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Home , Gopal Prasad Dubey, Kalamandalam Satyabhama, Kamala Laxman, Kumari Kamala, Lachhu Maharaj, Music of Goa

Torch Bearers Padma Sharma: CONTENTSCONTENTS An Exceptional Cover 10 18 Story Rays of Kumari Kamala: 34 Hope A True Inspiration Dr Dwaram Tyagaraj: A Musician with a Big Heart Cultural Beyond RaysBulletin of Hope Borders The Thread of • Expressions34 of Continuity06 Love by Sri Krishna - Viraha Reviews • Jai Ho Russia! Reports • 4th Debadhara 52 Dance Festival • 5 Art Forms under One Roof 58 • 'Bodhisattva' steals the show • Resonating Naatya Tarang • Promoting Unity, Peace and Indian Culture • Tyagaraja's In Sight 250th Jayanthi • Simhapuri Dance Festival: A Celebrations Classical Feast • Workshop with Guru Debi Basu 42 64 • The Art of Journalistic Writing Tributes Beacons of light Frozen Mandakini Trivedi: -in-Time An Artiste Rooted in 63 Yogic Principles 28 61 ‘The Dance ’- a monthly cultural magazine in "If the art is poor, English is our humble attempt to capture the spirit and culture of art in all its diversity. the nation is sick."

Editor-in-Chief International Coordinators BR Vikram Kumar Haimanti Basu, Tennessee Executive Editor Mallika Jayanti, Nebrasaka Paul Spurgeon Nicodemus Associate Editor Coordinators RMK Sharma (News, Advertisements & Subscriptions) Editorial Advisor Sai Venkatesh, Karnataka B Ratan Raju Kashmira Trivedi, Thane Alaknanda, Noida Contributions by Lakshmi Thomas, (Cultural Critic) Parinithi Gopal, Sagar Avinash Pasricha (Photographer) PSB Nambiar Sooryavamsham, Administration Manager Anurekha Gosh, Kolkata KV Lakshmi GV Chari, New Dr. Kshithija Barve, and Kolhapur Circulation Manager V Srinivas Technical Advise and Graphic Design Communications Incharge K Bhanuji Rao

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

THE DANCE INDIA | JUNE 2017 | 4 Editor’s Note ...

As it was said and proved many times in the past that 'Dharmo Rakshite Rakshitaha' (Dharma protects those who protect it), it is what should be practiced now as well. Being a firm believer of the same, I know 'Naatyo Rakshite Rakshitaha' holds true to the field of art and culture ( Dance). The government has extended its hands to the practitioners of various disciplines like sports, and various forms of art and culture. However, the believers and practitioners of Kuchipudi dance lost out on many occasions as they were not encouraged, resulting in a loss of the particular form of art and art lovers as well. Having noticed this, several artistes and patrons of Kuchipudi began an agitation at Visakhapatnam and we at The Dance India came up with a slogan 'Naatyo Rakshite Rakshitaha' with a burning desire to protect the art form. We salute all those brave souls who have fought for the cause of Kuchipudi. Hard work and belief in something never fails one no matter how tough the journey. No stone was left unturned by some in the cause for Kuchipudi and now, the good news is that the state government led by chief minister Nara Chandrababu Naidu has recognised the same and the art and culture ministry has started the first batch of training camp with nearly 200 teachers of Kuchipudi from June 5, 2017 at Kuchipudi Village. In the same way, it is our desire that all the artistes in various states of the country should take up such struggles to protect Indian art and culture as a priority and request the authorities and governing bodies to encourage the practitioners of Indian art forms.

Naatya Devo Bhava BR Vikram Kumar

THE DANCE INDIA | JUNE 2017 | 5 Applications for

PADMA AWARDS-2018 Declaration of Akademi are invited Fellowships (Akademi Ratna) and

The Ministry of Home Affairs, Government of Sangeet Natak Akademi Awards India, has invited applications from the (Akademi Puraskar) for the Year 2016 Tindividuals (Indian citizens) and The General Council of the Sangeet Natak Akademi, recommendations from the institutions for the highest the National Academy of Music, Dance and Drama, Civilian Awards - Padma Awards - 2018, namely, New Delhi at its meeting held on 24th May 2017 in , and Padma Shri Guwahati (Assam) unanimously elected four (4) to declared on the occasion of Republic Day. eminent personality in the field of performing arts,

Informing this to the media through a communiqué namely Shri Arvind Parikh, Smt. R. Vedavalli, Shri Ram issued on April 28, 2017, the Economic Advisor, Gopal Bajaj and Shri Sunil Kothari as Sangeet Natak Satpal Chouhan, said the nominations/ Akademi Fellow (Akademi Ratna). recommendations have to mandatorily be done The Fellowship of the Akademi is the most prestigious online. The online nominations/recommendations for and rare honour, which is restricted to 40 numbers at the Padma Awards will begin from May 1, 2017, and any given time. By the election of above four fellows the last date for nominations for Padma Awards is there are presently 40 fellows of the SNA Sangeet September 15, 2017. The cut-off date may please be Natak Akademi. strictly adhered to, as nominations/recommendations The General Council of the Akademi also selected received only during this period will be considered. It forty-three (43) artists from the field of Music, Dance, may also be noted that the nominations/ Theatre, Traditional/Folk/Tribal Music/Dance/Theatre, recommendations received through online mode will Puppetry and Overall contribution/scholarship in only be considered. Performing Arts for the Sangeet Natak Akademi Nominations can be submitted online through Awards (Akademi Puraskar) for the year 2016. These www.padmaawards.gov.in forty-three (43) artists include two joint awards.

THE DANCE INDIA | JUNE 2017 | 6 In the field of Music, eleven eminent artists, namely (Pala, Odisha), Chiranji Lai (Mand of Rajasthan), Padma Talwalkar and Prabhakar Karekar for Gulzar Ahmad Ganie (Chakri Music of Jammu & Hindustani Vocal Music, Arvind Mulgaonkar for Kashmir), Braj Kishore Dubey (Folk Music of ), Hindustani Instrumental Music-, Kala Ramnath Prabhitangsu Das and Dattatreya Aralikatte for for Hindustani Instrumental Music-, Neela Puppetry. Ramgopal and K Omanakutty for Carnatic Vocal Pappu Venugopal Rao for scholarship and Avinash Music, J. Vaidyanathan for Carnatic Instrumental Pascricha for overall contribution have been selected Music-Mridangam, Mysore M Manjunath for Carnatic for the Akademi Awards 2016 in the field of Overall Instrumental Music-Violin, Ningthoujam Shyamchand Contribution/Scholarship to Performing Arts. Singh (Nata Sankirtana, Manipur), Ratnamala Prakash and Ahmad Hussain & Shri Mohd. Hussain- Hussain The Sangeet Natak Akademi Fellowships and Awards Brothers (joint award) for Other Major Traditions of will be conferred by the Hon'ble President of India. Music-Sugam Sangeet have been selected for the Akademi Awards 2016. Announcement of Ustad Bismillah In the field of Dance, nine eminent artists have been Khan Yuva Puraskar for the Year 2016 selected for the Akademi Awards 2016, namely, Geeta by Sangeet Natak Akademi, New Delhi Chandran for , Jitendra Maharaj for The Sangeet Natak Akademi, National Academy of , Kalamandalam Ramachandran Unnithan for Music, Dance and Drama, the apex body of , Maisnam Kaminikumar Singh for Manipuri, performing arts in the country in the meeting of its A B Bala Kondala Rao for Kuchipudi, Ratikant General Council held on 24 May 2017 in Guwahati has Mohapatra for Odissi, Haricharan Bhuyan Borbayan unanimously selected 33 eminent artists of India for Dance, for Chhau including one joint award who have made a mark as and Anita R Ratnam for Contemporary Dance. young talents in their respective fields of performing In the field of Theatre, nine eminent artists have been arts for Ustad Yuva Puraskar 2016. selected for Akademi Awards 2016: Kusum Kumar for In the field of music, eight recipients of Yuva Puraskar Playwriting, Satyabrata Rout, Bipin Kumar and are: Yashasvi Sirpotkar and Koushik Aithal for Rajkamal Nayak for Direction, Gireesan V, Oinam Hindustani Vocal Music; Yashwant Vaishnav for Biramangol Singh and Mohan Joshi for Acting, Anjana Hindustani Instrumental Music-Tabla; Abir Hussain for Puri for Allied Theatre Arts- Music for theatre, K Hindustani Instrumental Music-Sarod; Sri Krishna Govind Bhat for Other Major Traditions of Theatre- Mohan & Ram Kumar Mohan - Trichur Brothers (joint . award) for Carnatic Vocal Music; Sai Giridhar for In the field of Traditional/Folk/Tribal Music/Dance/ Carnatic Instrumental Music-Mridangam; Ashwin Theatre and Puppetry, ten artistes have been selected Anand for Carnatic Instrumental Music-Veena; and B. for Akademi Awards 2016, they are Annabattula Shree Sundar Kumar for Carnatic Instrumental Music- Lakshmi Mangatayaru and Leela Sai- Joint award Kanjira. (Traditional Theatre-Kalavantulu, Andhra Pradesh), In the field of dance, eight recipients of Yuva Puraskar Yogesh Gadhavi (Folk Music of Gujarat), Vidyanand are: Jyotsna Jagannathan for Bharatanatyam, Saraik (Folk Music of Himachal Pradesh), Somnath D Sanjukta Sinha for Kathak Dance; Sanjenbam Karuna Chari (Traditional Music of Goa), Laxmidhar Raut

Source: Sangeet Natak Akademi THE DANCE INDIA | JUNE 2017 | 7 acknowledged by the UNWTO. As per the latest UNWTO Barometer for March 2017, Rank of India in International Tourist Arrivals in both 2014 and 2015 is 24 as against the previous rank of 41 and 40 in the year 2014 and 2015, respectively. With this inclusion, the share of India in the ITAs has also increased from Devi for Manipuri Dance; Mruthyunjaya Keshava 0.68% (based on FTAs) to 1.12% in the year 2015. Prasad for Kuchipudi Dance; Shashwati Garai Ghosh Earlier, India's rank in the Travel & Tourism for Odissi Dance; Usharani Baishya for Sattriya Competitiveness Index (TTCI), 2017 had also shown Dance; Kalamandalam Rachitha for Mohiniattam 12 places jump from 2015. Rank of India in TTCI Dance; and Krishnendu K.J. for Other Major Report of 2017 was 40th as compared to 52nd in Traditional Dance & Dance Theatre - Kutiyattam. 2015, 65th in 2013 and 68th in 2011. In the field of theatre, eight recipients are: Manish While UNWTO gives ranking in terms of numbers of Joshi for Playwriting; Kedar Thakur and Mohit Takalkar ITAs, TTCI is composed of 14 pillars organised into for Direction; Neeraj Gupta and Vikrant Sharma for four sub-indices of Enabling Environment, Travel & Acting; Soma Das for Mime; Gagan Mishra for Allied Trade Policy and Enabling Conditions, Infrastructure Theatre Arts-Lighting; and Jayachandra Varma and Natural and Cultural Resources, according to Rekandar for Other Major Traditions of Theatre - PIB. Surabhi Theatre.

23.5% growth in Foreign Rank of India Improves in Tourists Arrivals International Tourist Arrivals 63.4% growth in FTAs on e-Tourist Visa in April 2017 As per the UNWTO definition, International Tourist over April 2016 Arrivals (ITAs) comprises two components namely Ministry of tourism compiles monthly estimates of Foreign Tourist Arrivals (FTAs) and Arrivals of Non- Foreign Tourist Arrivals (FTAs) & FTAs on e-Tourist Resident Nationals. The UNWTO in its barometer Visa on the basis of nationality-wise, port-wise data ranks countries in terms of their ITAs. So far, only the received from Bureau of Immigration (BOI). figures of FTAs were compiled in India. However, now India has started compiling the data of arrivals of Following are the highlights: The numbers of FTAs in Non-Resident Indians (NRIs), also. April 2017 were 7.40 lakh as compared to 5.99 lakh in April 2016 and 5.42 lakh in April 2015. The growth rate The number of NRI arrivals during 2014 and 2015 in FTAs in April 2017 over April 2016 is 23.5% were 5.43 million and 5.26 million, respectively. compared to 10.7% in April 2016 over April 2015. Accordingly, the numbers of ITAs in India during 2014 FTAs during the period January-April 2017 were 35.85 and 2015 were 13.11 million and 13.28 million, lakh with a growth of 15.4% as compared to 31.08 respectively. The data of ITAs, containing both the lakh with a growth of 10.1% in January- April 2016 arrivals of NRIs and FTAs, is now as per international over January- April 2015. recommendations. The percentage share of Foreign Tourist Arrivals Due to this inclusion, India's improved rank reflecting (FTAs) in India during April 2017 among the top 15 the true and comparable scenario has now been

THE DANCE INDIA | JUNE 2017 | 8 source countries was highest from Bangladesh follows-New Delhi Airport (48.6%), Airport (23.07%) followed by USA (10.65%), UK (10.51%), (20.4%), Dabolim (Goa) Airport (7.2%), Bengaluru Germany (3.28%), Australia (3.15%), Malaysia Airport (5.4%), Chennai Airport (5.1%), Kochi Airport (2.98%), China (2.95%), Sri Lanka (2.85%), Russian (3.2%), Kolkata Airport (2.3%), Amritsar Airport Federation (2.78%), Canada (2.43%), France (2.33%), (2.0%), Hyderabad Airport (1.9%), Trivandrum Airport Japan (2.14%), Afghanistan (1.69%), Singapore (1.3%), Ahmadabad Airport (1.0%), Trichy Airport (1.69%) and Nepal (1.61%). (0.6%), Jaipur Airport (0.5%), Calicut Airport (0.1%)and Airport (0.1%), according to PIB. The percentage share of FTAs in India during April 2017 among the top 15 ports was highest at Delhi Cabinet approves Vijayawada Airport (29.20%) followed by Mumbai Airport Airport as International Airport (15.48%), Haridaspur Land check post (12.88%), Chennai Airport (6.56%), Bengaluru Airport (5.67%), The Union Cabinet chaired by Prime Minister Kolkata Airport (5.01%), Cochin Airport (4.06%), Narendra Modi has given its approval for the Gede Rail Land check post (2.89%), Goa Airport declaration of Vijayawada Airport as International (2.86%), Hyderabad Airport (2.60%), Ghojadanga Airport, as per the provisions of Andhra Pradesh land check post (1.69%), Ahmadabad Airport Reorganisation Act, 2014. (1.35%), Trivandrum (1.34%), Tiruchirapalli Airport The proposal will add to improve connectivity to the (1.31%) and Amritsar Airport (1.23%). state capital. It will provide a wider choice of services at competitive costs to the air-travelers and give a FTAs on e-Tourist Visa boost to domestic/international tourism and socio- During the month of April 2017, a total of 1.14 lakh economic development of Andhra Pradesh by tourist arrived on e-Tourist Visa as compared to 0.7 bringing in international passengers and cargo traffic. lakh during the month of April 2016, registering a Background: Declaration of an airport as International growth of 63.4%. During January- April 2017, a total of Airport depends upon traffic potential and demand 5.82 lakh tourists arrived on e-Tourist Visa as from airlines for the operation of international flights. compared to 3.91 lakh during January-April 2016, Further, availability of Ground Lighting Facilities, registering a growth of 48.8%. Instrument Landing System for the operation of aircraft The percentage shares of top 15 source countries at night, adequate runway length to cater to medium availing e- Tourist Visa facilities during April 2017 were capacity long-range aircraft or an equivalent type of as follows - aircraft, availability of Customs, Immigration, Health and Animal & Plant Quarantine Services are also required UK (21.6%), USA (10.2%), China (6.1%), Russian Fed for international operations, according to PIB. (6.1%), France (5.1%), Germany (4.7%), Australia (4.0%), Canada (2.9%), Spain (2.7%), South Africa (2.7%), Korea (Rep.of) (2.6%), Thailand (2.3%), Malaysia (1.7%), Netherlands (1.7%) and Singapore (1.6%).

The percentage shares of top 15 ports in tourist arrivals on e-Tourist Visa during April 2017 were as

Source: PIB THE DANCE INDIA | JUNE 2017 | 9 THE DANCE INDIA | JUNE 2017 | 10 he performs Kathak with a balanced . She was a graduate of Lucknow University; emphasis on layakari and her style is a she won her dance degree Nritya Nipun in Kathak in Scombination of abhinaya (stage craft) and 1959 from Bhatkhande Sangit Vidyapith under the (feminine grace) even today. She has been able guidance of Guru Mohan Rao Kallianpurkar. She associated with the world of Kathak for more than five was not only initiated to Kathak by him but also decades, contributing immensely in various capacities trained under him for 20 years in various spells. as a performer, choreographer, teacher and guru. A Earlier, even her mother used to learn from him. She poet and a composer in her own right, she has been along with regular studies kept doing her practice and deeply involved in academics. Needless to say that completed Visharad and later PhD under him. Later, Dr Padma Sharma is one of the leading Kathak she started to train under Guru Lacchu Maharaj upon in the country. moving to Bombay. She became his "Gandabandh

She hails from a family of doctors and her mother had a keen interest in music and dance and pursued it as a hobby. Padma was born in Lucknow on September 24, 1938. As a 5-year-old she used to go along with her mother to the guru and it was from there that she picked up her love for dance. She started to dance from then onwards.

Later on, she went to Bhatkhande Sangit Vidyapith which was then the only university in Lucknow. It was a music college and Kathak was known to have originated at the place. Even the syllabus which everybody has been following now started from

THE DANCE INDIA | JUNE 2017 | 11 shagird" and trained under him for 18 years. In between, she also learnt from Guru Shambo Maharaj and . She has also done a lot of ballets in Kathak. She also learnt vocal music under Guru SN Ratanjankar at Bhatkhande Sangit Vidyalaya and did Bharatanatyam Arangetram under the guidance of Guru LP Swamy, Madras. She has exposure in other forms of classical and folk dances as well.

She got married and moved to Bombay. Both the families knew each other and it was by chance they decided to get them married. Her husband supported her all through the journey and she continued dancing. She performed and taught dance.

She says that the cultural fabric in India has changed a lot. "I am a traditional dancer whatever I learnt was through guru-shishya parampara and I do not want to deviate from it because that is the base. If the base is absolutely firm then you can do anything like films. I am more traditional than modern," she says. She has choreographed ballets and film songs and even did dance dramas with Morarji.

According to her, dance education is definitely important for an artist. The theory part of the dance is important and every artist should be knowledgeable. It is always fascinating to know about the transformation and evolution of dance forms.

She shares many childhood memories with her gurus - "My guru is a genius, he treated and taught us like children. Those memories are in plenty," she recollects. There were so many challenging moments in her life as she started performing while she was studying.

THE DANCE INDIA | JUNE 2017 | 12 "I used to study and I used to perform in youth festivals. There are numerous nostalgic memories and it is difficult to specify one. The best part was people have been always encouraged," she adds.

She has given time to both family and profession. "I am satisfied because I have been dealing with so many gurus. I was a Bharatanatyam dancer, my guru came from Chennai to Lucknow. But then two years later he went back to Chennai. Then I started going to music college in Lucknow and started learning Kathakali. The first dance I learnt was Bharatnatyam and people used to call me a Madrasi and that was a big compliment. I still remember people telling me 'tum tho Madrasi ho' and I said 'bahut acchi baat hai'," she smiles. She was the only dancer in her family and

she also learnt singing in Bhatkhandey and completed her Madhyama, a three- year course. Later, it became difficult to take up two mediums at once and choose dance, as it was her first passion.

Kathak has so many things which are found in Abhinaya darpana - the mudras and eye glances, footwork, naika bhedam and other definitions that are there in Abhinaya Darpana are applied to Kathak too. Though she was from Lucknow Gharana her earlier guru was from Jaipur Gharana. Jaipur Gharana had a lot of footwork and it was fast and the Lucknow Gharana was subtle and graceful. She learnt from both the

THE DANCE INDIA | JUNE 2017 | 13 THE DANCE INDIA | JUNE 2017 | 14 strived to improve. But luckily I never received anything adverse."

An artist inspires other people in the society. "I teach little children. It is like give and take and it is good that I teach people and they get the values of art and dance," she says.

Her daughter Gauri has learnt both Kathak and contemporary dance forms. "I don't think the collaboration of Indian classical and Western contemporary dance forms would harm the grammar of Indian art forms. Fusion is acceptable to an extent but not permanently," she says.

She even performed Kathak on Beethoven's compositions and says one should be thorough and strong in their traditional form before experimenting. Her daughter is a performing artist who was in London for fifteen years. Over there she was a resident artist of South Bank Centre. They curate a festival named gurus, so she was a mixture of both Gharanas. She 'Alchemy Festival'. She has been doing it for the past does fast footwork as well the nazaakat and hifazat of eight years. abhinaya with ease. At present artists are being respected. In earlier days The base in many songs of films like Mughal-E-Azam there were not many girls learning dance at was Kathak and it was prevalent during the times of Bhatkhandey. Those days dance and music were not Nawabs and the kings, especially the Mughals. "The recognised as viable options for girls, but now ever item songs of the present are nowhere near those household has a child learning arts. There is a lot of classics. Films have changed and it is nowhere like scope. If you are well educated in performing arts and earlier days. Even the music has changed. I can still have a certificate or degree in the chosen art form remember the lyrics of old songs but the latest songs then there are opportunities for the enthusiasts. In are difficult to even comprehend." Bhatkhandey if you completed your Madhyama (fourth year), you can become teachers of art. Also, She has been performing and even taught students there is always an option to continue studies and abroad. Many students from abroad have come into pursue PhDs. her fold. Though she teaches and performs even today, she says that she feels elated every time she To begin with, she derives her inspiration from performs. She believes and feels that it is important to teachings of her gurus and she even draws her be true to yourself. For her dance is next to godliness inspiration from nature. For instance, if it is raining, it and she experiences Bhakti in dance. might inspire her to take up a raga like Malhar and compose. Nature and scriptures have been the major Talking about criticism, she says that she was lucky to sources of her themes. "Even short slokas like 'Guru have never had negative reviews. "Even if I had Brahma, Guru Vishnu…' when recited bring loads of negative review I would not have bothered much energy into the body and it eventually translates into because it was for the audience to see and I always

THE DANCE INDIA | JUNE 2017 | 15 expressions," she says. Generally, she prefers to "I always encourage my students to perform," she choreograph in the mornings and evenings. says. Performing on the stage is an important phase, even as a child Padma used to dress up and get on If it is a song, she has to know the complete meaning the stage to perform. Every guru has to encourage of the text and only then she would co-relate with the and boost the student. Another important aspect that inner feelings and abhinaya takes place and the she suggests is to recognise and honour gurus who choreography comes out. Any song or feeling, it has have done exceptional work in moulding artistes. All always been from within and accordingly the hand the aged gurus should be acknowledged for their moments start depicting the feeling. contribution towards Indian art and culture. Her message to the younger generation - "If any She has done her thesis on the Folk Dances of Uttar youngster is interested in learning dance, he/she Pradesh and it was an arduous task which made her should search for a good guru, practice and be visit various places in . Right now she is obedient to him/her and start performing. But it is not even penning down a book which would be out soon. easy as it A poet and a sounds, it is a composer in her difficult own right, Padma journey, we has been deeply have to involved in practice, have academics. Her to think and study on folk have to have a dances formed proper body the basis for structure for thesis which got dancing. her the award of Taking it as a Nritya Nipun. She career has been an depends on examiner for the individual, higher levels (including evaluation of doctoral works be it a teacher of the art form or a performer." for the award of PhD) for many Institutions such as Documentation of art and culture is important. Earlier Bhatkhande Sangit Vidyapith, Indira Kala Sangeet the guru used to say a Bol and it was remembered. It Mahavidyalaya, Kavi Kulguru Kalidas Sanskrit was all word of mouth but nowadays times have Vishwavidyalaya (KKKSV), Banasthali Vidyapith, changed and the bols and actions should be written in Bharat College of Fine Art & Culture, Mumbai. She notations for them to last. Otherwise, it is difficult to was an advisory member for development of Kathak remember. "Those days we had Guru Shishya syllabus for the Imperial Society for Teachers of parampara and now people do not have time and Dance, London, UK and is Member Board of Studies children are burdened with studies. Guru Shishya (Dance) of KKKSV. Padma is one of the leading parampara is fading but if the guru is interested in Kathak gurus in the country. taking care and bringing up children, this tradition Apart from dancing and singing, painting has been could still be imbibed. Irrespective of students' age, if her passion. Her mother was a painter and she took they achieve proficiency, they should be allowed by few lessons from the art school in Lucknow. She used the guru to perform," she says. to do her riyaz regularly in the morning but now with

THE DANCE INDIA | JUNE 2017 | 16 age catching up she has toned it down and does it as a director of Bhatkhande Sangit Vidyapith Lucknow. and when she feels like doing it. During the day, she More importantly, she believes in mentoring and catches up with the household chores but her imparting her experience and knowledge to younger evenings are still dedicated to teaching Kathak to practitioners. students. Saturdays are hectic as she even teaches in She has been training advanced practitioners/ the morning. shishyas in Kathak from India and abroad like UK, Sri As a performing artiste she has given innumerable Lanka, Korea & , conducting workshops, performances - solos including those in prestigious working on choreography & creating dance Sammelans and lead roles in dance dramas/ballet compositions for over four decades. She has also such as Usha Swapna, Mirabai, Amrapali, , been choreographing ballets and dance-dramas for Gokul Ki Gali Sankri, Radha Piya Pyari, Gangaur and the stage. She has also assisted her Guru Lacchu others all over India and abroad winning laurels Maharaj in creating dance works for films. including Sringar Mani, Sarangdev Fellowship, Shivali Under his guidance, she gained acclaim for her Nritya Shiromani, Nrityavid & Sangeet Prakarsh. choreography in the films - to name a few: Pan Khaye Saiyan from Teesri Kasam, Pakeeza, Benazir and Ek She has been a regular judge for various dance Nazar. competitions and is on the regional panel for the award of national scholarship being awarded by Though she never craved for awards, eminent gurus ministry of human resources, GOI and other panels like her who have contributed so much to the cause of for NGOs. She has been involved in running of Indian art and culture in general and Kathak in important cultural organisations such as Sur Singar particular, should be recognised and honoured. Samsad, ANKH and Indira Nritya Kendra. She is also

THE DANCE INDIA | JUNE 2017 | 17 THE DANCE INDIA | JUNE 2017 | 18 THE DANCE INDIA | JUNE 2017 | 19 and music ever since she was discovered at the age of 4 years by Tamil film director AN Kalyanasundaram Iyer at a dance recital. He cast her in small roles in his films Valibar Sangam (1938) and Ramanama Mahimai (1939) as Baby Kamala. Other filmmakers noticed her dancing and she moved to Hindi films with Kismet ow would it be if a droplet from the Ganga and Ram Rajya in 1943. This was followed by her who sits on top of Shiva's head falls on the span of cine career as a dancer and actor with nearly earth? It would be the purest. Kamala H hundred movies in Tamil, Telugu, Kanada and Hindi. Laxman's dance style could be compared to such She has received many prestigious awards including heights. On many occasions, several eminent India's third highest civilian award 'Padma Bhushan' personalities have commented on the purity of dance and 'Branta in Kamala's Professorship' dance by Colgate performances. University, where Her career in she also taught dancing has dance for two been long and terms. notable. She literally took Dance Career Bharatanatyam At an early age to the silver of 3-4 years, screen. A Kamala began disciple of taking lessons in Natyacharya Kathak dance Vazhuvoor style from Ramiah Pillai, Lachhu Maharaj, Kamala is regarded as the foremost exponent of Prof. More and Sunder Prasad in Bombay. She also 'Vazhuvoor Bani', a style of Bharatanatyam took lessons in Hindustani from characterised by grace, fineness and aesthetic charm. Shankar Rao Vyas. Later, in 1942, Kamala's mother She epitomises the complete combination of moved to Madras and she got training under the performer and guru. Bharatanatyam teachers Kattumannarkoil A dancer, an actor, teacher and Padma Bhushan Muthukumara Pillai and B Ramaiyah Pillai. Kamala awardee Kumari Kamala, popularly known as Kamala made her first performance at the age of 5 years, on Laxman (82), was born on June 16, 1934 in a Brahmin the day of Sri Rama Navami at Astik Samaj- Mumbai family in Mayuram, in the then . in 1939. At the age of 7 years, Kamala along with her mother came to Madanapalli (near Tirupati in Chittoor She is a living example of the saying "Simple living and district) where her guru Kattumannarkovil high thinking". A humble person Kamala is blessed Muthukumarappa Pillai was giving classes. He was with the power of dance and music. The arts come to already nearing 60 years. She learnt a margam from her like blood particles in the vein. There has been no him and gave a performance in Mayuram. When it power strong enough to separate her from dance became difficult for him to travel with her for

THE DANCE INDIA | JUNE 2017 | 20 performances, he recommended his relative Vazhuvoor Ramiah Pillai who was around 40 years old then. In the 1970s, she became a teacher of the Vazhuvoor style of dance in which she specialises. Veteran actress and dancer- sisters Lalitha, Padmini, Ragini came much later to the cine industry.

Milestones

In 1953, Kamala was invited to perform for Queen Elizabeth II during her coronation festivities. On June performance at the coronation of Queen Elizabeth II in 25, 1954, Kumari Kamala got married to the iconic 1953 was enthralled many dignitaries including cartoonist and creator of the Common Man RK , S Radhakrishnan, US President D Laxman, who was very popular for his cartoon Eisenhower, Prime Minister of China Chau Enlai, column "You Said It" by Laxman in Times of India. In Yugoslav Marshal Tito and the King of Jordan. In her the late 1950s, she toured internationally, performing in illusions and inspirational career, she has been China and Japan. In 1970, the Government of India honoured with various titles. In 1980, she established awarded her the Padma Bhushan, India's third-highest the dance school, 'Sri Bharata Kamalalaya.' civilian award. She also taught dance for two terms at She was an excellent teacher and conducted classes Colgate University after being awarded its Branta in New York and New Jersey, where she has Professorship in 1975. In 1980, Kamala moved to introduced many fine young artists to Bharatanatyam New York City permanently and began teaching and given them a special appreciation of . She established a dance school in culture. Long Island, Bharatha Awards Kamalalaya. In 1967 - Kalaimamani 2010, she 1968 - Central Sangeet Natak Akademi Award received a National Heritage 1970 - Padma Bhushan Fellowship from 1975 - Branta Professorship from Colgate University the National Endowment for 1989 - E. Krishna Iyer Medal from the Sruti the Arts for her Foundation contributions to 1993 - Sangeeta Ratnakara at the Cleveland the arts. Thyagaraja Aradhana She has 2002 - Platinum Jubilee Award from Madras Music performed Academy extensively in India and abroad, 2010 - National Heritage Fellowship serving as a 2012 - Soorya Lifetime Achievement Award in 4th St. cultural Louis Indian Dance Festival ambassador. Her

THE DANCE INDIA | JUNE 2017 | 21 OPINIONS BHARATANAATYAM KAMALA Text: Naatyaachaarya VP Dhananjayan, Bharatanatyam Exponent, Chennai

If Bharatanatyam is a household entity now, we owe it Initially, the dexterous hands of a great to this great artiste Kamala Lakshmi Narayan. Later, Naatyaachaarya Kattumannarkoil Muthukumaraswami her illustrious name got prefixed with 'Bharatanatyam' Pillai carefully carved her and shifting from Tanjavoor as Kamala is synonymous with this performing art. If to Chennai landed her at the feet of Vazhuvoor Rukmini Devi resurrected and reformed the Devadasi Ramayya Pillai, a doyen of a great lineage who tradition of Sadir with the establishment of her popularised the great art through films. At the right Kalakshetra, it was Kamala who made it a household entity, especially in Dakshina Bharat.

time, this baby Kamala became this great master's tool to chisel this art form.

Her physical attributes, agility and graceful facial Extremely talented baby Kamala took the celluloid expressions caught the scholar's attention which was field by storm in the forties and her immaculate further enhanced by the exposure in the larger than life classical style became the selling point in films in size film media. Under this stalwart Naatyaachaarya, those days. Later, she also donned the dancing Kamala won hearts of Dakshina Bharat and acting in a heroine's role and successfully captured the celluloid few Hindi movies or remake of Tamizh movies in Hindi field. spread her wing throughout Bharatam. Later, she

THE DANCE INDIA | JUNE 2017 | 22 became an international celebrity. With a stint in has choreographed several group productions with Kathak while living in Bombay, Kamala widened her those excellent students. She was awarded all rhythmic horizon, helping in embellishing her art. prestigious honours the country could offer. If she

Being a profound scholar in Tamizh language and had not left the soil premature she would have literature, , Bharatanatyam and allied bagged the Bharata Ratna, a well deserving crown for arts Kamala Laxman nee Lakshminarayan became a all her contributions. household name during the freedom movement and On a personal note, she respected and loved us very post-independence period. Her immaculate much and always made it a point to attend our communicative skill helped to interpret some of the performance whenever she was free. She always met Bhaaratiyar songs written for the independence us after the performance and expressed her frank movement very effective and kindled the patriotic feelings and blessed us. We kept our relationship impulse in masses. intact even when in the USA and surprised us many

Those days' people thronged and stood in queue to times by attending our programmes in the US. She get tickets and the Sabhas or the cultural definitely has a special affinity to us and never failed to organisations thrived on her performances. Such was contact us if in Chennai. Ageing did not whither her her charisma. enthusiasm and we had occasions to share the stage in the US. She was liberal in showering her Coming out of her Guru and mentor Ramayyapillai appreciation and blessing on us in public and openly established her Bharatanaatyalaya and started training praised us for what we are today. young girls. She was blessed with very talented and good-looking students who brought her fame. She Bharatanatyam Kamala though she lives in the US Bhaaratam will always remember her and her name will be etched in golden letters in the history book of Bharatanatyam.

THE DANCE INDIA | JUNE 2017 | 23 KAMALA IS MY ROLE MODEL Text: , Bharatanatyam Exponent, New Delhi

When I was seven years old my grandparents took me to Rasika Ranjini Sabha in Chennai for Kumari Kamala's dance. I was so enchanted by her and determined to become a dancer. Since my paternal and maternal families are academic oriented, I fought for my art classes and joined Guru Lalitha's Institution Saraswathy Gana Nilayam. Kamala's recital completely mesmerised me. Thanks to Kamala and to my grandparents for what I am today.

I would like to invite her to my institution in Delhi. She is my role model.

THE DANCE INDIA | JUNE 2017 | 24 KAMALA IS A SIMPLE AND DOWN TO EARTH PERSON Text: Anupama Mohan, Kuchipudi Exponent, Cochin (Kerala)

In my childhood when I was learning Kuchipudi dance from Guru Vempati Chinna Satyam at Kuchipudi Arts Academy, Chennai, Kamala's sister Radha was my co-student in the academy and Kamala used to come to visit her. She was popular for her cine and dance glamour in those times, but she never ever allowed that fame to affect her. She was a very simple and down to earth person. Recognising my performance in 1978, Kamala invited me to perform in a ballet "Rukmini Kalyanam" directed by her. I was performing the character of Rukmini in Kuchipudi dance format and Kamala was performing Krishna in Bharatanatyam dance format in Cyclone (Sri Lanka). I thank her for giving me a great opportunity.

KAMALA BROUGHT DIVINITY TO BHARATANATYAM Text: Manju Bargavee, Kuchipudi Exponent

Legendary dancer and Padma awardee Kumari Kamala can be called as the brand ambassador for the phrase "Dance with Purity". She can be called as 'Karana Janma'. Dancers like Kamala followed by others such as Lalitha, Padmini and Ragni (sisters), never tried to mingle cine type dance with stage performance. Rather, they always performed a classical dance in cinemas. They maintained the sanctity and purity of the stage and its decorum. When I along with my guru Vempati Chinna Satyam went to attend a programme organised on the occasion of 60th Birthday celebrations of Kumari Kamala at Krishna Gana Sabha in Chennai, I was

THE DANCE INDIA | JUNE 2017 | 25 stunned to see that at the age of sixty, Kamala, while performing an item, stood on a single leg for 2 long minutes in a bhangima (posture). This shows her dedication towards the art. Kamala made a dance ballet on Ramayana with American students in association with Colgate.

KAMALA: A COMPLETE DANCER Text: Indu Varma (Jayanthi), Founder Director of Tapasya Kala Sampradaya

I was all of five years old when my mother enrolled me in the dance classes conducted by Kamala auntie at her Srinagar Colony house in Chennai. Kamala auntie later moved to Poes Garden and I continued my training with her there. She conducted my arangetram at the Music Academy Chennai in 1976. My earliest memory of her dancing was a picture of beauty and easy grace. Kamala auntie was a complete dancer and a patient teacher. Her pure dance was graceful and beautiful and her abhinaya was enchanting and never gross. She taught without Indu Varma with Kumari Kamala worrying about the time taken. Once classes started she was unmindful of the hours that passed. I had the Indu Varma with Kumari Kamala good fortune of performing with her, through the seventies, when art was respected for its own sake. I was part of the program she presented at the Rotary Conference Colombo among others, as well as several of her productions, including Nala Charitam and Kutrala Kuravanji.

I had an opportunity to interact with her again during her visit to Chennai to receive the E Krishna Iyer Award instituted by the Shruti Foundation. I requested her to offer some insights into her early training under Kattumannarkoil Thata and the role of the hereditary performer, which she gladly did. Her inputs from the closing remarks of Maranduvarum Marabugal, our research documentary on hereditary masters and artistes, in the field of Bharatanatyam and its music were valuable.

Kamala auntie was easily one of the most graceful dancers of all times. I often feel that had she chosen

THE DANCE INDIA | JUNE 2017 | 26 to remain a part of the art world in India, Bharatanatyam may well have been spared several of the frivolities that started creeping in through those years, setting the trend for the sweeping changes that followed. Maybe it was the childhood memories of her beautiful art that laid the foundation for the work that our organisation Tapasya has undertaken, a step away from mere colour, a quest for purity of form.

To my guru, my heartfelt gratitude for initiating me into this beautiful tradition, as to an amazing dancer who shared her remarkable art lovingly with students and rasikas alike, an unpretentious human, beautiful, warm and dedicated; to an artiste par excellence.

Kumari Kamala conducting a recital

Radha, Kamala & Vasanthi

THE DANCE INDIA | JUNE 2017 | 27 "Concealed beneath the rich and intricate fabric of Classical Indian Dance lays a system of mind-body discipline that is at once aesthetic, symbolic and yogic. Its themes, derived from mythology contain a living wisdom that is still relevant to our times." - Mandakini Trivedi

er quest for truth through art had taken her help her in losing weight - looking slim was a fad to limits beyond the form. She is an those days. After her first class, she went home, Hexceptional artiste - writer, performer, closed the door and practised all she learnt. It was a teacher and choreographer in the style of deep experience. Mohiniattam. Understanding, teaching and spreading Initially, she started learning Bharatanatyam from the art of Indian Dance rooted in yogic principles has Nalanda Nritya Kala Mahavidyalaya under teacher been her forte and she owes this vision to her spiritual Rajyalakshmi. Eventually, once she joined college all mentor Swami Harish Madhukar. Mandakini Trivedi is the gurus taught her. Simultaneously, when Padma a beautiful artiste with a pleasant and dulcet overtone Bhushan awardee started Mohiniattam who is proficient in both Mohiniattam and classes, she started to train in the art form too. Like Bharatanatyam. In 2016, she was conferred the every student, she first danced in the classes, got Sangeet Natak Akademi Puraskar for her contribution solo performances and eventually became an to Mohiniattam. accomplished performer. Even after her graduation, She started her dance journey late in life while she was she continued to be associated with the college. She about to complete her school education at the age of taught practical and conceptual aspects of dance. "I 16 years. It all began when she saw a young and always tell my students that there is some structure in attractive girl perform alaripu and was left Indian dance training and performing," she says. To mesmerised. That was when she made up her mind begin with, there is margam and adavus, an to learn dance. Right from her first class, she knew arangetram and joining a troupe, there is a pattern that it was what she wanted to do in life. It was a 360- and the entire journey is structured. "There are degree turn for her and she was filled with ecstasy. openings for people who have just done their Also, as a teenager, she even thought that it would arangetrams, there are openings for people who want

THE DANCE INDIA | JUNE 2017 | 28 to perform only 20 minutes. So there is a structure. When I see people from other fields like cinema, I find that there is no structure and they don't know how to go about with the journey. I think only classical art forms provide such flexibility," she adds. For a long time, she pursued both Bharatanatyam and Mohiniattam. She divided her time equally for both the dance forms. But with time she realised that the mother tongue could only be one and not many. This realisation set in gradually during the course of her dance journey. She never looked at dance as a profession and rather saw it as life. Initially, she was enrolled in commerce and subsequently joined dance as a hobby but after one year, she started introspecting and questioned herself on why she was not pursuing only dance. She told her parents that she would not be appearing for the exams. She wanted to be associated with dance in every way, be it teaching, dancing, studying, researching and every other aspect. There was no strategy as such and she loved it. She does not have an academy with scores of students but she calls her teaching process a gurukul where whoever is interested in learning and understanding the art in its totality would come to learn from her. She would happily teach them with the yogic and spiritual background. She stopped teaching Bharatanatyam many years ago and she now only teaches Mohiniattam. However, she still does master classes for Bharatanatyam students teaching the finer aspects like abhinaya. When asked about how she chose Mohiniattam

THE DANCE INDIA | JUNE 2017 | 29 over Bharatanatyam? She replied, "It is like falling in love, what makes you fall in love is hard to figure out. I was being trained so intensely in Bharatanatyam that I was aware of the strength of Bharatanatyam, it is a beautiful form but still, my heart said Mohiniattam. It is like falling in love with a person who is probably not illustrious as someone else." She was trained under Padma Bhushan awardee Kanak Rele and later she went to Kerala and took master classes from teachers like Satyabhama, Leelamma and others to understand the style. But all her basic training and grooming occurred at Nalanda. Though she has done some dance productions like Tagore's Karna Kunti translated into Hindi and other theatre productions, she says that she doesn't do it with regularity but only when an interesting idea strikes her mind. She has been focusing more

THE DANCE INDIA | JUNE 2017 | 30 on solo choreography which has been her chief interest. She also spiritual background was a matter of strives to enrich Mohiniattam and wants to make it more dynamic. history irrelevant to the times. She She focused on giving it a range of expressions and moods. So her pondered deeply on these issues emphasis has always been mainly on solo choreography. Most of wondering why the professional dance her choreographies have been biased towards rich Sanskrit scene was so far away from its original literature like Shankaracharya, Kalidasa, slokas and others and even background. some of Panicker's music. Her choreographies have spiritual and She met her spiritual master Swami Harish devotional themes because she believes that was the purpose of Madhukar 'Babaji', a jolly fakir who was arts and doesn't feel the need to experiment at a personal level. She not a dancer but in him, she saw the joy thinks that the transcendental nature of our arts was the reason for that the aestheticians referred to as the the arts to be the way they are today. Right from Bharata's time, their ultimate purpose of art. For many years goal was Rasa-ananda and Moksha and then they worked on she practised spiritual sadhanas with him, creating a form for it. According to her, all the performers and away from the world of professional practitioners of art are supposed to reach the goal with the help of dancing and understood the deep roots art forms. "If we practice these through sadhana then we can reach God through these art forms. It has to be taught in the classrooms," she says. According to her, every aspect of the art form, starting from its background should be taught to the students in the classroom itself so that they would not look at it as a medium of entertainment. Indian art forms are beyond entertainment or profession was her message. "A million times the student needs to be reminded that this is a yoga," she suggests. Performance is a small part of the process and it had always been blown out of proportions. She says performance is an extension of practice. The gurus and teachers have to take up the responsibility to effectively present the whole art with philosophy, poetry, music, literature and the yoga behind it. Unfortunately, all these aspects are seldom addressed. Artistes are a product of their times. Mandakini Trivedi believes that various contents have different forms and from the form, the content comes. All the Indian classical dances are deeply spiritual and even their form is spiritual. She tries to look the art as a tool for your inner growth - growth of character, artistic skills and for a higher life. She advocates the same to her students. All through her dance training in Mohiniattam, she was drawn to the undercurrents of spirituality in Indian aesthetics. She was convinced that it was not a mere coincidence, a poetic or mythological exaggeration that Bharata the compiler of the was a muni, that Shiva and all the Gods of the pantheon danced, that the aesthetic experience was compared to the spiritual experience. Neither did she feel that this

THE DANCE INDIA | JUNE 2017 | 31 of mysticism and spirituality in art. She understood on Happiness' were some of her works as an author. what 'sadhana' or spiritual discipline really meant! Her Performing and choreographing are an important performances, choreographies and lecture area of her work. For her, performing is nothing but demonstrations, all became coloured by the the practice and perfecting of the art and it should be fragrance of Babaji's teachings. She found no continued until the end of life. Some of her notable difference between art and spirituality. performances include shows at the Kalaghoda Arts She has been studying the details of the Yoga Shastra Festival, NCPA, the Rain Drops Festival, the Krishna under Sharad Gana Sabha Pathak of the Pongal Festival, Tibetan Global the Ghunghroo Research Institute Festival, the to further co-relate Konark Festival, Dance and Yoga. the Kalidasa She has found that Samaroha, not only is Indian Khajuraho dance essentially Festival, Pune spiritual, but the Festival, the 50th very form is nothing but yoga - Sangeet perfected body Sammelan, Swati geometry leading Sangeeta one to a perfected Mahotsava, state of being. Her Mumbai Festival study gave birth to 2006, among Nateshvari Dance others. Gurukul, a space She has that grooms young composed close dancers to look to 40 pieces to into themselves provide richness while learning the to the Mohiniattam art. repertoire. She She has been the creates all the creative head of the items that she Nateshvari Dance performs. Her Gurukul and trains work is marked young dancers to perform with a deep awareness of by a dynamic use of space and the creation of the goals and principles of yoga in Indian dance. She powerful visual images conveyed with a moving has also been conducting programmes for allied simplicity that does not fail to touch a person. Her disciplines like design, architecture, film and animation composition of Maricha Vadha from the Ramayana, deconstructing classical Indian dance to reveal its Kalidasa's description of Varsha ritu, Vasanta ritu and innate yogic qualities. The Yoga Of Indian Dance, Kamadeva nritya among others, are notable for their Sutras on Dance and 'Ananda Yoga - Conversations vibrant and dynamic dance and mimetic expression.

THE DANCE INDIA | JUNE 2017 | 32 Her experimental pieces include a solo dance ballet, Shiva-Parvati Vivaha based on Kalidasa's Kumarasambhava which uses subtle costume changes and the techniques of Bharatnatyam, Mohiniattam and Kathakali to delineate characters. More recently she choreographed in multi-media dance theatre form, an adaptation in Hindi, of Tagore's Karna-Kunti Sambad, incorporating multiple styles, painting and theatrical elements. She has also choreographed to Dhrupad Sangeet for an avant- garde film 'Man Eats Rock' directed by Munir Kabani & Nikhil Chopra, produced by the Hermes Foundation (Paris) for a short film series for the 'H' Box and screened in Korea. Her thought provoking lecture-demonstrations on Indian Dance that are mainly aimed at reviving the roots of Indian Dance in yoga have inspired young dance students to relook at the art and its practice. Achievements:  Master's thesis: The Evolution of Hastas from Mudras.  Published articles on Classical Indian dance in many leading newspapers and magazines.  Ananda Yoga: Conversations on Happiness, being dialogues with Swami Shri Harish Madhukar.  MFA in Dance from Mumbai University's Nalanda Nrityakala Mahavidyalaya  Trained in Mohini Attam under Padmashree Dr Kanak Rele  Took master classes in Mohiniattam from Kalyanikuttiamma, and Kalamandalam Leelamma  Recipient of the Central Government Junior Fellowship for research in Mohiniattam  Professor of Indian Dance at Mumbai University (Nalanda Nrityakala Mahavidyalaya) for a period of 12 years  Curator, Kalaghoda Arts Festival 2007/2008  Sangeet Natak Akademi Puraskar for her contribution to Mohiniattam in 2015

THE DANCE INDIA | JUNE 2017 | 33 room full of attentive students listening to the A instructions of their teacher, all well dressed and disciplined. When the time came for them to rehearse all of them sang in harmony, hitting all the right notes. The teacher was a happy man and his students were blessed to have him. He shared his vast knowledge and experience with anecdotes and real-life examples. Dr Dwaram Venkata Krishna Ganesha Tyagaraj widely acknowledged as a performer, composer and teacher hails from a reputed classical musicians' family and carved a name for himself in the music fraternity. His contribution to the field of Carnatic music is remarkable.

Background:

The Dwaram musical family has been serving the Carnatic music fraternity relentlessly for the last 150 years. Tyagaraja Swami was the origin of their lineage. His grandfather's brother Venkata Krishnayya Naidu was a descendant disciple of Tyagaraja and his grandfather Kalanidhi Padma Shri awardee Prof. Dwaram

THE DANCE INDIA | JUNE 2017 | 34 Venkataswamy Naidu was a legendary violinist. His breaking the class barriers in the society. They believe father Sangita Kalaprapoorna Prof. Dwaram that music is for everyone in the society and should Bhavanarayana Rao, the second son of his not be restricted to connoisseurs or the elite. Music is grandfather, was a reputed musician and universal. musicologist. His mother Vidushi Dwaram Venkata His father Prof. Dwaram Bhavanarayana Rao was a Varadamma was an accomplished vocalist and veena popular musician and musicologist and a widely player. reputed Carnatic artiste. He was the chairman of the Melody has been the unique contribution by the board of studies for all the South Indian universities Dwaram family. Their ability to produce melody was with respect to Carnatic music. Dwaram Tyagaraj was so powerful that at one instance renowned violinist and conductor Yehudi Menuhin was mesmerised with the presentation of Fidel Naidu. Before Independence, governor of Madras Presidency arranged an event where Yehudi Menuhin attended as a guest and even performed. His grandfather, Naidu was thoroughly impressed by the performance and went up to him and congratulated him. He even wanted to check out his violin which produced a perfect blend of sound. But being a thorough professional, Menuhin politely refused to give his instrument, as it was precious to him. His grandfather was rather happy looking at Menuhin's dedication towards his instrument. The following day, his grandfather gave a concert in the same venue, upon listening to his melody, Menuhin who was sitting in the front row, went back to his room and brought the violin and gave it to Dwaram Naidu and requested him to play it. It was a true artist's appreciation for another artist. It was an instance when heights of humanity and professionalism were on full display.

Dwaram's lineage was also known for playing folk tunes towards the end of their concerts whereby by

THE DANCE INDIA | JUNE 2017 | 35 born during the bi-centenary celebrations of Sadguru During the late 70s, he was invited as child artiste Tyagaraja on May 15, 1970. He was born, when there was to sing in the company of eminent artistes at All a celebration to commemorate the 200th birth anniversary India Radio, Vijayawada. He was the youngest of Tyagaraja going on in the Maharaj music college, and shortest person in the studio and to Vizianagaram where his father was a principal. The doctor accommodate the height he was made to stand Seshagiri Rao who happens to be a family friend, on a stool wearing half pants. Right from 1975 to knowing the taste of his father announced that Tyagaraja 1978 he was a regular artiste at AIR. Even as a was born. His father gladly accepted the name. His father child artiste, little Tyagaraj would sing 15-16 even wanted to pay his tributes to his ancestors and songs at a stretch without looking at the lyrics. named him Dwaram Venkata Krishna Ganesha Tyagaraj. He would even remind the composer about the repetitions. Dwaram Tyagaraj was part of 5 siblings - 2 sisters and 3 brothers. All of them were classically trained but his elder He began his initial Carnatic vocal training under sister Prof. Dwaram Lakshmi, head of the department - his parents and later grew under the tutelage of music at Sri Padmavati Mahila University and himself were several stalwarts like ML Vasanta Kumari, DK the ones who took up Carnatic music professionally. Jayaraman, Professor TR Subramaniam and Right from his childhood days, Tyagaraj was inclined Nedunuri Krishnamurthy. Simultaneously, he towards rhythmical instruments. Way back in 1970's milk learnt Mridangam from K Veerabhadra Rao, Ch was supplied in tins and Tyagaraj as a child used to make Krishnamurthy and Mullapudi Sriramamurty. rhythmic sounds and patterns on them. Looking at the Tirupathi Ramanuja Suri (former composer, All skill, at the age of 5 years, his parents put him to learn India Radio, Visakhapatnam) trained him in light Mridangam. music and Pandit JVS Rao in Hindustani vocal.

THE DANCE INDIA | JUNE 2017 | 36 As the years rolled, looking at the dedication of conducting. Even popular singer P Suseela was his Dwaram's father encouraged him to pursue music as father's student. Legendary composer Gantasala was a career in 1985. Till then he was under his father's a product of Vizianagaram Music College when his tutelage. His father wanted to make sure that he was father was a professor. "Though he was a student they serious about music. "My father strongly believed that were good friends because of the age," he says. if you choose a career you love then you will never Popular musicians and singers of the time like Bade have to work a Ghulam Ali day in your life. Khan and Bala He understood Muralikrishna the concept were frequent and gave me visitors to their absolute house. So for a freedom," he period of 6 says. By then months, he was already Dwaram sang pursuing his tracks for under popular graduation in singers at Commerce Madras. and he did not Rajkumar have music as Bharathi son of a subject. He Dr. Dwaram Tyagaraj with his students Subramaniam was given the Bharathi was a choice of pursuing music and carrying the family good friend of him who has already sung several baton or to go ahead with commerce and become a songs in Tamil, and industries. chartered accountant. "I choose music," he says. He had a quality time working on voice modulation. Following that he got enrolled in diploma in music and But he was not really keen on pursuing a career in completed it with distinction in 1988 from Andhra films and he was waiting for the Master's seat in Delhi. University. Immediately he went to Delhi and enrolled Incidentally, he got the admission and left to pursue himself for Masters. By then, Andhra University did post graduation in music from Gandharva not have masters in music. Mahavidyalay, New Delhi, where he had a great learning. He worked with some eminent gurus, In between, the Diploma and Masters, he had a small musicians and musicologists. "It was a great stint at the Madras cine industry. His father had many experience to observe how the artiste and the of his students working in the strings section and common man obliged," he says adding "Music is not

THE DANCE INDIA | JUNE 2017 | 37 a Punjabi lady came up to him said that he is highly talented and suggested that when he sings he should sing for the Master. That was like an awakening that helped him understand the essence of music. He thanked her and started introspecting and it led him to research.

He became the first scholar in Andhra University to have cleared UGC NET and JRF in the first attempt. He got enrolled in the doctoral programme and received the first PhD from the Department of Music, to portray one's potential but music is that thing which Andhra University in 2002. first allows your own soul to be comfortable and explore into the eternity so that you can create a He started teaching music from 1990 onwards and beautiful fantasy world where you are the master and over the span of 28 years he has trained more than you invite others to experience the divine bliss." 1,000 students both in person and online through Skype classes. He worked with central government He stayed with his maternal uncle at Delhi and his aunt educational institutions under the Ministry of HRD. He used to take him to various cultural spaces in and first worked in Jawahar Navodaya Vidyalaya and right around Delhi and that helped him to explore various now he has been working as a guest faculty in Andhra genres and cultures of music. "India is a great country University and a regular teacher at Kendriya where various activities from the birth till death are Vidyalaya. He was also invited by Sri Venkateswara associated with music," he says. During those a days,

THE DANCE INDIA | JUNE 2017 | 38 Temple in Pittsburg, USA to teach music for Non- case right from his childhood. His work was accepted Resident Indians to protect and promote Indian and published by the Tirumala Tirupathi Devastanam classical music. as the literature of significance. So far he has published 6 books and couple of his books have also He has published books and presented papers at been accepted as a part of the curriculum at Sri national and international seminars. His doctoral thesis Padmavati Mahila Visvavidyalayam. was on 'Rhythmical Beauties in the Compositions of Musical Trinity' expounding how Tyagaraja, Teaching happened in 1990 whereas he has been Muthuswami Dikshitar and Syama Sastri dealt with performing and composing even at the earlier stages. various rhythmic patterns in their compositions. The He has been a composer right from his graduation aspects of melody and rhythm were inseparable in his days. He is well versed with all the Indian percussion instruments along with western drums and when it comes to melodic instruments, he plays keyboard, flute and veena.

His students are in a promising stage and it gives a great pleasure for him to teach because that is the way to see the tradition continue. "To be honest, I enjoyed teaching more than performing and composing. Once I realised it, I started diverting the opportunities that I get to perform into group performances with my students as a team. Also, I realised that there are only limited opportunities for upcoming artistes to perform," he says. When he started projecting his team, it received great appreciation from all quarters. Even the students were benefited with all the exposure and experience. "To be a teacher, one must first be a student," he says. While teaching his students he opens up various windows in his imagination and gets lost in the world of creativity. "Even if I am lost in that maze, I wish to stay there," he

'Padmasri', ' Sangita Kalanidhi', Prof. Dwaram Venkataswamy Naidu Garu THE DANCE INDIA | JUNE 2017 | 39 Dr. Dwaram Tyagaraj with his Family smiles. Teaching is his priority and he established an Being a Carnatic musician he also appreciates academy named Sri Dwaram Music Academy where Western music. "Western classical music has a rich they have been humbly serving for the cause of music tradition of itself and I am a great fan of western in whatever little way that they could. country music too. Even other genres of music have their own significance. We can never call one inferior He is married to Nagamani, who was software to another, it all depends on how one looks at it. We professional but she quit her software career for the must look at every form of music in its true value love of music. She is a veena player who learnt under because variety is the spice of life. When I look at his mother. They were married in 1999 and are Western Music, I am amazed by its rhythmical blessed with a girl who is now pursuing her variations, the tonal quality that they achieve, the intermediate. Simultaneously, she has also been energy levels that they exhibit and it is a challenge for pursuing music. "She is my only hope, the illustrious every western artist because everything happens on Dwaram family's baton now rests on her shoulders," stage," he explains. Fusion music garnered he says.

THE DANCE INDIA | JUNE 2017 | 40 importance when the West started meeting the East. It is fascinating to see how Indian music has spread across the world, particularly in the Southeast Asian Countries where we find the scales like Mohana being played in China, Japan and Indonesia. Beethoven, Bach, Mozart have all lived in a world of fantasy which was blessed by the divine grace. The aspect of Ghamaka is unique and distinct to Carnatic Music.

So far, he has composed and released a good number of albums mostly devotional in nature. He is also an approved composer and musician for All India Radio. He says that Kharahara Priya is his favourite raga. Somehow the raga has cast a magical spell on him and his sister in a way was responsible for it by sending a CD of his guru. He believes music is beyond religion and recently composed music for Psalm 119 from the Holy Bible and it brought him accolades from all sections of the society.

He even composed and rendered his voice for several dance dramas and theme songs for events like Visakha Utsav organised by the Government of Andhra Pradesh. "There is music without dance but not dance without music," he concludes.

THE DANCE INDIA | JUNE 2017 | 41 Text: Dr.Sunil Kothari, Cultural Critic, New Delhi

n the memory of late Guru Deba Prasad Das, Debadhara Institute and its director Guru IVinayak Panda, in Delhi mounted a two-day Debadhara Award Dance Festival at the Habitat Auditorium on May 17 and 18, 2017.

The lineup of participants and awardees was quite impressive. Young and senior dancers were presented to give encouragement to the students of their institution. The audience also got a glimpse of the young dancers with senior artists.

The young disciples performed on the opening night in groups with usual prayers and favorite choreographic works of late Deba Prasad Das, like Thai with ukutas, mnemonic syllables, which have a haunting appeal. Also woven within were Sabdaswarapatas which portrayed the various goddesses in their beatific and also demonic aspects. These are special Deba Prasad Das gems and deserve to be performed in more attentive and proper forms. I suggest in future taking two or three Sabdaswarapatas they be choreographed well to bring out their intrinsic beauty.

The dancers on the second day performed stuti in praise of Ganapati and enacted the story of how Lord Shiva was denied entrance in his own abode, as Parvati had kept Ganesha to guard the doors. Enraged Shiva cut off his head and lamented when Parvati explained to him that Ganesha was asked by her to do so. So an elephant's head was cut off and replaced on

THE DANCE INDIA | JUNE 2017 | 42 crescent moon, Ganga from matted locks and leave damaru making so much sound, also suggesting concept of ardhanarishwara, describing she has beautiful ornaments, her face is like full moon, she has put on beautiful robes and so on.

The usual description of Lord's indifference, anger, procession in which he moves astride Nandi, the tall towers of Thanjavur puri et al was performed with ease. Nritta was delectable despite avoirdupois, as she has her charms in her persona. A seasoned dancer she revealed her range of abhinaya well. Ganesha. The story was enacted with enthusiasm and won a good response from parents and audience. The ashtapadi Kuru Yadu Nandana, in which Radha requests Krishna to place ornaments in order, draw However, more attention needs to be placed on kajal, place flowers etc, after the love play as correct basic postures like Chauaka, Tribhanga to Swadhinapatika nayika, is familiar to Odissi bring out characteristics of Odissi. exponents. Prathibha chose to perform it using From Kolkata Dona Ganguly, trained by Guru original music as used in Guru Kelucharan Kelucharan Mahapatra presented Jatayu Moksham Mahapatra's composition, in her Bharatanatyam style. following Guruji's typical style, adhering to it faithfully. Whereas the singer Sudha Raghuraman sang it In ekaharya lasyanga, a dancer, in the same costume, feelingly, it always reminded those who have seen in can enact different roles. Therefore Dona performed Odissi Guru Kelucharan Mahapatra's choreography the role of Sita and Jatayu. Her male dancer partner played also the role of Ravana and Rama. There was a little longer ending when Jatayu was given oblations by Lord Rama and he leaves his mortal body for heaven with blessings of Lord Rama. The agony of the wounded Jatayu was well enacted.

Prathibha Prahlad in Bharatanatyam chose to present traditional Mohamana Varnam in Bhairavi, a favourite of dancers. Trained by Muthuswamy Pillai, Prathibha announced that her approach was a layered one as Gods behave as a man. Except for her announcement about Krishna flirting with 16,000 gopis and in present times one man cannot please one woman, which jarred, her performance was neat and abhinaya intense. With mobile visage registering subtle and sensuous expressions, naiyka expressing desire with union with Thyagesh Bhogesh, brought in sanchari, requesting Lord to remove serpents,

THE DANCE INDIA | JUNE 2017 | 43 and music. In such cases, the original music reminds of images associated with it. It is a moot point whether a Bharatanatyam dancer can perform the same ashtapadi from Gita Govinda to original music composed for Kelucbabu's choreography. The only problem when attempting to perform such well-known number is that it reminds people of Guru Kelucharan's choreography and invariably and involuntarily one

starts comparing the two versions. As a brilliant dancer, Prathibha could have selected any other ashtapadi or better even from the treasure trove of several padams from Bharatanatyam repertoire. She had prefaced that since this was a festival in memory of Odissi guru, she thought of presenting one ashtapadi.

Late legendary Guru 's son was billed as the last performer and was requested to keep his Kathak performance brief as it was getting late. Therefore he presented a brief recital.

He is a versatile dancer. Dance is in his blood. With uthan, he established his credentials that he belongs to Lucknow Gharana tradition. The following thaats were graceful. He warmed up in drut fast tempo with executing tihais, footwork and in sort of repartee with tabla player entertained the audience with his command over laya and footwork. He selected three parans and performed them inadequate speed. In Gat, he enacted how Lord Rama with his bow walks gracefully.

With bols of tabla instrument dhirkat dhrikat, he executed through footwork the sounds perfectly. And rounded off with khade per ke tatkar and bols of his Gharana nadhin dhin dhi na, dancing gracefully revealing the beauty of footwork.

THE DANCE INDIA | JUNE 2017 | 44 Normally Kathak dancers when warmed up perform irrespective of allotted time duration. Ram Mohan wisely did not exceed the time but mentioned that one accompanist by name Salman Khan who plays pakhavaj had not come. He was happy because his playing on pakhavaj is so overpowering that he gets more claps than the dancer! Like a clever Kathak dancer, he said next time he would dance given more time for two hours!

Ram Mohan has all the talent of a first-rate dancer. He needs to get further grooming from his seniors like Pandit Birju Maharaj to attain the rank of an excellent Kathak exponent.

On the second day after young disciples, from Bhubaneswar chose to present Bhumija, dwelling upon the life of Sita, born out of mother earth, Janakanandini and queen of Lord Rama. To the libretto by Odiya poet Kedar Mishra and music by Vijay Barik and Rupak Parida, with moving expressions Aruna portrayed Sita's agony in a poignant manner. Always following her beloved Rama, in forest for 14 years, abducted by Ravana, going through fire, when Rama after killing Ravana brought her back to Ayodhya, she had to suffer more frame showing youth and old age with failing eyesight, because a washer man, chides his wife, who in reply hearing ability and infirm stage, Aruna's depiction tells her husband that she is not like Sita who after highlighted those stages. The finale with Bhaj being kept by Ravana has returned to Ayodhya. Govindam was for seeking liberation from Sansara. Rama on hearing such rumours asks Lakshmana to The mother and daughter duo from Bangalore, send her away to forest even when she was pregnant. Vyjayanthi Kashi and Prateeksha in Kuchipudi Sita is unable to bear all this and asks Mother Earth to presented taking incidents from mythological stories take her back in her lap. With that cry, Sita falls on the form Ramayana and the shades of floor and returns to Earth. colour red Chitra Lohita. Beginning with the auspicious The story of Ramayana told in a nutshell, selecting colour of Sindhoor for married women and moving only key incidents was performed with consummate on to a riveting incident of Hanuman jumping in the artistry. Even in the role of washer man and his wife sky to swallow the sun mistaking it for a fruit. Aruna brought a touch of laukik abhinaya creating Hanuman's cheeks, generally red, turned further red those characters graphically. The various emotions as in order to protect Hanuman, son of Marut, Indra were reflected on her face vividly. struck him with Vajra, and Hanuman's cheeks got further swollen and red. Prateeksha blew her cheeks a In another piece Sansar, she displayed stages of la Hanuman and created sentiment of laughter -hasya. childhood, youth, love and old age in an effortless manner. Her dance was full of abundance, as per the From Mahabharata, the incident of Draupadi's nair to various stages of life, Playful, with youth coursing her be anointed in red blood of Dushashana was

THE DANCE INDIA | JUNE 2017 | 45 Both the artists performed with dramatic effect showing their flare for an imaginative approach to describe shaded of colour red: Chitra Lohit.

Guru Gajendra Panda selected story of Sakhi Gopal, Sakshi Gopal. With his disciples, young dancers and he playing the role of a poor Brahmin whom a young girl was to be married. The story is well known that for witness Lord Krishna as Gopal promises to come to his village, following him but with a condition that he should not look back, only listened to the sound of his ankle bells trusting that Lord Gopal is following him. After a long walk, poor Brahmin is tired and not listening to sound of ankle bells looks back, when Lord Gopal turns into stone. The poor Brahmin regrets and invites all to see the statue of Lord Gopal as a witness. Since then the place is known as Sakhi Gopal and worship of Lord is regularly performed there.

There was much fun and frolic when the young bride, her mother and sakhi seeing the bride as a poor Brahmin starts beating him up. He is dragged and depicted with dramatic effect. Prateeksha broke open pushed on the floor. Of course, Gajendra Panda the chest of Dushashana and dipped her palms in his performs the role well; it would have been proper if blood, anointing Draupadi's hair with red blood. instead of realistic acting suggestive, the entire Vyjayanthi in a flashback performed the scene of the presentation would have been made in the form of court in which Draupadi was dragged by Dushashana dance-drama. Else it looked like a theatre and not and brought before her five husbands and in full view dance-drama. In future, I hope Guru Gajendra Panda of them and others were humiliated when she took would improve upon this aspect and make it more wow not to tie her hair till it was anointed in sophisticated. Dushashan's blood. The entire sequence was dramatically performed. The two-day dance festival concluded with all the award winners and artists coming on the stage From Ramayana, the sequence of Jatayu fighting with together. Ravana when Sita was kidnapped and while fighting with him Ravana cut off his wing, with the result that the With a huge effort, Vinayak Panda with praiseworthy blood fell on the earth. Kuchipudi with its inherent support from the local Odiya community, sponsors, dramatic elements was exploited by the mother- official support from the Govt. agencies and parents of disciples mounted this show. One wishes him well daughter duo fully. and suggests at the same time that more attention is The colour of red in the eyes of Radha by sheer paid to the training of the young disciples, so that shyness, Lajja, was shown in the duet of Radha and when senior seasoned dancers like Aruna Mohanty Krishna. Prateeksha as playful Krishna danced with and others perform, in comparison the disciple joy embracing Radha highlighting the shringara rasa should not cut a sorry figure. It will help disciples to for projection shade of red through love. put in more effort to reach professional standards to bring to Odissi more luster.

THE DANCE INDIA | JUNE 2017 | 46 THE DANCE INDIA | JUNE 2017 | 47 Veena, Bharatanatyam and Mohiniattam performances enthral the audience

ndian music and dance heritage were on full display. 'Naatya Tarang', a Imonthly music and dance festival organised by Nataraj Music and Dance Academy under the supervision of its founder president Bathina Ranga Vikram Kumar enthralled the audience at Kalabharati Auditorium on May 16. Young Kuchipudi artiste Bathina Tejashri during her narration reiterated that Nataraj Music and Dance Academy established the festival to encourage and support upcoming artistes to acquire international standards.

Local artiste PV Lakshmi began the 2nd edition of Natya Tarang with her Veena recital. She performed Adi Guru Purandara Dasa's Gajavadana Beduve and a composition from Saint Thyagaraja's 'Bantureethi Koluvu'. She concluded her performance with the father of verse poetry Tallapaka Annamacharya's Devadevam Bhaje. It was a soothing effort applauded by the gathered audience. Bharatanatyam artiste Kshithija from Bengaluru presented Narasimha Kauthwam in raga Ragamalika set to tala Khanda Chapu composed by Vidwan G. Gurumurthy

THE DANCE INDIA | JUNE 2017 | 48 with elegance. She followed it up with a brilliant recital of Tanjavur Shankara Iyer's Ranjani Mala in raga Ragamalika and tala Aadi. A Thillana piece in rare raga Kadanakutuhala and tala Aadi composed by Padma Vibhushan awardee Balmurali Krishna sealed her performance on a high note.

Mythilli Maratt from Hyderabad captivated the gathering with her Mohiniattam performance. Harivarasanam, a that is popular among Ayyappa devotees written by Kambakudi Kulathur Srinivasa Iyer on Lord Ayyappa, was her first presentation. Later, she went on to perform a Sarangapani husband is calling her and she has to leave her maternal home Padam Mogudochi Pilechedu, and go away but asks him not to forget her. This was a maiden composed for Mohiniattam. It was attempt by a dancer to choreograph texts in different languages presented for the first time at Vizag. - an attempt to reach out to a Telugu speaking audience. The The composition showcased Mohiniattam performance concluded with a Thillana in Raga Virahot Khandita Nayika. She tells Brindavani and Tala Adi by Balamurali Krishna. It was yet another Krishna, her only true love, that her memorable evening for all the music and dance lovers in Vizag.

THE DANCE INDIA | JUNE 2017 | 49 yagaraja Aradhana Trust celebrated the 250th In his address, the VMDA President appreciated Jayanthi of Tyagaraja with fervour and musical Rambabu for single-handedly looking after the Tenthusiasm at Kalabharati auditorium in the city. engagements from planning, implementation and Also, the day happens to be the 25th anniversary of the execution and termed it as Nabhuto Nabhavishayathi. trust. Hundreds of artists from various parts of the As the percussion instruments have a major role in country have participated in the daylong programme. the success of any classical concert, Rambabu had Tyagaraja was born in the year Sarvajith on Vaisakha planned tanyavarthanam with mridangam vidwans Sudha Shasthi (1767 AD) and attained Moksha on Vankayala Venkataramana and G Venkata Rao, which Pushya Bahula Panchami in the year 1847. received excellent applause from the audience.

Every year, Festival is conducted It is reported that graded and professional artists of in January for six days. This year, being the 250th national and international level have voluntarily Jayanthi (birth anniversary) of Tyagaraja, the saint participated in the festival to pay their homage to Saint composer, the trust conducted Tyagaraja's 250th Sadguru Tyagaraja Swamy. The opportunity was Jayanthi Festival on May 21, 2017. It is a coincidence given to upcoming students and young artists along that Tyagaraja Aradhana Trust is celebrating its 25th year with senior musicians and teachers. (Silver Jubilee) anniversary during the celebrations. Also, 700 artistes performing in groups showed the strength Hanuman Jayanthi fell on the same day. of musical bond and cooperation. It is believed that On the occasion, IVL Sastry, secretary of the festivals like these would pave the way and enthuse Tyagaraja Aradhana Trust, was felicitated by CSN common people to sing Tyagaraja Kritis of simple Raju, GRK Prasad (Rambabu) and MSN Raju with musical notations, as is the case with Annamayya citation, pattu vastraalu (clothes), fruits, shawl, garland compositions or Ramadasa compositions. and a memento.

THE DANCE INDIA | JUNE 2017 | 50 Celebrations Kamesh on ghatam provided the accompaniment. The evening session comprised vocal group, Laya The celebrations started with puja in the temple at 9.00 Vinyasam, felicitation to Brahmasri IVL Sastry and a am, followed by the lighting of the lamp, Mangala dance performance. vadyam - by Group of Nadaswaram vidwans with the lead of Nadaswaram vidwan Guruvilli Appanna A vocal group of around 200 vidwans and vidushis on accompanied by Tavil vidwan prof Guruvilli Durga Rao stage and around 400 off the stage (due to the from New Delhi. This was followed by flute recital by a constraint of space on stage) led by Manda group of 26 Venu gana vidwans lead by vidwan Sudharani rendered selected Tyagaraja's Indraganti Kali Prasad with flutists from New Delhi, compositions. Instrumental accompaniment was Mumbai, Kolkata, Bangalore and Guntur. They were provided by Pappu Gnan Dev (violin), H Ramcharan accompanied by Mandapaka Ravi (Vizianagaram) (violin) and M Sriramya (violin). and M Yedukondalu (Kakinada) on mridangam, BDS Percussion accompaniment was provided by VV Sarma on Ghatam and Chaitanya on morsing. Ramanamurty (mridangam), G Venkata Rao The third item of the festival was a Vaayuleena Brinda (mridangam), V Jayadeep Sarma (kanjira), BDS Vadyam, an ensemble of about 27 violin vidwans and Sarma (ghatam) and Chaitanya (morsing). vidushis lead by violin vidwan MSN Murthy. VV A Kuchipudi dance, Nritya Nivedana for Tyagaraja Ramana Murty and S Subramanyam accompanied this Kritis by the students of Kuchipudi Kalaksetram and on the mridangam and VS Jayadeep Sarma on kanjira. Kalabharati School of Music and Dance under the leadership, training and guidance of Guru Harirama The concluding item of the morning session of the Murthy was also performed. festival was Veena Brunda Vadyam by about 56 veena vidwans and vidushis, led by Dr. T Padmini. The festival ended with Hanuman Chalisa, G Venkata Rao and Meher Sagar on mridangam and Mantrapushpam and Mangala harati.

THE DANCE INDIA | JUNE 2017 | 51 alanand Nritya Sanstha organised Kala Utsav, a workshop on five art forms Kathak, Kmusic, painting, tabla and acting from May 1-6. Nurturing the artist in every child was the main purpose of the workshop conceptualised by Guru Bhavana Lele. Kids who participated in the programme learnt five art forms under one roof. Artist faculty included Guru Bhavana Lele (Kathak), Sumant Jogdand (painting), Shrirang Tembe (hindustani vocal), Atharva Kulkarni (tabla) and Rushikesh Dali (acting).

THE DANCE INDIA | JUNE 2017 | 52 Text: Kashmira Trivedi, Bharatanatyam Artiste, Mumbai

ance ballet 'Bodhisattva'- depicted by The dancers who performed on the occasion were - the 7 classical dance styles of India, viz Hemangi Pisat (Odissi), Saritha Bala (Bharatanatyam), DBharatanatyam, Kathak, Odissi, Pranita Sawant (Kathak), Chitra Warrier (Mohiniattam), Mohiniattam, Kuchipudi, Manipuri and Kathakali Anusua Roy (Manipuri), Tara Shrikant (Kathakali) and performed by Saptadhara group, who Samidha Shinde (Kuchipudi). Dancer Vaishampayan performed a gist of Buddha's life story, became Gamare played a special character. the centre of attraction in a programme Sandesh Hire rendered script writing, background organised by the social justice department of music, recording, background voice and technical Government of Maharashtra to mark the 126th support. The ballet got applause for every episode birth anniversary of Dr Baba Saheb Bheem Rao that was depicted. The function was presided over by Ambedkar at the Gateway of India, Mumbai. A Chief Minister of Maharashtra Devendra Fadnavis. gathering of more than 2,000 enjoyed the programme.

THE DANCE INDIA | JUNE 2017 | 53 uru Debi Basu, a name, a pioneer, an continuous innovation in this dance form, which is institution herself, the only one in her family hugely acknowledged and regarded across the globe Gas a dancer, has mastered and innovated as an invaluable contribution as a student of Guru abhinaya in Odissi dance form without disturbing the . The workshop at NCPA was core. Her story is such a striking chapter that every on the following dance lessons: Odissi dancer need to absorb fully to be true to the (For juniors) Nagendra Haraye - Shiva Panchakshar, dance form. She believes that the grammar and composed by - Guru Kelucharan Mahapatra, Taal - formalisation of Odissi are fairly new and Khemta and Raaga - Bairagi Bhairav. experimenting with the form without deep knowledge of the basic can destroy the core beauty. She made (For seniors) The famous Astapadi composition for dancing look as poetry with her abhinaya. which she has become a resemblance to the art form, Astapadi - Pashyati disi disi, Bhaba - Unmada, Taal - It is a big opportunity when such an exponent shares Chaturasra Ektali her experience and conducts a workshop initiated by the NCPA. She focused on some portions of her

THE DANCE INDIA | JUNE 2017 | 54 ulture is the social behaviour and norms India' as its social message. The three-day festival found in human societies. India is was divided into three parts - two competition Cconsidered vast in its culture similarly this sessions and an evening performance followed by an exchange of culture has become a part of society. To awards ceremony. Around 450 participants took part enrich the culture of India at the semi-urban areas like in the national dance and music competition which Nanded, Saptarang Sevabhavi Sanstha's Lay School included vocal bhajan, light vocal, patriotic group of Performing Arts, Nanded Waghala Municipal song, classical dance, semi-classical dance, folk Corporation, Arihant Charitable Trust and NIFAA dance and modern dance. Branch Maharashtra from Nanded have The competition started with music on the first day of collaboratively organised Saptarang Cultural Festival- the festival. Around 60 items were presented in 2017, an international standard music and dance various categories. Eminent Actor Mohan Joshi festival cum competition from May 19 to 21, 2017 at inaugurated the function in the presence of Pritpal Nanded, Maharashtra. It was the third edition of the Singh Pannu, national president of National Integrated festival. Forum of Artists and Activists and Hon. Shailaja The festival aimed to promote Swami Mayor of Nanded. Mohan Joshi was unity, peace, Indian art impressed with the work done by festival director Dr and culture through Bharat Jethwani and said surely this festival will create performing arts and the upcoming artists of India. This three days festival this year it had 'Save showcase the different colours of folk art as this is the water, plant trees first year of including folk art in Saptarang in which and clean Maharashtrian Gondhal by Abhijeet Jadhav, Bharud by Niranjan Bhakre , and various folk art were presented by eminent artists of this field. A team from Nagpur of Gaurav Chati presented a marvelous qawalli. Classical dancer Kashmira Trivedi from Mumbai presented Ganesh Vandana at the start of festival, followed by the international artist Preetia Tatambothla from Dubai presenting an excellent Kuchipudi dance.

This festival was made successful with the efforts of 124 volunteers who worked for this event. The programme was held at Shankarrao Chavhan Auditorium at Nanded. Dr Bharat Jethwani said they will try to organize the event next year on the bank of Godavari River which is centrally located in Nanded.

THE DANCE INDIA | JUNE 2017 | 55 performance by Amith Dole from Chhattisgarh. Thamanna and Tanmai (Bharatanatyam) from Mumbai, Shaija Binesh (Mohiniattam) from Kannur, Shyama and Meenakshi from

uchipudi Dance Ballet 'Sri Krishna Paarijaatam' was the main attraction at Kthe All India Classical Dance Festival organised by Sayanjali Academy of Kuchipudi Dance, Kerala, at Town Hall in Nellore from May 24-26.

The three-day dance festival began with a classical dance performance by Shyama and Meenakshi, students of Sayanjali Academy of

Palakkad and Meera Manoj (Bharatanatyam) from Bengaluru and others were a treat to watch.

The third day began with Deepa Pillai's (Bengaluru) Bharatanatyam performance which was followed by Anil (Kuchipudi) from Kerala, Lakshminarayana Jane (Kathak) from Bengaluru, Jugnu Kapadiya (Bharatanatyam) from Surat, Vijayalakshmi Kannan (Bharatanatyam) from Singapore, Krishnan group (Bharatanatyam) from Pondicheri, Sajeev (Kuchipudi) from Kerala, Meenakshi

Kuchipudi Dance on the first day. It was followed by a performance by the local artistes of Nellore. The Kuchipudi Dance Ballet 'Sri Krishna Paarijaatam' which was performed afterwards, stood as the highlight of the day. Later, Swathi Badle, Madhura Pawaskar and Pratibha Kulkarni, students of Kashmira Trivedi, founder of Takshasila Nrutya Mandir, Thane, performed Bharatanatyam.

The second day saw Bharatanatyam dance Ravinder Kumar from Hyderabad and others. On the whole, performance by a group of five members from the festival turned out to be a classical feast. Kerala followed by a Kuchipudi dance

THE DANCE INDIA | JUNE 2017 | 56 " very journalist should always be thirsty to One of the authors of the book, Prof. Bobby Vardhan make the news more attractive and readable," said the book is a blend of his two decades of Esaid VV Ramana Murty, chairman of Writer's teaching experience in the field. It contains 18 chapters Academy and editor of a vernacular daily. Addressing divided into five volumes. Digital media would not a gathering at a book release function at VJF Press have much impact on print media, he acclaimed. Club in the city recently, Ramana Murty said a book In his address, senior professor of Andhra University, would be very useful to the journalist fraternity and DVR Murty said prof Bobby Vardhan and he were suggested that a textbook should be introduced at students of the first batch of MJMC in Andhra the university level. University and faced hardship at that time as there Vice-chancellor of Centurion University, prof GSN were hardly any books related to the subject. At this Raju released the book 'Reporting and Feature juncture, the need for relevant books was felt and the Writing' jointly authored by prof Bobby Vardhan and book was the outcome of the same. In the present Sunman Kumar Kasseri. Further, prof. Raju said all scenario, it is reportedly assumed that to become a the 18 chapters of the book were thoroughly journalist no qualification is required, but to become a researched and it would be helpful to the journalists. better journalist reference books like this are a must.

THE DANCE INDIA | JUNE 2017 | 57 Text: Ojaswita Krishnaa Chaturvedi, Botswana, South Africa. She has been training under Shrimati Kalamandalam Ajitha Manjesh Lal in Bharatanatyam and Kuchipudi for over a decade now. She is a doctorate in Engineering and continues to practice and perform dance as passion. Her interests also lie in dance related research.

ri Krishna is a personality whose grandeur "O my friend! Vanamali crosses all boundaries. From his activities to [Krishna] suffers in expressions, he has always broken confines your separation! As the S mild wind blows, it for the benefit of surrendered souls and sanctified rituals. His charms have equally shed a lot of light on further fumigates the the performing arts of India. Although the expressions flames of love within of Belove have generally been described with respect him, the blooming to the nayikas, Lord Krishna is one nayaka who flowers appear to be equally expresses all emotions of love. He shows that piercing his heart a male cannot be (or should not be) any less in terms without you! Even the of expression. This article picks up a few soothing moon rays of compositions through which the feelings of separation the cold night feel to be have been expressed by Sri Krishna. burning him almost causing his death! As the flower arrows of Cupid continuously trouble him, he weeps In the context of love and Sri Krishna, Sri restlessly for you! He has forsaken his comfortable Jayadeva'sashtapadi cannot be looked over. In the home and is residing in the forest, he lies on the floor fifth chapter of his magnum opus, Jayadevagoswami and continuously repeats your name!" describes a sakhi, or friend speaking to Sri Radha as The above description has been set forth by the she elaborates on the plight of Krishna in her young friend of Radha who has been sent by Krishna separation. She speaks: to request her to come to him. Depictions of viraha ÃuQ Ãytuo oƒ uƒ∫“z ƒå™Á¬y are almost the same as those of a ƒ“uo ™¬ÆÙy∫z ™tåÁ™ÏúuåáÁÆ, À¢Ï˛buo NÏ˛ÃÏ™uåN˛∫z uƒ∫“y virahotkanthitanayika as defined in the natya Shastra. ŸtÆ t¬åÁÆ EåzN˛ N˛ÁÆ| √ÆÁÃÊTÁoΩ ÆÀÆÁ åÁTXZuo uüÆ: tŸuo u∆u∆∫ ™ÆÏQz ™∫m™åÏN˛∫Ázuo, úouo ™tåuƒu∆Qz uƒ¬úuo (24:213) uƒN˛¬oÁ∫Áz[uo otåÁTo tÏQÁoÁ| uƒ∫Á“Áz nNÊ˛ueoÁ oÏ ÃÁ ƒÃuo uƒuúåuƒoÁåz nÆ\uo ¬u¬oáÁ™, ¬Ïeuo á∫uå ∆Æåz §“Ï 'A virahotkanthitanayika is at utmost sorrow, lamenting the un-arrival of her beloved who could not come due uƒ¬úuo oƒ åÁ™ to being engaged in other activities.'

THE DANCE INDIA | JUNE 2017 | 58 Through this composition, Lord Krishna expands love to all his companions and laments in their memory. In the context of viraha, separation of a loved one is experienced by the protagonist. Lord Krishna has taken love to another level in all forms; a son, a brother, a lover, a friend and so on. This particular composition focuses on how he feels the intense pangs of viraha for all his beloved confidants, ranging from parents to friends [and not only strictly being in the framework of lovers].

Through the above described compositions, it is seen Lord Krishna depicts the same expressions of this that Sri Krishna surpasses all boundaries and nayika - lamenting the unarrival of his beloved. He is expresses love, even if it is in the form of separation. not able to take the beauties and comforts of nature The beautiful components of our classical art forms or his home in her absence as very delicately like expression (abhinaya) and rasa have been described by the sakhi in the above composition. exemplified by divinities from time immemorial and Another composition of Soordas portrays Sri Krishna that is why practicing these arts leads the soul to a remembering the days of Vrindavan. He does not destination of inner peace and contentment. have anyone to speak to in the bustling city and He contemplates within himself: ÃÊT u™u¬ N˛“Á¯ N˛ÁÃÁ¯ §Áo@ Æ“ oÁ{ N˛“o \ÁzT N˛y §ÁoÁ¯, \Á™{ ∫à \u∫ \ÁoÁ @@ N˛“o N˛“Á uúoÏ ™ÁoÏ N˛Á{å Nz˛, úϪ åÁu∫ N˛“ åÁo@ N˛“Á \ÃÁztÁ Ãy “{ ™{ÆÁ, N˛“Á åÊt Ù oÁo@@ N˛“ §w ßÁå-ÃÏoÁ ÃÂT N˛Á{ N˛Áz ÃÏQ, ƒ“ §ÁÃ∫ ƒ“ üÁo@ ÃQy ÃQÁ ÃÏQ åu“Ê ufißÏƒå ™¯, åu“Ê §{NÊ˛Ïe ÃÏ“Áo@@ ƒ{ §Áoı N˛u“Æ{ uN˛u“Ê EÁT{, Æ“ NÏ˛uå “u∫ úuZoÁo@ tÓ∫tÁà üßÏ §¿\ ™u“™Á N˛u“, u¬N˛y §to §¬ §¿Áo@@ "Alas! Who shall I speak to and reveal my heart? I have a friend here [Uddhava] but he only talks about knowledge, destroying the sweetness of love. According to him, there are no relations in this world - mother, father or spouse. Oh! What will do without a mother like my Mother Yashoda and Father Nanda? What can I speak about the beautiful days that would pass with my beloved Radha? The joy of my friends' companionship cannot be experienced in the whole world, even in Vaikuntha! The Lord thus thinks and laments as to whom he may speak out these lofty feelings. The Lord of Soordas subtly mourns in the memories of Vraja!"

THE DANCE INDIA | JUNE 2017 | 59 n eight-member team of artistes led by Karnataka Kalasri Poornima Ashok went from Bangalore to Vladivostok, Khabarovsk and AArtyom cities in Russia representing Bharat in the 'Days of Indian Culture', commemorating the 70 years of glorious relationship between India and Russia on the 159th birthday of the beautiful city Khabarovsk (capital of eastern Russia) and 25th year of Indian consulate at Vladivostok.

The young and dynamic consulate general at Vladivostok Singh and vice-consulate Ramesh Chand and his team made everything possible for the team from India. The first concert at Vladivostok - Philharmonic Hall which was packed with 675 tickets sold out leaving the Russians asking for more. The television interview followed by concert ended with a standing ovation and the artistes could hear the audience clap for nearly 10 minutes echoing the huge ballet hall. The performance at Khabarovsk was exclusively for generals and administrators from different countries. It had an audience of almost 2,500.

An exclusive interview with the deputy Mayor Miss Shevchenko Svetlana, exchanging of souvenirs, felicitation by the Mayor Sokolov Aleksander and a huge parade with Poornima holding the Indian flag and walking with pride were part of the programme. It was a truly momentous occasion.

The artistes from Bangalore were grateful to ICCR (ministry of culture), Government of India, for sponsoring the team of musicians Ramaa, VR Chandrashekar, , Kartik Mani and senior disciples Medha, Preethi and Neethi.

THE DANCE INDIA | JUNE 2017 | 60 ngelina Ukhanova, a Bharatanatyam artiste from Russia performing during Athe Bharat Nrithyotsav - 2014 organized by Nataraj Music and Dance Academy at Kalabharathi Auditorium in Visakhapatnam.

THE DANCE INDIA | JUNE 2017 | 61 THE DANCE INDIA | JUNE 2017 | 62 "Only a visionary backed by pragmatism and life's experience could produce such a miracle. In those four-odd hours, the Saint and his message elevated us to transcendental heights." Katia Legeret, a French girl, saw in Paris the Natyacharya Bharatanatya performance of Amaladevi, also French, Muralidhara Rao a disciple and accompanying dancer of Ramgopal. Bharatanatyam guru Hypnotised, she wanted to get to the core of this Muralidhar Rao passed ancient Indian art. Katia, 26, came to India in search of away on May 1, 2017. a Guru who would quench her intellectual thirst. Mere An eminent exponent of reference to standard texts or traditional books would the Pandanallur school not satiate her curiosity. With an assumed Indian of Bharatanatyam, name Manochchaya, she roamed in the South Indian Natyacharya states and finally landed at Mysore (1985). As luck Muralidhara Rao (1924 would have it she stumbled on Muralidhara Rao born) gave it a new whose Midas touch turned this base metal into a dimension through his golden ornament. "The mechanical perfection one can research and achieve in the Western classical dance leaves one experiments. In his continuous pursuit of beauty, he spiritually blank. Not so in Bharatanatyam: it is the drew inspiration from classics, other forms of arts dance of the soul, the external manifestation of the and finally from life itself. He was publicity-shy, only internal joy," she says. wedded to art ("I was too busy to think of marriage at It was a conventional Bharatanatyam recital at the any time!"), a loner and an eternal wanderer having no Ravindra Kalakshetra (1990). The teenager Nandini home anywhere he has grown into a phenomenon. (now Nandini Rangan in the US) displayed such A series of Bharatanatyam recitals had been arranged refreshing originality that it made the master of the in succession to commemorate the annual Nritya Pandanallur school, UK Chandrabhaga Devi, rush to Sammelana at Ravindra Kalashetra, Bangalore. In the the Nattuvanar Guru Muralidhara Rao and exclaim, year 1962, here Rao presented two of his very "The announcement says the girl is groomed in the promising students Vasundhara, aged 12 and Pandanallur style. But here I have witnessed a new Chitrakala, 15. When the item "Krishna Nee Begane and welcome offshoot of it. Sure, it needs to be Baaro" was announced; there came an elderly lady, named after you." who stood statue still watching the evergreen drama That is precisely the way Rao trained his pupils: of life unfolding elegantly. Her spontaneous remark creative and inspiring, introducing the soul of was very significant: "You have opened yet another Bharatanatyam into new themes and situation, fragment of the frontiers of beauty!" - that was Rao's drawing out the best in the disciples and strictly first encounter with the legendary T Balasaraswati traditional yet inspiringly innovative. (1918-85), Queen of Bharatanatyam. When commercialisation, vulgarisation and selling Karnataka Sangeeta Nritya Academy with the Bharatanatyam through cosmetic dressings gripped Hindustani vocal maestro Gangubai Hanagal as this ancient art, he stood aloof as a referee and an president decided to celebrate the Purandara authority who gave it proper motivation, meaning and Aradhanotsava at Mysore on a grand scale and in a direction. His solid contribution to Nrityaloka serves novel way (1984). But is there anyone to enact the as a watershed for the Bharatanatyam stream. Saint's life and message through the dance medium ------choreographing Purandara-kritis only? Gangubai had Thanjai R Rengarajan wondered. Rao accepted the challenge with humility; worked with assiduous tenacity and forged a new Thappattam artist Thanjai R Rengarajan passed away technique for the show in the simultaneous three tier on May 30, 2017. He played a key role of Shiva in the presentation. Purandara would stand witness to the Arangham production Gajaanana choreographed by unfolding drama, the meaning of the text would be Anita Ratnam and has led many groups thapattam enacted in the second tier, and the spiritual overtones performances all over India. dovetailed to it in the third tier. Gangubai remarked,

THE DANCE INDIA | JUNE 2017 | 63 THE DANCE INDIA | JUNE 2017 | 64 CLASSIFIEDS

KUCHIPUDI KATHAK

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

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

Durga Sanskratik Kala Kendra Teacher: Poonam Saraswat BHARATHANATYAM Durga Colony, Chharra Adda, Surendra Nagar Alighar, Uttar Pradesh Geeta nritya vidyalaya Contact No: + 91-9412596004 Teacher: Girija Nair ‘Gurukul’ 32/2 Powai Chowk behind Shastri Nagar, Saibaba temple Mulund colony Nritya Tapshya Kathak Dance Acdemy West Mumbai – 82, Maharashtra, India Teacher: Chetan Saraiya. MA, Kathak. Contact No: +91-9867234249 Vasai Nallasopara. Kandival. Grand Road Pune, Maharashtra, India Mudra Dance Academy Contact No: +91-9821138190, Teacher: Vrunda Upadhyay +91-8655136981. Regency Estate, Dombivli (E) - 421203, Thane, Maharashtra, India Contact No: + 91-9920021299 Shanmukh Arts D wing, Room No. 3 Ushanagar CHS, Village Road Takshashila Nrityakala Mandir BHANDUP WEST 400 078 Teacher: Kashmira Trivedi 9867114223 A-405, Asawari Co. Op. Hos. Soc. Pokhran Road No-1, Varkat Nagar. [email protected] Thane(W)-400606,Maharastra, India www.facebook.com/ kala srinivasan/ Contact No: +91-9820649671 shanmukha arts

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