindle Varuguthu Padam' from him. her passion. As a commissioner's wife, she assembled children of the local club members and Guru Lalitha had sacrificed her marriage and started composing several dance performances. completely devoted her life towards art. She was an accomplished singer, dancer, choreographer, "I created, composed and choreographed numerous composer, flautist, veena and mridangam player who dance dramas for children and made them perform at even composed several margams (syllabus items), various places," she says. Though not on a padams and dance dramas. Her source of inspiration professional level, she even performed as her was her puja room. She would sit there for two to husband allowed her to teach and dance on the

P 70 | SEPTEMBER 2017 condition that she should not charge any money for to realise her dream. CR Vaidyanathan was also a her performances. "I agreed to it because I was not musician who trained under the legendary GN keen on earning money, it was more to satisfy my Balasubramaniam. He was an accomplished singer, soul," she said. but instead of singing, she says, he became a critic of her work. "He often pointed out my mistakes. He An unexpected phase in her life started to unfold when expected perfection in administration and career," she they moved to Delhi in 1972. The true beginning of said. Saroja's professional career began to take shape in the capital. She started performing and set up a small institution with only four girls in her Curzon Road apartment. "I never thought that I would be doing something like this at a later stage in my life," she said.

However, things came to a sudden halt in 1982, when the construction of her building began and she stopped her professional career as a dancer in order to oversee the construction work. "To gain something, you have to lose something," she says. So for a period of four years, she did not perform as she could not get a break from teaching or the construction work. "Both these were important to me, especially constructing the building which has been my dream," she explains.

Being married and in her thirties now, it was not easy for Vaidyanathan to prove her mettle. But she got immense support from her husband

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books on the Shastras and followed Arjuna Chennai in the year 1939. The institution celebrated its Bharatam. Unlike other nattuvanars, he used to Golden Jubilee at Music Academy, Madras in 1988. perform and show the adavus and movements to his students even at an advanced age in an effortless Lalitha was a disciple of Kattumannar Koil manner. Muthukumaran Pillai and learnt vocal music from the He came to Madras in 1936 and taught at the summer great guru Venkataram Iyer, Sankara Iyer and school of Indian Music and in 1938 he joined Professor Sambamurthy. Apart from Bharatanatyam, Kalakshetra. He taught the well-known dancers and she could play with equal felicity the veena, flute, violin gurus like , , Lalitha of and mridangam. She choreographed many dance Saraswati Gana Nilayam, Kamala Lakshman, MK plays, the notable ones among them being Saroja, Janak Khendry and a foreign student Robert Jayadeva's Ashtapati, Sri Valli Kuruvanji Javantharai Riviera alias Nala Rajan. From 1940, he taught for two and Lalitha Prabhavam. Further, Pinnal Kollatam, years at Ram Gopal's school in Bangalore and also in Kumni and Hari Katha were her specialities. 1948 at Mrinalini Sarabhai's academy, Darpan in Ahmedabad and Saroja Vaidyanathan. Her disciples have participated for six years in the Republic Day Parade in New Delhi and the late Guru Lalitha (1908 - 1992) president, Dr Radha Krishna had showered Founder Director, Saraswathi Gana Nilayam, Chennai (1939) accolades on her at a special function in the She founded Saraswathi Gana Nilayam, an institution Rashtrapati Bhawan. for music, veena and Bharatanatyam in Triplicane,

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In 1937, he was made the head of the music department at the Madras University. In 1961, he started the Sangita Vidyalaya and became its director. In 1972, he was awarded the title of Sangita Kala Nidhi'.

Guru Saroja Vaidyanathan considers herself blessed to have trained under him. The knowledge that she gained has been of immense help to her in composing and choreographing new compositions.

Music Guru Prof. P Sambamoorthy Ganesa Natyalaya (1901 - 1973), Madras University

He was a legendary figure in the music circles of Madras. On finishing his degree from the Presidency college, he learnt vocal music and to play the violin and the flute. Simultaneously he pursued a degree in law also.

In 1928, a department of music was set up to offer courses in music at the Queen Mary's college, Madras and professor Sambamurhty was its first head. In 1931, he went to Munich, Germany to study the western violin, flute and musicology.

This premier institution in New Delhi established by Guru Saroja Vaidyanathan imparts training exclusively in Bharatanatyam, one of the classical dance forms of India. It has its own building and is now into the fortieth year of its inception. It has grown in strength over the years and has a large number of Indian and foreign students on its rolls. Many of them are scholarship holders from the Department of Culture, Indian Council for Cultural Relations (ICCR), Sahitya Kala Parishad and Centre for Cultural Resource and Training (CCRT). A large number of her disciples are

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teaching and performing as established artists all over 1988 Phase -I of the building completed, Inauguration the world. Over the years many celebrities and by Sh. SD Sharma, President of India dignitaries have graced the Natyalaya and enriched 1988 Book release - "Carnataka Sangeetham" (Author them with their presence. - Guru Saroja)

1996 Book release - "Bharatanatyam - An In-depth Milestones study" (Author - Guru Saroja) by 1974 Establishment of Ganesa Sh. SD Sharma, President of India Natyalaya 1999 Silver Jubilee celebrations, 1983 Registration under the Presided by Smt. Shiela Dikshit, Societies Registration Act CM of Delhi

1984 Foundation stone laid by 2000 Affiliation with Indira Kala Jagmohan, Lt. Governor of Delhi Sangeet Vishwavidyalaya, Chhattisgarh 1985 Book release - "Science of Bharatanatyam" (Author - Guru 2001 Completion of 100 Saroja) by Smt. Indira Gandhi, Arangetrams Prime Minister of India

P 78 | SEPTEMBER 2017 Nitya Akhanda Nrittam, is a one of its kind Bharatanatyam festival conceived and conceptualised by Dr Guru Saroja Vaidyanathan. This festival is a 26- hour marathon relay of Bharatanatyam to be performed by 200 dancers from across the globe. First of its kind, Nitya Akhanda Nrittam aims to set a world record in the field of Bharatanatyam dance.

2005 Renovation of the building - Nataraja Statue installed

2005 Book release - "Classical Dances of India" (Author - Guru Saroja) by Shiela Dikshit, CM of Delhi

2009 Dance Presentation for the Queen's Baton Relay

2010 Dance Presentation for the XIX Commonwealth Games Opening Ceremony

2014 Completion of 250 Arangetrams - 40th Year Celebrations

2014 Release of a DVD, Fundamentals and nuances of Bharatanatyam

2015 Release Third Edition of the science of Bharatanatyam

2017 Completion of 270 Arangetrams

Ganesa Natyalaya would be presenting Akanda Nitya Nrittam (ANN), 26 hours of non-stop Bharatanatyam dance by gurus, institutions and professionals from all over the world on September 23 and 24, 2017 at C- 16, Qutab Institutional Area in New Delhi.

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Centres established by disciples of Guru Saroja Vaidyanathan

P 80 | SEPTEMBER 2017 Centres established by disciples of Guru Saroja Vaidyanathan

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Atharva School of Fine Arts KUCHIPUDI Teacher : Mrs. Shamal Pawar C-1401, Gulraj Tower, Nehru Nagar, Nataraj Music & Dance Academy Kurla (E), Mumbai – 400024. Teacher: K V Lakshmi +91 99690 23246/ 9869272392. 50-1-50/1, ASR Nagar, Seethammadara Bharatanatyam and Folk Dance Classes, Visakhapatnam, Andhra Pradesh, India Website-www.atharvaschool.com, Contact No: + 91-955322969 [email protected]

BHARATHANATYAM KATHAK

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

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

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

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

P 83 | SEPTEMBER 2017 Registered with the Registrar of Newspapers for India under No. APENG/2016/68616. Date of Publication 5th of every month and Posted on 10th of Every month under License No. VM/219/2016-2018