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Home , Babu (title), Darshana Jhaveri, Guru Gopinath, Kabuliwala (short story), Kalidas Samman, Kelucharan Mohapatra

P 2 | JULY 2017 P 3 | JULY 2017 P 4 | JULY 2017 P 5 | JULY 2017 P 6 | JULY 2017 Contents Volume 2, Issue 1 | July 2017

Kindled Spirit Letters of Greeting 57 Chetan Saraiya: 03 Jonathan Hollander Nritya-Tapsvi 04 Avinash Pasricha 05 Saroja Vaidhyanathan Cover Story Reports 06 26 Rajashree Oak 58 Bharath Dharshan 33 Sruti Bandopadhay 59 Gostha Aurangabad Editorial Team 35 Darshana Jhaveri 36 Tapati Chowdurie Editor’s Note 39 Manini Mukhopadhyay Literary Musings 41 Dr. Nalinee Madgavkar 60 Review on Reporting Cultural Bulletin 42 Jonathan Hollander and Feature Writing 10 Cultural Bulletin - Add 42 VP Dhananjayan 'News' as a header Beacons of Light 44 Jhelum Paranjape

Rays of Hope 50 Pavitra Krishna Bhat

Torch Bearers 16 Pt Scholarly Corner 62 Traditions of Narratives and Performing Arts

Frozen-in-Time Tributes 53 Kelucharan 64 Dr C Narayana Mohapatra 64 Kalamandalam Leelama

Reviews In Sight 55 Naatya Tarang 66 Sathyabhama

P 7 | JULY 2017 Editorial

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

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

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

D.No. 50-01-50/1, ASR Nagar, Seethammadhara, Dist. Visakhapatnam - 530 013, A.P. and Technical Advise and Graphic Design Follow us on Printed by K. Ram Naidu, Vizag Art Printers, D.No. 30-5-21, Krishna Gardens, Dabagardens, Visakhapatnam - 530 020, A.P. thedanceindiamagazine Editor: Bathina Ranga Vikram Kumar

P 8 | JULY 2017 t has already been a year since the launch of The Dance India Imagazine. The magazine took its form with a dream - a dream to protect, promote and perpetuate various classical, traditional and folk art forms to the next generation. When we heard the delightful conversations that artistes and patrons of art and culture had during the festivals, conferences, workshops across India and several places abroad, it gave us immense joy and satisfaction. On this occasion, we at The Dance India would like to extend our heartfelt gratitude to each and BR Vikram Kumar every well-wisher who has been with us and supported Editor-in-Chief the magazine during the course of last one year. Especially, I want to thank all the readers, scholars, experts, critics, columnists, coordinators, staff, designers and editorial board for their unparalleled support. I request everyone who is a part of the success saga of The Dance India to continue supporting the magazine with renewed spirits as we complete one volume and step into a new one. The Dance India's role as a bridge to hand over our rich cultural heritage to the next generation should continue without ceasing and it is only possible with the support of patrons of art and culture.

When the editorial board was brainstorming about the cover feature in our anniversary issue, the idea that gave us goosebumps was the Indian National Anthem and Gurudev who penned it down. Though he is a universal poet, in my view he is a contemporary Bharat Muni who contributed immensely to the society with his works of literature, music, drama and dance. This month's cover story on the life and works of Rabindranath Tagore who could be compared to a Great Banyan Tree of Indian Art Forms is our tribute on the occasion of his death anniversary that would be observed on August 7th.

Jai Gurudev! Jai Hind!

BR Vikram Kumar Editor’s Note

P 9 | JULY 2017 No departure cards for Indians level mega talent hunt programme) organised at flying abroad from July 1 Goverdhan Block, Mathura District, Uttar Pradesh on June 23. Srikant Sharma, energy minister of Uttar ome July 1, Indians flying abroad will not Pradesh, ministry's senior officials and various have to fill departure cards. According to an renowned artists including Padma, Corder issued by the Union home ministry, "It Akademi and state awardees were present. This has been decided to discontinue the practice of filling mission is part of the 'Ek Bharat Shreshtha Bharat' up of the departure card by Indians at all international programme. The ministry of culture launched it in the airports with effect from July 1, 2017." This is one of year of commemoration of the birth centenary of the steps by the government to ensure hassle-free Pandit Deen Dayal Upadhyay, who hailed from movement of Indians travelling abroad. However, Mathura, according to PIB. those going out of the country via rail, seaport and land immigration check-posts need to fill the Ministry of Tourism embarkation card. The home ministry has said that celebrated '3rd International the information shared by the passengers is available Day of Yoga' in the system from other sources as well. This would reduce the time required to complete immigration- The ministry of tourism celebrated the 3rd related formalities by passengers and would also International Day of Yoga (IDY) through various allow airports to handle a larger number of people, initiatives. A 30-second Radio Spot promoting Yoga according to PIB. was developed and aired on 17 AIR FM stations. A 60-second television commercial promoting India as 'National Mission on Cultural Mapping of India' Launched

Union minister of state (independent charge) for culture & tourism, Dr. Mahesh Sharma, formally launched the implementation of the 'National Mission on Cultural Mapping of India' at a programme 'Sanskritik Pratibha Khoj Samaroh' (block

P 10 | JULY 2017 NEWS a land of yoga has been developed. A month-long TV The top ten states in terms of number of domestic campaign promoting yoga on Doordarshan network tourist visits (in millions), during 2016, were Tamil Nadu was conducted. Campaign promoting yoga on all (343.81), Uttar Pradesh (211.71), Andhra Pradesh social network channels of ministry of tourism was (153.16), (150.49), Karnataka also done. IDY 2017 posters and standees (129.76), Maharashtra (116.52), Telangana (95.16), West developed used by India Tourism international and (74.46), Gujarat (42.25) and Rajasthan (41.5). domestic offices. Foreign Tourist Visits to States/ Also, The International Day of Yoga was highlighted at the India stand at SATTE, Delhi in Feb 2017 and UTs Yogshala Expo held in Delhi in June 2017. During 2016, the number of foreign tourist visits (FTVs) to the states/ UTs was 24.71 million as compared to A group of 53 international guests comprising of tour 23.33 million in 2015 registering a growth of 5.92% operators promoting yoga, journalists and over 2015. The top ten states in terms of number of photographers, yoga and opinion makers from FTVs (in millions) during 2016 were Tamil Nadu (4.72), across the globe were invited by the ministry of Maharashtra (4.67), Uttar Pradesh (3.16), Delhi (2.52), tourism on a familiarisation trip. The group (1.53), Rajasthan (1.51), Kerala (1.04), participated in the main IDY celebrations at Lucknow (1.01), Goa (0.68) and Punjab (0.66), according to PIB. in which the Prime Minister participated. The group also visited various yoga institutions and wellness Ministry of Tourism releases centres in the country in order to have a first-hand 'Compendium on guidelines for knowledge and promote India as a destination for yoga in their own countries, according to PIB. Ayush facilities' Growth registered in both Do- The ministry of tourism has released the 'Compendium on Guidelines for Ayush Facilities' here today. The mestic and Foreign Tourist visits National Medical & Wellness Tourism Board under the during 2016 chairmanship of minister for tourism Dr Mahesh Sharma has been repeatedly stressing on the need for The market research division of ministry of tourism benchmarking of facilities offered by the various compiles data on domestic and foreign tourist visits service providers in the field of medical and wellness to states/union territories (UTs) received from tourism on the basis of globally accepted standards. departments of tourism of various state governments The constant endeavour of the ministry of tourism has and UT administrations. Following are the salient been to promote institutions and processes that have features of the compilation for 2016, according to PIB. achieved such standards in order to provide Domestic Tourist Visits to excellence in service quality. On the demand from the States/ UTs industry and stakeholders including ministry of tourism; the National Accreditation Board for Hospitals During 2016, the number of domestic tourist visits to and Healthcare Providers (NABH) has brought out the states/ UTs was 1,613.55 million as compared to accreditation standards and guidelines for AYUSH 1,431.97 million in 2015, registering a growth of facilities in the country including Wellness Centres and 12.68% over 2015, according to PIB. Panchkarma clinics that are used by tourists, according to PIB.

P 11 | JULY 2017 19.5% Growth in FTAs in May, 2017

*55.3% growth FTAs on E-Tourist visa in May 2017

Ministry of Tourism compiles monthly estimates of Foreign Tourist Arrivals (FTAs) & FTAs on e-Tourist Visa on the basis of Nationality-wise, Port-wise data received from Bureau of Immigration (BOI).

The following are the important highlights regarding FTAs & also FTAs on e-Tourist Visa from tourism during the month of May 2017, according to PIB. A responsible press is needed to hold power to account in our Foreign Tourist Arrivals (FTAs): open society: Vice President The number of FTAs in May 2017 was 6.30 lakh as compared to FTAs of 5.27 lakh in May 2016 and 5.09 Vice President of India, M Hamid Ansari has said that lakh in May 2015. The growth rate in FTAs in May 2017 in an open society like ours, we need a responsible over May 2016 is 19.5% compared to 3.5% in May press to hold power to account. He was addressing 2016 over May 2015. FTAs during the period January- an event to launch the commemorative edition of a May 2017 was 42.15 lakh with a growth of 16.4%, as National Daily, in Bengaluru recently. Governor of compared to the FTAs of 36.22 lakh with a growth of Karnataka, Vajubhai Rudabhai Vala, chief minister of 8.7% in January- May 2016 over January- May 2015, Karnataka, K Siddaramaiah, vice-president of AICC, according to PIB. Rahul Gandhi and other dignitaries were present on the occasion. Foreign Tourist Arrivals (FTAs) The Vice President said that the history of journalism on e-Tourist Visa in India is closely linked to the history of our freedom During the month of May 2017 total of 0.68 lakh tourist struggle. The Press played an important role in arrived on e-Tourist Visa as compared to 0.44 lakh educating, convincing and mobilising our people, he during the month of May 2016 registering a growth of added. 55.3%. During January- May 2017, a total of 6.50 lakh The Vice President said that Jawaharlal Nehru tourist arrived on e-Tourist Visa as compared to 4.35 envisioned a free, unfettered and honest press and he lakh during January-May 2016, registering a growth of watched over the interests of media persons in 49.4%. The percentage shares of top 15 source independent India. The Working Journalists Act, which countries availing e- Tourist Visa facilities during May, tried to give a degree of protection to journalists, to 2017 were as follows: USA (15.1%), UK (13.1%), ensure freedom of the press, was largely his doing, China (8.4%), Germany (4.3%), Australia (4.1%), he added. France (4.0%), Canada (3.9%), Korea (Rep.of) (3.4%), Singapore (2.8%), Malaysia (2.5%), Russian

P 12 | JULY 2017 NEWS

Fed (2.2%), Spain (2.1%), UAE (2.0%), Thailand platforms were vying for garnering the highest rating (1.9%), and South Africa (1.6%). points by dishing out sensational and often unsubstantiated news, All India Radio still continued to The percentage shares of top 15 ports in tourist be the first choice of majority of the population for arrivals on e-Tourist Visa during May 2017 were as authentic news not only within the country but also for follows: New Delhi Airport (45.1%), Airport those Indians abroad who wanted to keep in touch (21.4%), Bengaluru Airport (8.6%), Chennai Airport with the happenings in their motherland. The (7.8%), Kochi Airport (3.6%), Hyderabad Airport Government was committed to the total freedom of (2.8%), Kolkata Airport (2.5%), Dabolim (Goa) Airport press and expression while at the same time (1.9%), Ahmadabad Airport (1.4%), Amritsar Airport disinformation was dangerous. The minister stated (1.2%), Trichy Airport (1.1%), Trivandrum Airport this at the Akashvani Annual Awards ceremony here (1.1%), Jaipur Airport (0.4%), Calicut Airport today. Col. Rathore, MoS I&B, chairman, Prasar (0.4%)and Pune Airport(0.3%), according to PIB. Bharati, secretary I&B and CEO, Prasar Bharati were also present on the occasion. AIR is the first choice for people for authentic news Highlighting the diversity of AIR, Naidu said that, in terms of a number of languages and dialects of o AIR reflects India's diversity; broadcasts broadcast, All India Radio was the world's largest programmes in 23 languages & 179 dialects - public service radio broadcaster. Presently, All India Venkaiah Naidu Radio broadcasts in 23 languages and 179 dialects. All conceivable radio formats like music, plays, o I&B Minister presents Akashvani Annual Awards documentaries, features, interviews, talks, innovative The union minister of information and broadcasting, M programmes, news etc. were used by All India Radio Venkaiah Naidu, said that in this era of cacophony across its entire network comprising of 421 when television channels, newspapers, social media broadcasting centres. AIR, through its external

P 13 | JULY 2017 broadcast in 15 foreign and 12 Indian languages, RBI. The highlights of the estimates of FEEs from served as India's authentic voice to the outside world tourism in India for May 2017 and Jan-May 2017 are and projected India's viewpoint on contemporary as follows: issues in the right perspective in the face of propaganda by forces inimical to country's interest, Foreign Exchange Earnings according to PIB. (FEEs) through tourism (in Rs. Dr Mahesh Sharma Chairs 3rd terms) meeting of National Medical and FEEs during the month of May 2017 were Rs 12,403 Wellness Tourism Board crore as compared to Rs 10,260 crore in May 2016 and Rs 9,505 crore in May 2015. The growth rate in The third meeting of the National Medical and FEEs in rupee terms in May 2017 over May 2016 was Wellness Tourism Board was held today under the 20.9% compared to growth of 7.9% in May 2016 over chairmanship of Dr Mahesh Sharma, minister of state May 2015. FEEs during the period January- May (independent charge) for tourism and culture here 2017 were Rs 74,008 crore with a growth of 19.2%, as recently. The meeting was attended by the secretary, compared to the FEE of Rs 62,072 crore with a ministry of tourism, Rashmi Verma, other senior growth of 14.0% in January- May 2016 over January- government officials and members of the Board May 2015, according to PIB. comprising stakeholders in the travel and hospitality industry and experts in the field of medical and Foreign Exchange Earnings wellness tourism as well as other systems of Indian (FEEs) through tourism (in US medicine. $ terms)

The National Medical and Wellness Tourism Board FEEs in US$ terms during the month of May 2017 was constituted under the chairmanship of the were US$ 1.924 billion as compared to FEEs of US$ minister for tourism in October 2015 to provide a 1.534 billion during the month of May 2016 and US$ dedicated institutional framework to take forward 1.491 billion in May 2015. The growth rate in FEEs in medical tourism and position India as competent and US$ terms in May 2017 over May 2016 was 25.4% credible medical and well tourism destination, compared to a positive growth of 2.9% in May 2016 according to PIB. over May 2015. FEEs during the period January-May Foreign Exchange Earnings (In 2017 were US$ 11.199 billion with a growth of 21.3% as compared to the FEE of US$ 9.231 billion with a Rupee and US $ Terms) through growth of 6.0% in January- May 2016 over January- Tourism in India in May 2017 May 2015.

Ministry of tourism estimates monthly Foreign Estimates of FEEs are based on following factors: Per Exchange Earnings (FEEs) through tourism in India, capita FEEs during April-June 2016= RBI's credit both in rupee and dollar terms, based on the credit figure for travel (April-June 16)/FTAs (April-June 16). data of travel head from balance of payments of the FTAs for May 2017 and an Inflation factor based on CPI (U) for May 2017, according to PIB.

P 14 | JULY 2017 P 15 | JULY 2017 P 16 | JULY 2017 Pandit Birju Maharaj

andit Brij Mohan Nath Mishra popularly known as Pandit Birju Maharaj is an acclaimed dancer, singer, musician, Ppoet and recipient of several coveted awards including honorary doctorates and by Government of " Madhya Pradesh and the , the second highest Dance is a civilian award by the Government of India. silent music and Accompanied by his disciple for more than four decades audience is the Shaswati Sen, Pandit Birju Maharaj, spoke exclusively to The ultimate king. Dance India on how life's journey becomes pleasant if one tries to be humorous. He explains how eye contact plays a major role in After the day long hectic dance which is a silent music. He says that the presence of an schedule and tedious time audience is a criteria for all artists and number hardly matters at office and other places, when the dancer understands the audience. Recollecting one of the audience prefers to his shows in Italy in the past, the Pandit said, "It was raining heavily spend their time in our and because of that the number of audience was low, but those programmes for a change who were there were the real and hardcore art lovers who made it a point to reach the venue despite hurdles - natural calamity." and entertainment and relaxation. To ensure that I Pandit Birju Maharaj was born on February 4, 1937, in Lucknow do not burden or force them (Uttar Pradesh). He was the only baby boy to be born on that day in ‘Defrin’ hospital among all the newly born babies. One of the to leave the place, I chose to elderly neighbours, spontaneously said Brij ke Mohan aaye hain make all my compositions, (which indirectly meant that the only baby boy amongst all the simple, attractive and girls - Kanha took birth) So, his name was recorded as Brij understandable without Mohan Nath Mishra but he was called Birju which finally turned into disturbing or getting Birju Maharaj, a household name. deviated from the original He belongs to the dynasty, which founded the Kathak dance form. format, maintaining the As a dynastical practice, almost all Mishra's especially those who ethical principles of the are directly related to the practice of Kathak made it a point to visit culture, mixed with the the traditional 'Pond of Kathak' i.e. 'Kathakaon ka Taalaab' situated in Kichkila village of Handia tehsil in Allahabad district of Uttar blend of things like Pradesh, at least once in their lifetime. This has been their Abhinaya and Shringar traditional practice. It started from his great great grandmother Ras. It is my style of Sati Devi, who took a holy dip in the pond regularly. practising and presenting Ghungroo and tabla were the point of attraction for Birju right Kathak." from his childhood. Observing this, his parents decided to teach him Kathak and at the age of four, the boy Birju started learning - Pandit Birju Maharaj Kathak from his father Mishra popularly known as Acchan Maharaj and uncles Shambhu and Lacchu Maharaj. He used to move a lot with his father for performances. Birju gave his first performance at the age of 7 years in Nawaabaon Ka Shahar Lucknow and after that there was no looking back.

P 17 | JULY 2017 When he was of nine years old, his father and guru different shapes for different utilities by different Jagannath Mishra passed away. "Pita Hai toh Roti Hai, people, including utilities used by anti-social elements Kapda Hai Aur Makan Hai. Pita Hai toh Maa ka Bindi and tried to convey a message that if asked or given hai, Choodi hai aur Suhag hai. Pita Hai toh duniya ka a chance, the iron would definitely express its wish to haar khilone apne hai. Aur Agar Pita nahin toh Kuch be a temple bell. He also composed many dance Bhi Nahin Hai," was the feeling felt then. dramas 'Gobhardhan Leela', 'Maakhan Chori', Maalti- Madhav', 'Kumar Sambhav', Phag Bahar' etc. Among At the age of 13 years, he became a guru. From at the the Nava-Rasas, he feels Shringaar Ras is the best age of 14 years, he started working at Sangeet Bharat one in performing arts. Vidyalaya in Delhi for a salary of Rs 150 per month. At this point of time, some people thought the boy had As a matured artist, he understands the mental state become money minded, but Birju took it as a of the audience. He knows that after a day-long hectic challenge. schedule, people would just want to relax and rejuvenate themselves. One of the specialities of Birju Later, realising that he would not Maharaj was the usage of three get a chance to do new sounds 'Dha Thee Dha' (taal or compositions if he continues laya) portraying the entire life of a with Sangeet Bharat Vidyalaya, human being - childhood, youth Birju moved to Bharatiya Kala and old age. Such experiment not Mandir with a self-satisfaction only tasted proven success and that now he could become a became a point of inspiration for director. At the institute, he made other artists in various fields, but great dance ballets. also made him a trendsetter. "A Initially, Birju Maharaj used to dancer who has an adequate commute in city buses (route knowledge of singing and playing bus no 5, 9 and 10). Having felt musical instruments would that most of his time is being definitely enrich his art," opined wasted in commuting, he went Birju Maharaj adding, "meditation to the market near Jama Masjid and yoga are also important for a in Delhi and inquired about the dancer. Kathak dance form 'Robin Hood' labeled bicycle, especially needs a lot of breath control, strength and stamina." which is believed would be the Maharaj and Saswati Sen Mughal fastest driven bicycle. Finally, he purchased one for him and made his own mode of Documentation transport for commuting. He peddled his bicycle for two years. Pandit Birju Maharaj's teachings starting from the Doordarshan like 'Ghungroo Pooja', have been Birju Maharaj has made many compositions, mostly documented in video format consisting of three on all historic stories in Hindi, Urdu and others. He volumes and the cultural secretary, Union ministry of also used the lyrics and musical compositions culture, inaugurated the same recently. () of Tyagaraja, Rabindranath Tagore, Jaydev and other works by prolific personalities. The choices With a dream to train the students in the field of Kathak of topics were from common things around us and and other associated disciplines like vocal and the source was Shaastra, rather it is the gateway or instrumental music, yoga, dramatics, stagecraft, the Shaastra Gate. On the guidelines of one of the Kathak maestro had started 'Kalashram'. The popular poems by eminent poet Makhan Lal classrooms, practice halls and amphitheatre of Chaturvedi's "Push ki Abhilash", the octogenarian Kalashram reflect a shade of rural setup in the urban developed items like 'Loha' and 'Samachar Darpan'. In lifestyle. The natural atmosphere inside the ashram Loha, iron is the raw material that gets molded into brings people close to the rich heritage of the country.

P 18 | JULY 2017 Pandit Birju Maharaj

Pics: Paul Spurgeon Nicodemus

The objective of the institute is to produce highly The octogenarian is not only a leading exponent but also talented students who would not only prove a torchbearer of the Kalka-Bindadin Gharana of worthy of the training they receive but also live as Lucknow. modest, humble and disciplined people. But to complete his dreams, the octogenarian, in Awards and Achievements: anticipation of support from the government, wishes to build a Kathak museum at his native Pandit Birju Maharaj is a recipient of several honours and place and preserve all the belongings of his awards which include Padma Vibhushan in 1986, Sangeet ancestors. "This is for the purpose of Natak Akademi Award, Soviet Land Nehru Award, the documentation and reference of the future Kalidas Samman and Bharat Muni Samman. Apart from generations," said Birju Maharaj. this, he has received Puraskaar in 2002, National Film Award for best choreography for Pt. Birju Maharaj has directed, composed music Vishwaroopam (2012), Filmfare award for best and sung for two classical dance sequences in choreography in Bajirao Mastani (2016). the film 'Shatranj Ke Khiladi' (The Chess Players). He directed and composed a music piece for the film 'Dil To Paagal Hai', as a jugalbandi. performed the dance on this piece in Kathak style with a contemporary touch. In the film 'Gadar', he choreographed a group dance based on the song 'Aan Milo Sajana'. He was also the male lead singer for the song 'Kahe Chhed Mohe' in the film Devdas. This dance represented a true portrayal of bhaav as performed by Madhuri Dixit in the classical style. He also choreographed Kathak dance sequences in the films 'Dedh Ishqiya' 'Umrao Jaan' and 'Bajirao Mastani' directed by Sanjay Leela Bansali. Needless to say, he had left no field of performing arts Birju Maharaj and Madhuri Dixit untouched.

P 19 | JULY 2017 KING OF KATHAK an elephant's memory. My first interaction with him was when he came to give away the winner's trophy TURNS A YEAR OLDER (Takdeer ki Topi) on my hit dance reality show 'Dance India Dance' on which I was the jury along with Text: Sandip Soparrkar is a director Farah Khan. And the other time was when I well-known ballroom dancer and went to Delhi and visited him at his dance class, where a Bollywood choreographer he introduced me to his super talented family. who has been honoured with National Achievement and I still recollect, during the shooting of the dance show, National Excellence Award by Maharaj Ji was sitting beside me and giving takes the Government of India. He can after takes for long hours without any starry tantrums. be contacted on Once slowly he whispered in my ears 'Can I get [email protected] something to eat, I am diabetic and I think my sugar is getting low.' That is the time hell broke loose on the ust a few months back almost the entire dance set and almost everyone came forward to offer him community was celebrating the birthday of the variety chocolates, candies, sweets, mithais and legendary Kathak Maestro Padma Vibhushan J more. The humble person that he is, said, 'Sandip Birju Maharaj. Especially Kathak lovers were all give me 2 pieces of your glucose biscuit that is all I making frantic calls, sending emails and gifts to wish need.' This is how I will always remember the maestro, their favourite Kathak dancer and Guru all the best on extremely humble, soft-spoken and down to earth. his 79th birthday. Thinking of the memorable movements we had spent He is a living legend, but humility could well be Pandit together, I called him to wish him for his birthday and Birju Maharaj's middle name. I have met Maharaj Ji to talk to him in general. Here are a few things that we only on two occasions but, I must admit that he has spoke:

P 20 | JULY 2017 Pandit Birju Maharaj

clothes are there but I do not fit into them anymore' he said and laughed like a young boy. The best gift you received this birthday?

Some of my close friends came home to meet me. , chairman of , Pandit Rajan Sajan Misra, came and we all sang, it was like a Mehfil. Everyone danced and sang non- stop, with students dancing, friends singing what more can I ask for. That is the best gift ever I feel. Let us talk about Bollywood, who is your favourite dancer?

Madhuri Dixit is indeed my favourite, it is a pleasure to How did you spend your work with her. She has attended my workshops too. birthday? She has no ego hassles and even after a dance I was in Lucknow at my ancestral place, where sequence is okayed, she asks for suggestions. I get people had organised a heartwarming show for me, many offers to choreograph for films but turn most of where students performed on my compositions. I them down. I taught a few Kathak felt completely overwhelmed, what better way can it steps for his film Vishwaroopam. He is a very eager be that everyone was celebrating my birthday learner and I enjoyed teaching him. dancing. Maine Deepika Padukone ko Bhajirao Mastani mein What did you do in Lucknow? Teek Tak nachwa diya (I made Deepika dance ok in Bajirao Mastani) and got filmfare award for it too, I am Our house has been turned into a sort of museum. I happy. took out time and saw all my clothes of my childhood. I also saw Angarkhas and other outfits of How would you rate today's my Guru's and family members. 'Some of my actresses? Just the other day, I was watching Katrina Kaif on television. Uss ko naachna nahi, hilna bolte hai (it is not called dancing, it is called shaking). But it is not her fault at all. What is given to her she does that with sincerity, I can't really blame her for the dance and the moves. There was a time when , , and Meena Kumari danced, that was mesmerising. I liked too, she never looked vulgar while doing all those cabaret songs. Before I choreograph a song I ask the director, 'heroine kapde pehnegi na?' (Will the heroine wear clothes?), this is because I can't Renu Sharma, Vijayshree Chowdhary, Saswati imagine a song choreographed by me being Sen, Birju Maharaj and Sandip Sorparkar presented in a vulgar way.

P 21 | JULY 2017 Your advice to his dance style. Vijayshree Ji too filmmakers of a wished him for his birthday in a new generation? true Shishya (disciple) manner.

All I can request today's She said, 'With the deepest directors is that, please go respect, I wish my guru a very ahead and put commercially happy birthday, Maharaj Ji has successful songs with exciting been a resounding inspiration in moves in the film, put all the my life, he not only taught me the item songs and lovemaking intricacies and nuances of dance song but, please put one song but also shared a deep promoting Bharatiya Sanskriti understanding of the essence of and Sabyahta (Indian culture life. He shared with me the and tradition) even if the song is wisdom of how dance influences of a short duration it should be human life, our emotions, our fine, but do promote our roots. decisions, our energies, how one can establish a connection with After my talk with Maharaji, I nature in order to learn its divine spoke to his senior-most lessons and how nature ultimately disciple, the very graceful and elegant Saswati Sen Ji teaches us everything, you need to absorb about or Saswati didi like she is popularly called by all dance and life. All that I know about Kathak and the dancers. I asked her about how she felt about her importance of dance in our lives has come through Guru turning a year older, to which she replied right him. His dedication to the preservation and growth of from her heart. 'Till date, I have never come across a this classical art form is an inspiration to one and all. person who so is a maestro, a real genius of art in a With deepest gratitude and respect, Charan Sparsh (I true sense. Maharaj Ji is a dancer, singer, composer, touch your feet) is all I can say.' poet, writer, musician, painter, percussionist and above all an inspiration to the millions world over. He Every dancer I spoke to was brimming with joy has touched my life and made me who I am today, congratulating the legend and wishing him a life filled each time I am with him, either dancing or just being with dance, happiness, and good health. The love that around when he is creating a new composition, I the dance community has for Maharaj Ji is rare to see, thank the Lord for truly blessing me with a guru and a he is one fine gentleman who is loved by one and all. mentor like him. I wish him a life filled with art, may he I am trained in ballroom and Latin American dances, always keep blessing us with his presence and never but I remember one thing he told me. He said 'Sandip, ending knowledge.' dancer Indian style ka ho ya international western ka, I happened to mention about my talk with Pt. Birju a dancer is a dancer. Why differentiate between them? Maharaj and Saswati Ji to one of Maharaj ji's A dancer means, one who is dedicated, who offers foremost students. My dearest friend, the gorgeous his life to God (dance), that's a complete dancer.' Vijayshree Choudhary, who is also the Hirkani Today with my article I would like to wish the King of Awardee and has learnt Kathak under the guidance of Kathak, an abundance of Love and a journey filled Maharaj Ji for many years. Talking to her made me with dance and music, may he spread the joy of his realise the love, his students have for him is art in the life of each and every artiste. everlasting. She told me details of how he would teach them, and how all the students were in awe of him and

P 22 | JULY 2017 Pandit Birju Maharaj

A Short Memoir of Pandit Birju Maharaj

Text: Natalia Hildner, American student of Pt Birju Maharaj

It is in the white light of truth and red light of emotion that I write about one of the legendary performing artists. My lessons as a shishya have surmounted to a realisation that truth remains meaningless without emotion and emotion is in vain if it is not for the sake Therefore, as a student, I can say that from the first of truth. Thus, if I had to explain what Maharaj ji footwork I ever witnessed him dance, to the first ti-hai represents in one phrase, it would be with something I I ever learned at his Kalashram Academy, to the first heard say in a moment of emotion once, 'Khudrat-ki- words of Hindi I ever spoke to him, to the first smiles I Meherbaani' or a gift of nature. shared with his grandchildren, to the first paran or As the wonder of nature lies in its power to infinitely bhav he encouraged me to perform, to the first meal create and recreate itself, Maharaj Ji has been he had in my home, to the last time I bowed to offer constantly composing landscapes of rhythm, him a Pranaam - today and always, this person will movement, song, and poetry. As nature can only be live as a symbol in his fans' and his students' complete onto itself, likewise, his approach to art reflections as a constant call to duty: to honour the expresses an internal aesthetic logic connecting legacy we have inherited. Be this art or tradition, if culture, spirituality and humanity. This is especially called by any other name, remains our way of sharing needed in a world that is becoming increasingly and understanding that which matters most in life. mechanised, commercial, impersonal and ready- made. On the contrary, Maharaj Ji makes an effort to connect his work to those around him. Born at the perfect time in Indian history, at the perfect place in the artistic heart of Lucknow and with the several personal qualities to imbibe such a family legacy, Pt Birju Maharaj Ji has done much to advance the art form of Kathak. I have often thought that even if colonialism took the Kohinoor away from India, no one would ever be able to take away India's true cultural richness which is embodied by such artists as Maharaj Ji. Pt. Birju Maharaj and Natalia

P 23 | JULY 2017 P 24 | JULY 2017 Pandit Birju Maharaj Sun in the Solar System Text: Moli Siddharth Das, Kathak Exponent, Mumbai

Maharaj to me is like the sun in the solar system - life sustaining and empowering. I have had other famous gurus guiding me in the world of Kathak, but Maharaj's thought process, the way he sees the world of rhythm, melody and abhinaya is what attracts me to him. The simplicity and sheer brilliance with which he creates new compositions of tihais and tukdas and then explains them to the newer generation of today is a joy to watch. His concept of amalgamating Kathak with things in our day-to-day life has carved a new path in the hearts of art lovers. A Great Teacher Text: Kiran Bhargava, Maharaj's senior student and acclaimed actress in Indian Television

Maharaj is a great dancer, singer, musician, poet, painter and what not? But above all, I feel he is a great teacher. No teacher could have had such passion and being a great man who earned a lot of pride for our country he is so down to earth that he does not even know what he is - he is the rarest jewel.

A Story Teller Par Excellence

Text: Paullumi Mukheerjee, a student of Ramadevi Lacchu Maharaj

Birju Maharaj - two words: Simplicity and humility both on and off stage. Beyond the technique, the precision, the detailing, the choreography, the myriad of lights, sounds, props and stage - beyond all of this and more the ability to tell stories - pithy, varied and laced with humour, with a flick of the wrist, a Nazar and a tilt of the neck - he is a storyteller par excellence - the distillation of the nuanced characters as they come alive on stage. He is a 'sevak' of the masses. He regales with every interaction, reenergises and reaffirms our love for Kathak.

P 25 | JULY 2017 P 26 | JULY 2017 P 27 | JULY 2017 “ n this world, there are many types of pioneers and great workers but there are a few whom one might I call real messengers with a divine purpose to accomplish on earth. To me, he was such a one. He was a torch bearer who showed the path of true Indian Life.”- Mulk Raj Anand

Chosen are those artists who can dive unfathomable into one and all forms of art. Guru Rabindranath Tagore was the chosen one. This article tries to get an insight into this Great Banyan Tree called “Guru Rabindranath”, from the roots to spreading up into branches and giving shelter to many art forms now and for centuries to come. The Great Early Life: Banyan Tree ‘Jivansmriti’ and ‘My of Indian Art Boyhood Days’ are the forms: two autobiographies for Gurudev throwing light on Guru his early days and the Rabindranath aspects that contributed to Tagore this towering personality. On May 7, 1861, Tagore Text: was born in a family which was one of the most gifted Rajashree Oak is an in Bengal, making significant contributions in the emerging name in the realms of religious thought, philosophy, literature, field of classical dance, music and painting. Being the son of a wealthy not only as a Kathak landlord, he was brought up in the lap of luxury, but exponent but also as an Rabindranath never lost his touch with humanity. He avid researcher and remained indifferent to his wealth, leading a life that blogger in dance. She is the disciple of Dr Manjiri Deo and writes on various aspects of dance through various platforms. email: [email protected]

Rabindranath Tagore and with their first child Bela, 1886

P 28 | JULY 2017 Gurudev Rabindranath Tagore

considers it as his turning point of life. He learnt a lot about their lives and their pain which was incarnated in the form of his several short stories, the stories that have hue and fragrance of Bengal soil. His famous short stories are , Kshidhita Pashan, Atithi.

Valmiki Pratibha, Chandalika, Dak Ghar and many other dramas were penned by him that depicted the paradox of freedom and necessity. He touched every genre with modernity. His novel stands on the ground of reality breaking the conventions of Gurudev Rabindranath Tagore with family Novel romance. was austere, controlled and governed by a stern sense of duty. He was well versed in the classics, in Bengali and English literature, and in continental European literature, mainly through English translations. However, he knew French, as well as German. Because Debendranath wanted his son to become a barrister, Tagore enrolled at a public school in Brighton, East Sussex, England in 1878 He stayed for several months there, however, returned to India degree-less as well as restless with the resolution to reconcile European novelty with Indian tradition. This learning experience abroad made him universal in his Rabindranath Tagore with his granddaughter ways and understanding while remaining an Indian. and grandnephew in , West Tagore used to say that his sensibilities were shaped Bengal on April 10, 1934 by ‘three revolutionary movements’, movements by Roy that opened up the mind to new He brought such an era of modernism in literature that ideas, the one by Bankim Chandra Chatterjee who the next new generation of writers looked upon aroused the literature from her age-long sleep and the themselves as ‘Post-Tagore’ writers. Tagore National spirit itself. experimented for the liberation of poetry from metrical Gurudev: The Torchbearer of discipline, but he faced a good deal of criticism for Bengal Renaissance having made it easy for all. Geetanjali, his renowned collection of poems and its translation in English by There is hardly any genre of literature left untouched himself, gave him an international fame and by Gurudev, be it poetry, short story, novel or drama. furthermore won the Nobel Prize in 1913. He was the Even in poetry, he has enriched all types including first non-European to get this reward. couplets, stanzas, short poems and last but not the Gurudev used to say, “I have given to the world of least, lyric poems. He has succeeded in every phase literature what I thought was worthwhile without trying of literature he has touched. His essays are to supply what is in demand.” illuminating, his sarcasm biting, his satires piercing. He used Bengali, not the archaic one of the elites but the Rabindranath is also the only author who has colloquial language. authored the national anthems of two countries, India and . He got to know the villagers when he was assigned the task of supervising the estate of his family; he

P 29 | JULY 2017 Painting and Sculpture

1861-1941 Poet, He took to painting late in Philosopher, Musician, life and yet achieved Writer, Educator, Nobel accolade in this new form Laureate ". Tagore of art. Towards the end of the 20th century, he revealed himself as a painter. He said: “My pictures are my versification in lines.” Rabindranath was a prolific composer and has Tagore and Dance: Rabindra composed more than 2,000 songs. His songs are Nritya Natya known as Rabindra Sangeet. These songs merge “Let your life lightly dance on the edges of time. Like fluidly in his other genres like novels or plays. dew on the tip of a leaf”. -Gurudev Rabindranath Rabindra Sangeet is influenced by style and is the term given to the three gives much emphasis on emotions. The lyrics of his dance-dramas composed by him: Chitrangada, songs are profound, while the tunes to which he set Chandalika and Shyama. The principal characteristic them are soulful. His music is an interesting blend of of these works is that the story is told entirely through Indian and Western traditions. dance and song. Other Nritya Natyas composed by Being the lyricist and musician both, his Rabindra him include Kalmrigaya, Valmiki Pratibha, Prakritir Sangeet embodies a heart-stirring fusion of his Protosodh, Mayar Khela, Tasher , Biday musicianship and poetic genius. He endeavours to Abhshap. Eventually, he went on to create a dance blend some known to create unforeseen form which would suit his nritya natyas. He used shades of melodies. One such blend of Rag Todi and various dance styles to suit the subject matter and the Bharavi is seen in his song ‘Rajani-r Shesh Tara’. characters. This dance style which was a blend of Apart from traditional ragas, he aesthetically mingled leading classical styles is today known as Rabindra the ragas of , tunes, Nritya. The dance forms used by him have mainly keertans and to create his unique version adapted versions of , Manipuri and called Rabindra Sangeet. and sometimes are also mixed with the folk- dance elements. Rabindranath had seen Manipuri dances even as early as in 1919 and became a great admirer of them. He used the Manipuri style as the basis for his dance plays. Rabindranath Tagore’s invention of an entirely new dance style liberated dance from the formulaic choreography and narratives of classical Indian dance.

For him, life itself was a work of art. He used to say: “Art illumines daily life and when it is divorced from life, it is like a soulless shell.” He advocated naturalistic rather than stylised expression, with the only purpose Bhanusingher Padavali, Dance Drama of creating an aesthetic experience of human emotions.

P 30 | JULY 2017 Gurudev Rabindranath Tagore

environment’. Rabindranath had revolutionary education concepts for the students embittered by the conventional mechanical system of education. The school further developed into Vishva Bharati. Here, the institution was modelled on the ancient forest hermitages and it retained the Gurukul system but at the same time blended the education ideas of west and east. Students receive holistic education in the environment of Indian art and culture. Gurudev with students Thus, he has used a unique blend of sophistication and exquisiteness of classical dance styles as well as the spontaneity of folk dance styles efficiently in his dance-dramas. In three dance-dramas we find two distinct classifications of characters – aristocratic and the ordinary. These, in turn, were portrayed through the classical and the folk, respectively. For example, the characters of Arjuna, Chitrangada, Madana, Vajrasena, Shyama, Prahari, Uttiya and the companions are rendered in classical styles, whereas the foresters and village folk perform in folk styles. In Chandalika the characters of Prakriti, mother and Shantiniketan Today Ananda use sophisticated and stylised Natya while the Shantiniketan was in many ways a pioneering step in others resort to lokanritya or folk dances which too education and rural reconstruction. Shantiniketan is are presented with a lot of variety. Even he has used really the modern incarnation of the ancient dance with weapons prevalent in northeast regions. Tapobhumi. This style, Rabindra Nritya, can be considered as the Socio-Political life of Gurudev: first ‘modern dance’ of India. However, it did not gain Gurudev Rabindranath’s art life found its meaning and acceptance in field till late. fulfilment in his efforts of social reforms in the later Rabindra Nritya is further performed in “Bhanusingher part of his life. He was not only an artist but also a Padavali” which is one of earliest poetry collections of thinker who impacted social and political thought Gurudev. This Padavali portrays the journey of love, trends in his time. separation and union of Krishna and Radha. Shantiniketan: Shantiniketan is a small village in West Bengal which was once owned by (Father of Gurudev) who found an ashram there with the same name.

Here Rabindranath Tagore started Patha Bhavana, the school of his ideals, whose central idea was ‘learning in the lap of nature’ and ‘learning in the holistic cultural Rabindranath Tagore and Albert Einstein

P 31 | JULY 2017 One of his last verses translated by himself sums up his concluding days: “The bell tolls the last hour at Your porch, And my heart responds to the creaking of the opening gates of farewell. In this deepening gloom of twilight, I will gather what flickering flames Mahatma Gandhi and Rabindranath Tagore remain to light my consciousness…”

In the first two decades of the twentieth century, Striving for humanity till his last breath, Gurudev Tagore travelled to thirty odd countries, where he breathed his last on August 7, 1941. spoke on such themes as ‘East and West’ and the “I slept and dreamt that life was a joy idea of an international university. The independence I awoke and saw that life was service. I acted and movement was also a major event that influenced his behold, service was joy” work and he was well associated with the movement Gurudev literally lived by his words. As a great as well as . His song Banyan tree, he encompassed all the art forms, ‘Naganandini abhinaya’, that was sung at the twenty- enriching them with his modern thought and is still sixth session of the Congress in Kolkata (1911) and giving shelter to all the artists in search of a new wave was later to become the national anthem of India. In in their art. 1919, the Jallianwala massacre took place at Amritsar, and Rabindranath wrote a historic letter on May 30 to Gurudev’s famous verse from is worth the Viceroy, Lord Chelmsford, in which he renounced quoting here, to sum up. Although penned in the his knighthood in protest against the inhuman cruelty context of Independence of our country, today it of the British Government to the people of Punjab. applies aptly to the situation of all the Indian classical dance forms: Tagore and Gandhi: “Where the mind is without fear and the head is held high Gurudev and Gandhiji, the two stalwarts of Indian Where knowledge is free socio-political scenario had a special bonding in spite Where the world has not been broken up into of their ideological differences. fragments In March of 1915, Rabindranath met Gandhi for the By narrow domestic walls first time at Shantiniketan. It was the beginning of a Where words come out from the depth of truth friendship based on more than mutual admiration. Both had differences on many political, social and Where tireless striving stretches its arms towards economic issues. Gandhiji pressed on boycotting the perfection English educational institutions in India, however, Where the clear stream of reason has not lost its way Gurudev was keen to apply western ideas into Indian Into the dreary desert sand of dead habit education system. Nonetheless, they cordially Where the mind is led forward by thee accepted their differences. Gandhiji used to call Into ever-widening thought and action Tagore ‘the great sentinel’, while Tagore addressed him as ‘Mahatma’. Into that heaven of freedom, my Father, let my country awake”

P 32 | JULY 2017 Gurudev Rabindranath Tagore

Tagore’s idea of ‘nationalism transcending the geographical boundaries’ and his philosophy of emancipation of soul is professed in his concept of dance, now recognised as Rabindranritya in line with Rabindrasangeet. Tagore as a dramatist discarded the colonial stage and its auxiliary; instead, he embraced nature as his space for creativity in Santiniketan. His introduction of yearlong festivals in Santiniketan pivoted around consciousness of humanity and environment, where poetry, songs and dances had vital roles to play.

Tagore’s Concept Delving deep into the sphere of Rabindranritya, we can analyse the of Dance – two aspects in terms of national identity - the content and the form - both fitting in perfectly with contemporary global issues visualised Rabindra Nritya through the universal language of the movement art. Text: Sruti Bandopadhay Several themes surfaced with addressing the most current problems Pics Courtesy: Sangit like communal riots in (1926), equality of rights in Bhavana, Visva Bharati, Shishutirtha (1931), value of the inner beauty and humanity in Santiniketan Shapmochan (1931), liberation of soul from the bondage of mechanism in Tasher Desh (1932), dedicated to the great nation Pics : Naveen Pandit leader, , equality of women in Chitrangada Sruti Bandopadhay (1933), community and cast concern in Chandalika (1934) and not to professor in Manipuri Dance, forget to hail the cause of environment in his nature songs. Sangit Bhavan, Visva Bharati, Santiniketan. She was trained Like Shakespeare and Goethe in the West, Tagore’s works have under popular personalities like become an inheritance befitting the contemporary for ages together. Guru Bipin Singh, Kalavati Drama-directors, film directors, choreographers are attracted to give Devi, Darshana Jhaveri, Ojha visual rendition to his narratives that appeal equally in all eras. Singh, Ojha Gourakisor Sharma, Prof. Jiten Singh and While putting these themes for dance presentation, Tagore borrowed has performed in various freely from the prevailing dance forms in India, both traditional and folk. national and international Manipuri dance, with its expression of bhakti and subdued eloquence, festivals for the last 30 years. attracted the poet for its subtlety, humility and dedication to the almighty She is a recognised artist of through an aesthetic endeavour. He introduced this dance in Visva Sangeet Natak Akademi, Bharati. The history of dance practice in Visva Bharati was initiated and Indian Council for Cultural thereafter we find dances like Garba, Mandira, Baul, , Relations, Eastern Zonal Kathakali, Bharatnatyam, Mohiniattam, flowing in as tributaries in the Cultural Center and other mainstream of dance practice of Santiniketan. In many of his cultural institutions in India. assimilation, movements from other countries were blended in like Kandi from , Judo from Japan, Ballet from Russia, Modern dance from Germany and much more, the uniting base being initially his songs and later his dance dramas. The primary objective was to give visualisation to his lyrics.

P 33 | JULY 2017 The ancient text on dramaturgy in our country, the Kolkata, Bulbul Choudhury, Lubna Marium and Natyashastra had laid down the principles of Natya countless artists in Bangladesh and finally all the (drama) of national tradition. The four kinds of Bengali settlements in the different parts of the world abhinaya — angika, vacika, aharya, satvika — were practice this dance as a cultural heritage. explored in Shantiniketan from a fresh viewpoint. The history of the experiments and building up of the Tagore’s concepts of dance and drama presentations productions underline the methodology of his dance trail this model as an alternative modernity to the then idea strongly backed by his aesthetic principles — the prevalent colonial perception. product demonstrating a universal perception that has captivated the audience for years. The dance experiments celebrating his 150th birth anniversary, even more, depict its remarkable recognition. With the introduction of Honours in Rabindranritya at the undergraduate level as also post graduation on Rabindranritya at , Visva Bharati, his dance concept is getting the desired academic recognition. This becomes another identity of Tagore’s ideology of inclusiveness in all aspect — the key to unity in diversity is the basis of his concept of Interestingly Rabindranritya gradually crystallised, a dance, especially the uniting of the west and the east distinct pedagogy developed with its roots in Visva — an idea contrary to the concept of “east is east and Bharati spreading its branches out from national to west is west” by author Rudyard Kipling. global arena. Personalities like Shantidev Ghosh, Kelu Nair, Haridas Nair, Madhav Mukhopadhyay, K Concluding this brief deliberation, I would argue that Jitendra Singh in Santiniketan, Balakrishna Menon, Asit the elements of Tagore’s dance idiom contributed to Chatterjee, Sadhan Guha, Santi Bose, Alokananda the creation of a transnational and transcultural identity Roy, Purnima Ghosh and their successor dancers in of a universal dance form yet spontaneously put into lineage a nationalist tradition of .

P 34 | JULY 2017 Gurudev Rabindranath Tagore

An aesthetic saint, Gurudev Rabindranath Tagore, was impressed by the grace and lyricism of Manipuri dance when he first witnessed Manipuri Rasleela in in 1920. Since then he would invite Gurus of Manipuri dance to Shantiniketan to teach and utilise Manipuri in his dance dramas for his female characters.

Due to Gurudev, all the art forms were brought to a higher pedestal during the ’40s when Manipuri Guru Bipin Singh and we four Jhaveri sisters started presenting dance dramas in Bombay on an amateur level. Gujarati boys and girls from Bombay used to visit Shantiniketan to learn Manipuri and Kathakali dance styles and after coming to Bombay they would participate in dance dramas that we used to present.

In 1961, during the centenary year of Gurudev, we as Manipuri dancers presented his full-length Bhanusingher Padavali which has lyrics inspired by Vaishnav Padavalis. He had written this at the age of sixteen under the pen name of Bhanu Singh, based on the divine love of Lord Krishna and Radha, very suitable to Manipuri dance style. Guru Bipin Singh composed in pure Manipuri with the then Gurudev Vaitalik group of singers in Bombay.

Rabindranath Later, during the ’70s, we presented his ‘Chitrangada’, which has a Tagore and story of Princess of Manipur, purely in Manipuri dance style in Manipur Dance Kolkata. Both these dance dramas have beautiful lyrics and tunes Text: which we never get tired of singing, listening or performing. They Awardee Darshana are beauty with permanent value. Kolkata Doordarshan has recorded these and occasionally telecasts them. Jhaveri, Manipuri

Exponent, Mumbai Gurudev has influenced Jhaveri family also. My sister late Ranjana Jhaveri and her husband Late Bhaskar Lakhani had a keen interest in Tagore’s artistic endeavours like paintings, writings, poems, music. They used to arrange an annual programme of Rabindra Sangeet in the month of August taking different themes each time in collaboration with ‘Nabashruti’ of Dr Nalini Madgavkar in Bombay since 2005 for 10 years. They wanted to popularise Gurudev’s great works among non-Bengali people by printing the songs with translations in Hindi along with detailed commentary in Hindi during the programme.

I feel extremely fortunate to have been very much part of these programmes. I still cherish the pleasant memories of my visits to Shantiniketan, Jorasankho and my association with Gurudev’s works.

P 35 | JULY 2017 Rabindranath Tagore once said, “In art, one reveals himself and not his objects”. Studying his plays helps us understand the beauty and intellect of the man who wrote these words.

Tagore’s plays cover a whole gamut of human thought and experience. To write about all his plays would be a near impossibility and time-consuming. I, therefore, seize the opportunity of writing about a few representative plays and what the poet tried to convey through them.

When he was hardly twenty he penned the drama “Valmiki Pratibha” or ‘The Genius of Valmiki’ about the poet Valmiki who penned the great epic . The story is about the bandit who reformed and is blessed by the Goddess of learning-Saraswati. At this early stage of his life, he explored dramatic styles and emotions as well as experimented with various genres of music.

Among the finest Tagorean dramas are Visarjan, , The Lost Jewels, Post Office, Dak Ghar, Naukadubi, Rakta Karabi and the King Breaking of the Dark Chambers. Barriers: A Study of Known for his aesthetic sense, he adopted the story of Chitrangada from the Mahabharata and penned a play of eternal value. In the play, Tagore’s he has defined Chitra’s strong and powerful personality and therein Dance Dramas lays the greatness of the playwright. Chitra’s character development Text: is as appealing and relevant today as it was when penned. Chitra-the Tapati Chowdurie, daughter of the Manipur king Chitravahana, reveals her true self in the Cultural Critic, following lines: Kolkata “I am Chitra. No goddess to be worshipped, nor yet the object of common pity to be brushed aside like a moth with indifference. If you deign to keep me by your side in the path of danger and daring, if you allow me to share the great duties of your life, then you will know my true self. If your child, whom I am nurturing in my womb, be born a son, I shall myself teach him to be the second Arjuna and send him to you when the time comes, and then, at last, you will truly know me. Today I can only offer you Chitra, the daughter of a king” and to this Arjuna says “My Life is Full”.

In his open-ended play, the “Lost Jewels” Tagore has indeed stepped into the post-modern style of writing, which allows the reader to interpret the story to his or her desire. When Bhushan is asked his wife’s name, he says ‘Nitya Kali’, signifying endless time. She is the epitome of Shakti, who possesses both the qualities of motherliness and destructiveness.

P 36 | JULY 2017 Gurudev Rabindranath Tagore

In the play “Post Master”, Tagore has touched a distant chord in readers. However, much of the Post Master may be rationalised as that if you live in this world pain is inevitable. He has broken the heart of Ratan, who experiences pain which is universal.

Tagore’s works stressed path-breaking ideas with the his Raktakarabi used modern technology to fulfil his flow of his beautiful prose and lyrics inter-weaving the desire of reaching Yakshapuri to steal its wealth. The eternal human feelings and emotions with a statement greed of Ravana in Treta Yuga is akin to the greed of not ever made in the past. This was completely the king in Raktakarabi of Kali Yuga, who is building a unknown to Bangla dramas of the past. tunnel to steal wealth and forces his subjects to mine. Tagore felt that the problems of the past and the Tagore’s aim was to write “the play of feeling and not present are the same. All problems are eternal by of action.” nature. The heroine Nandini of Raktakarabi ushers in a revolution and stops the common people from In 1890 he wrote Visarjan, based on a historical mining and destroys subjugation. episode that happened in the kingdom of Tripura, during the time of Gobinda Manikya’s rule in 17th In the play “King of the Dark Chambers” or , the century. The play is centred on religious orthodoxy relationship between Sudarshana, the Queen, and the and progressive liberalism, with the victory of the King is symbolic. Perhaps Tagore meant the latter over the former. relationship to be a symbol of a man and the Divine. It is, in fact, a romantic bond that gradually develops. Tagore’s learning and a fine mind led him to write The King of the title is unseen by his subjects. Some dramas that were philosophical and allegorical. doubt his existence, while the maidservant Surangama is loyal to him and worships him. She has no need to In his drama Dakghar, he described vividly the see him. The subjects have no need for proof of the yearnings of a child to leave the confines of his stuffy King’s existence; they believe him to be real and great room. The playwright subtly and surely suggested because they sense his presence. The play describes awakening to “spiritual freedom”. the journey of self-discovery and spiritual awakening of Sudarshana, the queen through trials and His drama Chandalika taken from a Buddhist legend tribulations. The proud and immature Queen speaks vociferously against the social evil of Sudarshana takes her husband to be cruel because untouchability. she can only meet him in a room that is kept forever dark. She desperately aches to see and know him, Among his most famous dramas is Raktakarabi. and out of that yearning falls in love with another king, Tagore drew a parallel between his king in Raktakarabi whom she meets in the world outside and mistakes and Ravana of Ramayana. Ravana fulfilled his desires him for her husband. It is only when she has been with the help of the powerful devas, while the king of

P 37 | JULY 2017 humbled through a series of mistakes to complete stars into itself, and incarnated itself in a form of flesh despair that she is able to shed her pride and and blood. reconcile with her real husband. Only when Sudarshana is brought down to the level of the Sudarshana wonders if she is so beautiful. Her heart servant can she become the Enlightened Queen. In an swells with gladness and pride. But she is still in expression of perfect paradox, it is through her doubt. The King says her own mirror would fail to decision to serve her husband, that she becomes reflect her. Her limits make her look small and powerful and beautiful. According to some insignificant. But “if mirrored in my own mind, how perspectives, a woman’s granted submission to grand would you appear! In my own heart you are no serve her husband empowers him to step into the longer the daily individual which you think you are— light with her, serve her, and lead himself, his family, you are verily my second self”, said the king. work, and community with wisdom, strength and magnanimity. She says, “Your love lives in me—you Tagore makes the reader delve into their minds to see are mirrored in that love and you see your face if that which is beyond all comparison is within us. reflected in me: nothing of this is mine, it is all yours, O What should be done to feel and see is that which Lord!” The king then opens the doors of his dark arises in our mind? Should one look for someone to room and says, “The game is finished here! Come, mirror us or peer into ourselves with eyes wide open with me now, come into the light!” and see it reflected within ourselves? Perhaps the answer is not “either/or” but both. Those qualities, Additionally, the play reveals a subtle, powerful insight which are “beyond divine comparison” already, exist between the act of seeing and not seeing. Perhaps the within us. To find and achieve that wholeness, one invisible and unseen qualities of the King are a must search for and recognise that which is great and powerful manifestation of his divinity. divine within ourselves and acknowledge our need for The King says, he has witnessed darkness of the others to mirror it back to us. One might also infinite heavens, whirled into life and being by the conclude that in recognising our dependence on power of his love and has drawn the light of myriad others to mirror us, how does one understand the enormity of power it confers upon the other individual.

Songs of Tagore -Aamaar Sakal raser dhaaraa large

P 38 | JULY 2017 Gurudev Rabindranath Tagore

The true essence of Tagore’s song is liberation, freedom; the true essence of Tagore’s song is happiness. This happiness does not merely mean the happiness that we get from our day-to-day lives. This is the happiness of fulfilment; this is the happiness that cannot be expressed through words.

We know that Tagore had been brought up in a family where music used to be instrumental in itself; the family that gave him the taste of Hindustani classical music, the joy of western music and the concept of Brahma-sangeet i.e. Brahmasomaj, though he never restricted himself in either formal education or formal music training. Throughout his life, he expressed his grudge against formal stereotypical training.

Tagore was all in himself — singer, composer and the creator. He possessed an analytical mind for both Indian as well as European music. Apart from this if we can make ourselves aware of his thought regarding the importance of music in the lives of human beings, our minds can be free from narrowness and it can be modern. To him music was not a luxury for the external life; he perceived music as a Rabindra devotee from a meditative perspective. Regarding this, he once Sangeet commented, “During childhood due to my individuality I did not learn Text: Manini music, but my destiny made me taste that and quench my thirst. At Mukhopadhyay, that time there was no end of music practice in our household. Assistant Professor, Bishnu Chakrobarty was the master of music; he was deft in Sangeet Bhavan, Visva Hindustani music. There can be no comparison between those who Bharati were very much sceptic about the ragas and me, hence, in spite of having a slight knowledge of the tunes, I could never bound myself in its formal training.”

It is not difficult for us to understand that Tagore had a profound knowledge of Hindustani classical music, though in his songs the ragas are never of the prime importance, yet they are not even ignored. It can be said through the ragas he reached such a limit where Rabindra Sangeet achieved an independent place of its own, glowing with its own light, a rare and unique creation that none could do prior to him. In his creation, we do not find the richness of ragas, the rigid structure, the singer’s freedom, the stereotype grammatical rules; then what does it have? Tagore’s song has the weight of words, the interplay of tunes, depth of thought and the inseparable bonding of tune and words. Here music blends with poetry. Tagore had stated, “The blending of music and words has been my principle aim.”

P 39 | JULY 2017 own creation. And Talking of music he has also said, “We have two types in spite of this of foods - one of our need and the other having no rigid structure, need at all”- one is food and the other one is ‘amrita’. Tagore somehow Our thirst for this ‘amrita’ makes us join the divine managed to make powers. Music is one of the many dimensions of this it simple that ‘amrita’. easily attracts the heart of the Tagore’s songs have been nourished by the soil of his people. The own Bengal. The essential artistic sense and perfect blending realisation of the poet have made his creation unique. of Dhrupad and Tagore’s songs have attended its greatest height folk tune is through the folk music of Bengal. During the initial another marked years, the poet was not exposed to the folk culture. feature of He first got the chance to explore the true essence of Rabindra his roots, its culture during his visit to the countryside Sangeet. of East Bengal as a zamindar. He always strived for a In Rabindra Sangeet, we get to see the union of the free human spirit rather than a blind adherence to almighty, human being and the nature for which at one’s culture and tradition. In spite of having profound times in one single song the distinctions between the knowledge of the ragas, he did not follow them two parjay - Puja and Prakriti - gets blurred. The blindly; instead broke free all its rigidity, and only he offerings of God are presented through the feeling of had the right to do so. love. The beauty of nature also finds its own place in Tagore’s songs. According to him, nature has invited Rabindra Sangeet has such a unique blending of us repeatedly to be a part of this greater union. The words and tune, poetry and music, a sense of one, who fails to acknowledge this invitation, is an calmness and serenity in itself that its influence and incomplete individual. Tagore’s ashram, Santiniketan is place in the Indian music cannot be overlooked. the place where this union takes place. During the time of the establishment of this ashram, Tagore stated Another marked feature of Rabindra Sangeet is that clearly “In this centre of education that we have Tagore has used the structure of Dhrupad music in his proposed to establish, music and fine arts will be given equally prestigious position.” He was actually the Pathfinder. That is why after the establishment of Visva Bharati he said that here all the world would meet into a single nest. Influences of various forms and cultures of different parts of the world can be traced in his songs. Tagore’s songs always welcome the infinite. Hence, in his words “our music is the voice of unity - the voice of the individual but not of a corner, rather it is universally the same.”

Rabindra Sangeet is the music of unity, the voice of the individual. Rabindranath Tagore with Pt. Bhim Rao Shastri

P 40 | JULY 2017 Gurudev Rabindranath Tagore

Rabindranath Tagore – the legendary poet, novelist, storywriter, musical and dance drama writer, essayist, educationalist, recipient of Nobel Prize, philosopher and musician, wrote and composed around 2,500 songs. The beauty of his songs lies in their lyrical quality, an exquisite blend of words, emotions and tunes. He was a creative genius, whose versatility lied in any form of art. Rabindra Sangeet is a form of music by itself. It is a blend of Indian classical, , traditional folk tunes and western tunes. His songs are a balance of words, tunes, joys, and sorrows - in short – a divine combination of poetry, feelings and music. Rabindra His songs are divided into five broad categories - Puja or devotional songs, Prem or romantic songs, Prakruti or seasonal songs, Swadesh Sangeet: or patriotic songs and Bichitra or miscellaneous songs.

A Kaleidoscope His creativity was as deep and vast as the ocean. Rabindra Sangeet of Musical Styles evokes a kaleidoscope of musical styles and expressions. Tagore breathed music. It was a part of his being. He took the best from and Expressions different styles of music. Text: Dr Nalinee He composed numerous songs describing the beauty of various , Mumbai Madgavkar seasons of nature and mind. The simplicity of songs appealed to the universal spirit of man. When Tagore was only 16 years, he wrote, some songs by the pen name of ‘Bhanusingh’. The deep influence of the Vaishnav poets is evident and is written in Brajbhasha.

Tagore composed a few new talas, not found in Hindustani classical music - like ‘Jhampak’ (five matras or beats, ‘Shasthi’ (six matras or beats), ‘Rupakada’ (eight matras or beats) and ‘’ (eleven matras or beats) etc.

Rabindra Sangeet has been translated into many languages. Rabindranath visited England for the first time when he was only 17 years old. After his return, he took a keen interest in western music and incorporated some of the western tunes into Rabindra Sangeet.

There is a saying in Bengali - “Gangajale Ganga Puja”, which means to worship the river Ganga with the waters of the Ganga itself. I am doing the same.

P 41 | JULY 2017 In 1994, I found myself sitting at the home of Dr Saibal Gupta in Kolkata with my dancers from New York. We were on a tour with tabla player, Badal Roy, India’s first musician to collaborate with Miles Davis and Ornette Coleman, masters of American jazz. After dinner, Dr Gupta’s daughter Madhulika offered to sing for us. One of my dancers burst into tears at the beauty and purity of the music. When I inquired as to who composed the songs, I was informed that Rabindranath Tagore The Impact of composed the lyrics and melodies. I had known of Tagore in his other the Work of avatars — poet, novelist, playwright, educator, freedom fighter, even painter — but never knew that he had composed thousands of songs, Rabindranath more than Brahms, Schubert and the other Western classical Tagore composers. It was then that I landed on the notion of choreographing Text: Jonathan Songs of Tagore, a production that ended up being performed in New Hollander, York, Dallas and other American cities; in Budapest, across Poland, and President & Artistic Director on a monumental 17-city tour of India and Sri Lanka in 1997. I never | Founder & Choreographer, ceased to be moved when I heard Sanghamitra and Samir Chatterjee Battery Dance Company in launch into one of the nine songs that formed the basis for my dances New York City on Summer, Monsoon, Love and the Spirit. It was fate that had brought the Chatterjees to New York in 1995, just as I was ready to begin work on the production – and fate that their passion for Tagore had caused them to leave clothing behind and pack their suitcases full to the brim of Rabindra Sangeet notations. Nearly 100 reviews have been written about my Songs of Tagore but the most important response received was from who said that Tagore’s spirit was there that evening during our performance at Darpana in Ahmedabad.

Gurudev Rabindranath Tagore is an icon of the country Bharat and served as an inspiration to all Bhaarateeyas. Suppressed under the foreign rule, he initiated the movement for the resurrection of Bhaarateeya Samskaar (culture) and Kala (arts) which caught up with the entire nation, inspiring like-minded people to resurrect our arts and culture. His Viswabhaarati at Santiniketan is a monumental institution with art integrated education. He specifically emphasised on character An Icon of moulding being the main purpose of education, and not money making. He said, “Education without character is a body without Bhaarateeya head.” Gurudev was, is and will be the beacon light for the cultural Samskaar ethos of Aarsha Bhaaratam for generations to come. He is like our Text: Naatyaachaarya ancient Rishis (sages) who promulgated the Sanaathana Dharma for V.P.Dhananjayan, the welfare of the humanity at large. His immortal creations of Bharatanatyam Exponent, literature, poems and dramas will continue to remain like Ramayana Chennai and Mahabhaarata. Jai Gurudev!!!

P 42 | JULY 2017 P 43 | JULY 2017 P 44 | JULY 2017 Jhelum Paranjape

ance was part of her life from birth because could not find an teacher in Mumbai. It was in her mother was a dancer too. But then initially 1977, sometime after her post graduation, she found Dshe did not take up classical dance and teacher Shankar Behera. He was teaching Odissi and enjoyed folk dance. Her mother tried and gave up, as it was very new to Mumbai. She learnt from him for a was not her intention to force her ambition on her year and a half. Looking at her expertise and ability, he daughter. But then she had a tryst with destiny in early asked her to go and learn from his Guru as he felt that 70's when she saw Guru he would limit her growth. teaching Odissi at Kala Vikash Kendra in Cuttack. She immediately thought that this is something that she Before taking classes from teacher Behera, for a wants to do in life. Jhelum Paranjape came a long way period of 6-7 years she was on a hunt to find an Odissi since then and became one of teacher. It never occurred to her the finest exponents of Odissi in that she should go to Maharashtra. Her fervent effort because she never thought that to bring dance education to she would make dance as a both lower and upper strata of profession. It was supposed to the society with her dance be a hobby and her major school Smitalay and her bold interest was Mathematics. But experimentations to bring things started to change once Odissi dance into the masses in she met teacher Behera. He Maharashtra stand as hallmarks asked her to learn from Guru of her artistic career. Kelucharan Mohapatra and it was in 1980 that she first met Her mother loved classical and spoke to Guru Kelucharan. dance and studied it for a while, After that, there was no but she could not continue it. So stopping. Once she started she wanted her daughter to learning Odissi from the Guru, learn dance. When Jhelum was she found her purpose and young her mother put her in Mathematics became Bharatanatyam, but she did not secondary and dance primary. enjoy it. She was put in Kathak, she did not enjoy that too. She Jhelum with Guru Kelucharan Mohapatra She focused all her energies on was part of a folk dance group in a social organisation learning Odissi and started her solo career, but during Kalapathak and travelled a lot performing folk dances her very first big tour in North America in 1988, she at various places in India. In one of the tours, while she suffered from a slipped disk and had to cancel five was in her 10th standard, she had seen Guru shows that were scheduled. By then she did not know Kelucharan Mahapatra teaching Odissi at Kala Vikash whether she would be able to dance again or not? She Kendra in Cuttack. It was then she decided to learn was completely bedridden for a month. Odissi. During the period of her bed rest, she began to think if She got back to Mumbai and finished her schooling she couldn't dance professionally what would she do? and tried to look for an Odissi teacher. She finished her Her doctor has suggested her to go back to graduation and then her post graduation but still, she mathematics. But by them, dance had already become

P 45 | JULY 2017 her life. Though she started teaching her friends' Krishna. Her doctor asked her not to take painkillers as children, her main focus was her solo career in dance. he wanted to monitor her status and even sat in the After the incident, she told her herself that even if she audience. During her rehearsals, she had pain while cannot dance she should at least teach dance as it can holding Radha in a particular posture. Doctor Pandya be done even with a bad back. If she could dance was keen to see her go back to dancing, but at the again that would be a welcome development and even same time, he was cautious. The show happened in if she cannot she would still be January 1990 and before that, pursuing her passion. That was she did not perform for a period when she decided to start a of one and half years. After that school in the memory of her performance, she was back in friend who passed away. the game and regularly followed the prescribed exercises. Her close friend died "Anybody could overcome in 1986 and she had a slipped challenges if they are disk in 1988. Jhelum and Smita passionately in love. I am had been close childhood passionately in love with dance friends and had begun to learn in general and Odissi in Odissi together. Smita soon particular. When any kind of shifted to films, while she music plays, my body starts to concentrated and flourished in move," she says. Odissi. When she was training in Odissi with Shankar Behera, She got married in 1979; it was a Smita was an active partner. In love marriage and did not fact, both of them have been hamper her dancing career. His friends from Class 3 as both parents were religious, spiritual their parents were part of the and traditional and Jhelum's social organisation Rashtra parents had no gods in the Seva Dal. Smita was her friend house, no prayers and imbibed and mentor and it was through socialist thinking. It was a total her that Jhelum was introduced transformation for her. Though to Guru Kelucharan Mohapatra. her in-laws did not understand So Smitalay was formed in what she was doing, they 1989. Her initial idea was that it allowed her to be herself. "My would be a home of Smita mother-in-law said you look where her friend's memory would be cherished. It has after my son, my grandchild and the house well and been 27 years and over the years Smitalay has you are fine with us, do what you want to do. When she become Smita+Tala+Laya. It is a dance school where was around, I did whatever she liked and when she everybody is always happy. was not around I did what I liked," she says. Her husband was fond of classical music and gave her a It took her six months to dance again after her slip disc push. "I was lucky", she adds. and her first role after the recovery was in Guru Kelucharan Mohapatra's dance-ballet, Geet Govind as

P 46 | JULY 2017 Jhelum Paranjape

According to her, every dance form, not just Odissi, has two roles. Firstly, it conveys our culture to the upcoming generation and what we did over the years. Secondly, it is to generate happiness. She strongly believes that any kind of art - be it dance, music, painting etc. generates happiness. It is not just the younger generation, but even some of the older people in the country do not know what classical music or dance is because everywhere, irrespective of the state that you are in, the film industry is are very strong. Especially in Maharashtra, Bollywood is so strong that classical arts are sidelined.

As Odissi was not the popular dance in Maharashtra, she found it difficult to find students interested in learning the art form initially. People told her that they know Bharatanatyam and Kathak, but hadn't heard of Odissi? Later, they caught up well.

"Initially I had a lot of other style dancers coming to me to learn Odissi and I would ask them to first inform their teacher. I have no problem if my students went to other teachers to learn a different dance form. My students went out to learn other dance forms and came back. At the same time, I heard Bharatanatyam and Kathak dancers say that they found Odissi to be difficult," she says. Kathak dancers like standing position but were not comfortable with the sitting position in Odissi; Bharatanatyam dancers would go in one direction and bend in the same direction, but in Odissi, the dancer moves in one direction and the torso moves in a different direction. Still, they would come and learn Odissi from her not to perform but to gain knowledge. It was only in the initial days that she found it challenging, but later on, things went smooth. Now she even has several male Odissi dancers who got trained under her. Another interesting and commendable achievement of Jhelum was her ability to teach Odissi to both the upper and lower strata of the society.

Recalling her learning days, she said, "Whenever I think of my first teacher Behera, I get Goosebumps. He is

P 47 | JULY 2017 Jhelum was heavily criticised for trying to popularise Odissi dance in Maharashtra. "I am still heavily criticised for that," she says. She chose Marathi literature, the Marathi kind of music to appeal to the audience and set Odissi dance to it. "That way Odissi became very popular in Maharashtra but I am still criticised by the purists," she says. Once she did an experiment titled Bollywood Hungama in Odissi style for a festival. In her house, while she was growing up, music was common irrespective of the genre - be it Indian classical, western classical or old film songs. She had knowledge about different kinds of music. The experiment was in two parts; in the first part she took 40's music from Hindi films and set pure traditional Odissi to it with Sanchari Bhavas. The second part was all fun with songs from Hindi films of later years. "Frankly speaking, I was torn apart by my friends and colleagues. When I started it initially, my husband asked me if I was crazy? He was a lover of film music as well as classical music, but when he saw the presentation he said he was sorry and took back his words," she says.

such a sweet man. Earlier in life, something happened During the inaugural of Smitalay, Guru Kelucharan was between Guru Kelucharan and him and they stopped the chief guest and there was a 12-minute Marathi song talking to each other. Yet, Master Behera asked me to showing the Rasa Krida of Radha, Krishna and Gopis. go and learn from the Guru. I did not know this at that The audience was full of Marathi people and that was time." When the time for her Manchapravesh arrived, the item they could well relate to, as they could she wanted teacher Behera to assist her on Manjira. understand what was being performed. After that the Though both Guru Kelucharan and teacher Behera Guru did not have a word with her and immediately got were initially uneasy, things eventually resolved when into the workshop that was scheduled. For the next Guru Kelucharan allowed Behera and even Behera who three days, she would finish all her chores and run to was apprehensive agreed on the insistence of Jhelum. the workshop before it began and he wouldn't utter a "I told both of them if you want me to dance I want both word to her. She loved him like anything and used to of you to come together. Otherwise I am okay just by wait for the old man to say something. By then, the learning," she reveals. That was how two important Guru's wife had already told her that she did a great people in her life patched up. She did her job. On the third day, she went early in the morning to Manchapravesh in 1983. the place where he was staying and sat there while he was busy shaving. Looking at her plight, Guru's wife Since 1980 until his death in 2004, she has been training told him that the poor girl has been after him like a with the doyen of Odissi dance, Padma Vibhushan Chetek bird and asked him to say something to her. "If awardee Guru Kelucharan Mohapatra. She has been you want to shout at her please do it." After shaving, he an active performer since 1983. told her that initially he was a little troubled with the

P 48 | JULY 2017 Jhelum Paranjape music - the music was not Odissi and it was hard on the solo dance. She has a keen interest in recreating him. He took three days to think about it and said, "If the traditional Odissi repertoire in a group format. She this child is making my Odissi popular in a different is also involved in a number of projects of state, why should it hurt me?" He hugged her and told choreography for various performing art forms. She her to go ahead. The Shastra was intact, only the music has done group Odissi performances and lecture and literature were different. Purists say that Odissi demonstrations for various dance circles and should have only Sanskrit and , but she institutions like 'Spicmacay', all over India and abroad. believes that traditional roots would always remain and Earlier, she was part of various dance ballet dance evolves. productions of Guru Kelucharan Mohapatra, notable being the role of Krishna in 's Geet Govind. According to Jhelum, she is totally against self-paying She is an A grade artist of Doordarshan and was and performing. "I might say that I am not as famous empanelled by the ICCR. as I could have been. Initially, in my career, I received several invitations to perform both in India and abroad "I am very happy with the work that I am but they wanted a donation of a certain amount, which I doing," she concludes. am against," she says. She was never interested in platforms where she had to pay for herself. "There are plenty of festivals happening all over India which do not pay and I do not perform. If one has spent so much money, time and energy for learning, costumes, music and everything, why can't he/she go out and earn, when a doctor or an engineer can do it?" she questions. She feels that it is one of the reasons why dance has remained in the upper strata of the society and she started Smitalay to break the barriers and chose to swim against the tide.

Apart from dance, she loves swimming, reading and sketching. She also enjoyed hiking but says that her knees don't support her now to go up and down the mountains. She says that she doesn't look her age because she does not talk her age. She is passionate about life.

She has done numerous solo dance recitals, in conferences hosted by notable organisations and companies. Her current professional interests go beyond

P 49 | JULY 2017 P 50 | JULY 2017 Pavitra Bhat

e is an extremely vibrant and graceful Later, with the permission of his Guru, he had the performer - it is a treat to watch him live on privilege to work with Guru Anitha Guha as a lead Hstage. Pavitra Krishna Bhat, a young character in her major production 'Nritya Natakams' Bharatanatyam dancer is one of the most illustrious which further helped him to groom himself as an artiste. disciples of the celebrated Bharatanatyam exponent "I worked with Guru Anitha in her productions as a lead Guru Deepak Mazumdar. He also worked with Acharya character to gain knowledge and enhance my skills," he Choodamani Anitha Guha in her productions. He is not says. just a performer, but a choreographer and teacher who He says that his family was the most important source also learnt the art of conducting Nattuvangam. When of strength. His mother Lalitha Krishna Bhat, who learnt life threw him challenges he overcame and stood Carnatic music, father Krishna Kanakkur Bhat, an victorious. Simply put, he is an inspiration for many engineer and his brother are the most important youngsters. His first solo dance production 'Shri people who helped him pursue his love for dance. Ranga - The Reclining Lord' which he choreographed is scheduled to premiere in July at Mumbai. He believes that Bharatanatyam has been one of the leading dance art Pavitra Krishna Bhat forms in any part of was born on India and it has a very February 15, 1983 at big impact on the Puttur in Karnataka. cultural scenario. "I Right from his personally see that childhood, he always Bharatanatyam is one had certain madness of the most popular towards dancing - and most talked any kind of dance. about classical dance When he was 5 years styles," he says. of age, looking at his interest towards He gets his inspiration dance, his parents from all the great enrolled him in a Bharatanatyam hobby class at his dance performers who have done so much in the field school. They enrolled him at Kalanjali School of Arts of dance and also from the younger generation of under teacher Kumari Vasantha. It was here he got his dancers who are working hard with a great spirit to initial training in Bharatanatyam. come up as a full-time artiste. In the year 2002, he first met Guru Deepak Mazumdar Though nothing comes close to his passion towards at a dance competition, when the latter appeared as a dance, he loves watching tennis and Formula 1. judge in a show. After the performance in the Keeping a track of their activities has been his hobby. competition, Guru Deepak gave him his suggestions When asked about his daily routine he says, "It is scary and told him that he has the ability to reach greater and sometimes it is weird too." heights with proper training. When Pavitra started looking for advanced training in Bharatanatyam, with He wakes up at 6 am and goes to his studio for his the consent of his parents, he approached Guru daily practice by 7. Online classes start from 10 am Deepak and became his disciple. "He was gracious and at noon he does some administration work. enough to accept me as his disciple," he says. His Sometimes he even has some private classes to teach. passion and love for dance were recognised by the He follows it up with lunch and a power nap. In the Guru who played a major role in shaping his career evenings they have group lessons from 4 pm to 9 pm. and made him a complete artiste. After 9, either he is working on the choreographies with his dancers or rehearses if a performance is lined up. Teacher Vasantha initiated the basic training but it was Of course, in spite of his busy schedule, he never Guru Deepak who completely moulded him from head misses out on taking time out to talk to his Amma and to toe, transforming him into a better artiste. He Appa. It is his daily routine when he is in Mumbai and nurtured and made him understand the art form of not performing. He says that he works hard to the best Bharatanatyam and kept the interest growing as a of his abilities and leaves the rest for the audience to dancer. decide. P 51 | JULY 2017 When asked about his most challenging moment in life, Indonesia and other out of many challenging instances he reflected upon places. He was two such events that made him a stronger person both fortunate to perform physically and mentally. Firstly, a complete recovery along with his Guru from a femur bone fracture during a car accident in for productions like 2005 where he had a rod inserted into his thigh for 2 Purandara Krishna, years. Secondly, back in May 2016 he again met with a Guru Shishya, road accident where he had fractured at 5 places on Abhangavani and his face. He underwent a major surgery on his face, but Natyaveda. He has with God's grace, he recovered and got back on choreographed stage. Getting back to dance was the major challenge dance ballets that he overcame with determination. Krishna Leela The best moment of Pavitra's life was every time that Tarangini, Radhe he felt satisfied after the dance recital. Radhe Govindha and Krishnam He appreciates everything which is experimented and Vande Jagatgurum. feels that performing fusion is not at all a wrong thing to He was also trained do. "It doesn't affect the purity of the dance tradition, in the art of but at the same time one has to remember not to conducting forget the roots," he says. Nattuvangam and Talking about taking dance as a profession he says that has been blessed to an artist could have a good and interesting career if he/ conduct Nattuvangam for his Guru Deepak Mazumdar. she works like a workaholic and remains focused. Teaching has always been a passion for him since his He has done shows for charity and fundraisers and childhood and as he grew up, it has become his profession even experimented on some dance performances too with the support and encouragement of his Guru Deepak involving social issues. Discussing the role of an artiste Mazumdar. Pavitra established a Bharatanatyam Institute in the society he says, "As an artiste, it helps us to named P.A.V.I. (Pavitra Art Visual Institute) in Mumbai. spread the message to common people in a better He aspires to explore the globe to attain a deeper knowledge way because dance is a visual art form." He has been of dance. He recently received 'Kala Ratna Award' for his teaching some kids free of cost as seva - the ones contribution as a young artist in the field of dance at the 40th who cannot afford but are interested in dancing and Cleveland Tyagaraja Festival 2017 in the USA. performing. He feels that the dance festivals motivate and keep the hope alive to become a successful artiste. They help the artiste in knowing the expectations of the audience. It also helps the artiste to grow and understand himself or herself. These festivals even provide an opportunity for aspiring youngsters to experience better dance performances. Pavitra completed his B.COM, BPA and MPA (dance). He is a gold medalist in dance from Mumbai University and a recipient of many awards. He has conducted Bharatanatyam workshops in NCPA, Surat, Mumbai, Guwahati and Aliraajpur (MP), Pittsburg,

P 52 | JULY 2017 his is my favourite picture of Kali Babu taken years ago. Whenever he performed in Delhi, I used to go with loads of film and would end up using all of them. I just loved his total Tinvolvement in his abhinaya and postures. None of the female dancers could come up to his level. While this is clicked in the middle of a graceful movement, I just love the moment captured.

P 53 | JULY 2017 Naatya Tarang A Classical Treat

- Carnatic Vocal Concert, Kuchipudi and Odissi performances garnered appreciation from the audience Text: RMK Sharma, Pics: V. Srinivas

ndian classical music touched every soul and dance left its signature in every heart. 'Naatya Tarang', a monthly music and dance festival organised by Nataraj Music and Dance Academy under the supervision of its founder Ipresident Bathina Ranga Vikram Kumar, has once again proved to be a grand success at the Kalabharati

P 54 | JULY 2017 NEWS

Auditorium on June 18. 'Thillana' in Ragamalika The festival was and Tala Aadi. Her established to provide a students Tejasri, platform and encourage Bhagyasri, Sujana, upcoming artistes to Suchita and Sanjana acquire international showcased the standards. Kuchipudi item with wonderful expressions In the evening, disciples and elegance. of Dr Dwaram VGK Tyagaraj - Manjari, Jyothi Reddy and Sukarnam, Lakshmi Tharishya, a Kuchipudi Soujanya, Sravya Kalaga duo, from Delhi won and Aravindhan began accolades for their the festival with their Kuchipudi rendition of Carnatic vocal concert. Jathiswaras under the The concert began with a musical guidance of Dr Tillana which was written and sung by Dr Mangalampalli EVR. Atrayee Dutta from Bala Muralikrishna in Brundavani and Aadi Tala. Kolkata presented a 13-minute piece - Mian Malhar. The rendition of melodious numbers sung by Sangeet It was composed and choreographed by Guru Samrat Mangalampalli in raga Mohana Kalyani and Poushali Mukherjee. Her presentation concluded Revathi received appreciation from the gathered with an Odissi piece titled 'Moksha' by Guru audience. Kelucharan Mohapatra. R Sriramulu Naidu, regional director of AP Tourism, lauded the efforts of both KV Lakshmi, a popular Kuchipudi artiste, principal of artistes and organisers for putting up a wonderful NMDA who has been known for creating beautiful show. At the end of the day, the festival proved to Kuchipudi dance dramas, made her students present be a classical treat for the patrons of art.

P 55 | JULY 2017 Chetan Saraiya: Nritya-Tapsvi Text: RMK Sharma

orn on January 21, 1972, Chetan Venilal Saraiya is a dancer, performer, choreographer Band teacher. He is a classical professional with a masters degree in Kathak (gold medalist) from Bharat College of Fine Arts, Kalidas University Nagpur. He began his basic training in Kathak dance from Nrutya Kiran Institute under the guidance of Guru Ashalata Parker. In the next 10 years, Chetan added several other degrees like Nrutya - Alankaar - Kathak (2004) from Akhil Bhartiya Gandharv Mahavidyalay, Miraj and continued advance and master training in Kathak dance from Archana Nrutyalaya, Mumbai under Guru Asha Joglekar for more than a decade.

He does not want to stop with his present achievements and wishes to attain finer perfection and international level dance festivals and competitions like accuracy in his work. He utilised every opportunity that Tantrinaad: Nrityaninaad, Nrutyamalika, Jayadev came his way and Sammelan , Natraj Nritya Mahotsav, West attended as many as Bengal, Shrishti Festival on the occasion of World twelve workshops Dance Day in Bengaluru, Natyanjali 2015, Natyotsav conducted by various and Nataraja Aradhanai, Natya Sandhy organised by experts including India World Cultural Forum, Gurgaon, Bharat Ek Khoj Padma Vibhushan and others. Pandit Birju Maharaj, Gurus Puru and Vibha He bagged several awards which include Naatya Dadheech, Dr Manjari Lohita, Naatya Kumara, Nritya Mayooram, Nritya Dev, Shama Bhate Bibhushan, Naatya Praveen, Yogeshwari Nrutya Ratna, and others. Tarang Padam and Yuva Mahotsav twice by Sharda Chetan continued his Sangeet Vidyalaya and Gandharva Mahavidyalaya. learning process and Apart from these, he received silver medals in Akhil performances Bhartiya Sanskrutik Sangh, solo competitions, Thailand simultaneously. He and Singapore. He even got the first prize in a trio performed at several classical competition in Akhil Bharatiya Sanskrutik national and Sangh, Pune.

P 56 | JULY 2017 P 57 | JULY 2017 A Soulful Bharatanatyam Workshop

rityayatra Kala Academy and Fan Foundation & Performing Arts Center organised the one- Nday Bharatnatyam, workshop by Kashmira Trivedi from Thane. She is a senior disciple of Guru Deepak Mazumdar. The workshop was held on June 12, 2017 at Aurangabad, Maharashtra. She taught 'Ganapati Stuti' which Deepak Mazumdar choreographed. The stuti started with the 12 names of Ganapati, which has been taken from 'Narad Sutram'. 40 students participated in the workshop.

In the evening of the same day, Nrityayatra Kala Academy performed 'Antar-Dhwani' composed and choreographed by Ajay Shendge and his disciples. Shendge is the director of Nrityayatra Kala Academy. A lecture demonstration by BR Vikram Kumar, editor-in- chief of The Dance India Magazine, during the cultural symposium gave participants an insight into the world of art and culture. He also announced Ajay Shendge as the coordinator of The Dance India Magazine in Aurangabad.

P 58 | JULY 2017 NEWS

A Celebration of Institutions that participated in the event were Takshashila Nrityakala Mandir led by Kashmira Trivedi, Indian Dance Nritya Tapasya Kathak Dance Academy led by Chetan Text: Kala Srinivasan, Mumbai Saraia, Souparnika Dance Academy led by Guru Vijayashree Pillai, Shanmukha Arts led by Kala Srinivasan, Andaal Fine Arts led by Guru Madhuri andit Jawaharlal Nehru Auditorium, Pune Pratap, Nrutyangan led by Guru Pallavi Mhaiskar, witnessed an interesting festival on June 10 Kalanand Nrithya Sanstha led by Guru Bhavana Lele, Pand 11, 2017. "Bharat Darshan National Articulate Dance Studio disciple Shri Laxminarayan Jena, Festival" organised by Jai Hind Parivar in association Angik Dance Academy led by Guru Sarmishta with Guru Kashmira Trivedi created a platform for Chattopadhyay, Nritya Sadhna led by Rakhi Chikte Patil, various classical styles of dance namely Ajay Shendge & Group and Gayatri Bhat & Group. Bharatayanatam, Kathak and Odissi. A special Lavani performance to highlight the beauty of Special guests who enhanced the charm of the event Marathi folk dance was exhibited by Dr Bharat Jetwani. were Guru Deepak Mazumdar, Guru Shama Bahte and All the teachers/gurus were appreciated and ably BR Vikram Kumar, editor-in-chief, The Dance India. honoured with a memento and a certificate. To sum it Guru Kashmira Trivedi was honoured with the up, it was a wonderful initiative by Jai Hind Parivar to prestigious Nrutha Ratna Rashtriya Puraskar for her bring together so many artists under their banner and dedicated contribution to art and culture. promote budding performers of the country.

P 59 | JULY 2017 REVIEW ON REPORTING AND FEATURE WRITING The Book One Prof P. Bobby Vardhan MUST READ! Text: Svitlana Bezhcotnikova, Dean of Philology and Mass Communication Faculty, Mariupol State University, Mariupol, Ukraine Dr. Suman Kumar Kasturi

n the age of information revolution media occupies an important place in the global world and have a Igreat impact on all spheres of life. The process of culture mediatisation leads to the appearance of such concepts as "media reality", "media generation", "media impact". The development of communication technologies and social media made information more available and as a result less valued. Herewith Quality Journalism still remains a reference point in the huge flows of information. The reason is that traditional media highlight the most socially significant events and must dedicate to the promotion of universally shared human values and international understanding.

The book "Reporting and Feature Writing: How to Write Svitlana Bezhcotnikova | to be Read?" authored by Dr Suman Kumar Kasturi The interesting and informative textbook shows that and professor Bobby Vardhan, is an up-to-date journalism in India develops in line with world edition. It gives clear and qualified answers to communication trends and absorbs the best questions very important for every journalist - how to innovations of the world information market. make a newspaper trendy and necessary, to keep to Challenges of the modern world remind professional high professional standards, become interesting for journalists of the necessity to keep to objectivity and the readers. Authors emphasise the importance of ethics in all the forms of journalism. Following Stephen quality journalism; describe its definitions, J A Ward (2004), the authors stresses that objectivity is characteristic features and peculiarities of functioning. an essential norm for responsible journalistic communication in the public interest and propose their

P 60 | JULY 2017 Book Review

own definition of journalism as "an art and science of reporting are common in general, concerning rules, human communication which is not only vivacious as laws, instruments of making reports. But it is not an art form, but also follows various steps logically as enough for a good material. The Indian version of this in science, to arrive at a conclusion - the truth". They is represented in this book in a full and systematic way. define norms of professionalism, which are universally It gives the opportunity to understand its richness. recognised. One more point that allows us to emphasise the The book "… How to Write to be Read?" is a importance and usefulness of this book is the authors' substantial and required guide for everyone, who conception of journalism. It is based on quality press decided to devote their lives to professional dominants and presupposes reliability of facts and journalism, working in newspapers and magazines. opinions. The authors' style of presentation is The book structure is built as a system. It includes characterised by the responsible attitude to sources, definitions, norms and rules for many forms of purposes and techniques in writing, emphasising, how journalism and different genres, such as reporting, professional journalism differs from non-professional. investigative reporting, interpretative reporting, Such approach to the topic involves the suggested interviewing, feature writing, photo features, columnist's vision of the professional standards in journalism into a journalism, reviews and criticism. At the end, the widespread discussion about the role of journalism in authors lead their readers to an understanding of the the global world and coming challenges of the wider sphere of mass communication - film and TV information society. reviewing. Dr Kasturi and professor Vardhan prepared very This book has one peculiarity, which can be called its useful and interesting textbook, which gives a clear strong point. It covers not only the genre system of understanding of how traditional media can survive. journalists' materials but also thematic diversity. Sports The only way to be read is to keep to high quality - reporting, accidents and disaster reporting, city life Indian media proves this authors' conclusion.

P 61 | JULY 2017 he word culture has been derived from the Latin word 'CULTURA', meaning "The Tcivilisation of mind" and a tradition means style or a system subsequently followed by the generations. Both the above said definitions adequately fit the country like India. India has been a melting pot for various races coming from all over the world to settle down in this land. This diasporic amalgamation has knit the fabric of Indian culture; the same diversity is distinctly reflected in every aspect of Indian culture. Art is a perfect medium for the portrayal of various facets of the culture. The art of Story Narration is no exception to the above-said statement. Narratives have been a significant genre of Indian literature. Narratives have had a consistent journey originating from the ancient religious literature such as Vedas, , Gathas, Aakhyans, Itihasa, Kavyas and Epics till the most recent secular literature. Every idea or a thought has a reference in the past when the same idea gets narrated to the people around it gets a definite form. So narration is the key feature of every art form. The art of story narration is considered as a holy tradition in India. It also plays an important role in the religious as well as the cultural life of the people. The artists who narrated these stories are known as sutas, magadhas, Although in the present era the tradition of Sanskrit kathakas, shaubhikas, bhats, kushilavs, and theatre is almost extinguished, the reminiscence of the chakkiars. In order to make the narration more same tradition is found in the theatrical tradition of intense, use of bodily gestures and facial Kerala, known as 'Koodiattam'. expressions, costumes and makeup were The beautiful land of Kerala is also known as Bhargava introduced; in short, the element of Natya was Kshetra after the warrior sage Bhargava introduced. Natya, the classic Sanskrit theatrical (Parashurama). To expiate his sin of matricide he created tradition of India, encompasses almost every type it by the power of his austerities and offered it to the of performing art such as music, dance, as a gift. The original inhabitants of Kerala are instrumental music, shows utmost reliance on the believed to be Dravidians. The great majority of the plot that is a story. people belong to this ancient race; Aryan penetration This article illustrates one of the most ancient and into this purely Dravidian region marked the beginning of popular traditions of a narrative art form a fruitful contact which later gave birth to a distinctive culminating into the classical dance form, hailing phase of Hindu culture. The tradition of Sanskrit Natya in from the land of Kerala, popularly known as "God's the form of Koodiattam is the outcome of the synthesis own Country". of the two great cultures.

P 62 | JULY 2017 Scholarly Corner

Nambuthiris the Brahmins of Kerala enjoyed the over- dramatic spectacle underwent many changes. It has lordship for many centuries. The Nairs are the most become a closely religious affair. powerful community next to Nambuthiris, who have The pantomimic technique of presentation is the been the warriors. The Nairs are the matriarchal special feature of this theatrical tradition. society, whereas Nambuthiris are patriarchal. Nambuthiris are known for their knowledge of literature, The costumes and makeup are also of a special type. poetry and Ayurveda. Some of the characters wear wooden masks, and others paint their faces. Chakkyars are the Ambalvasis meaning temple dwellers; this cast is an intermediate caste between the In this context scholar and author K Bharatha Iyer Nambuthiris and Nairs. Chakkyars were from the writes, "The foregoing survey of the stage practices of community of artists. They claim their origin to the the land is intended only to show that the elements of Sutas, the storytellers from the Mahabharata. Their art the art of Kathakali are discernible in various degrees of story narration is known as Chakkyar Kuttu. They of development and in differing assortments in the seem to have practised their profession for nearly two many types of cult plays and other theatrical legacies." thousand years. Chakkyar Kuttu is also known as Ramanattam is the next form which can be the Prabandham Kuttu, also known as Vak. The stories concluding form of the theatre tradition of Kerala. A told are drawn from the Puranas and from the work of Raja of Kottarakara dramatised the story of Rama in well-known Sanskrit dramatists. Chakkyars use eight presentations. It was staged at his court in the vachikabhinaya that is spoken dialogues to the utmost 17th century AD. The language used for this production effect. Hastas or hand gestures are used to convey the was highly Sanskritised Malayalam, which created a theme. Chakkyars are well known for their sensation for the art lovers The Ramanattam was the nayanabhinaya that are emoting through eyes. There is first form to introduce playback singing. Great no music used other than the occasional drumming. changes took place in the costuming too, the wooden Chakkyars hold the special rights as he is supposed to masks were thrown out, and plastic masks were be speaking in the Deva Sadas that is the assembly of adopted. Music and dance were introduced in the Gods. He can even criticise the king if the king is found fullest measure. guilty of wrong practices in the execution of his duties. The above changes brought theatre more close to the Koodiattam is the later version of Chakkyar Kuttu; it is masses and the outcome of the whole process is the the significant phase of Chakkyar's art. It is the most majestic dance-drama style Kathakali. Kathakali combined story presentation by the group of artists. groomed under the shade of indigenous ritualistic and The male artists are known as Chakkyars and the religious forms like Mutiyettu, Bhagavati pattu, females are known as Nangyars. Only Sanskrit plays Kalamelattu and many more. Themes from the are performed on the Koodiattam stage. But the Mahabharata, Bhagavata, and Shiva Purana are presentation technique of the Sanskrit plays varies presented on Kathakali stage. There are now over from that of the Koodiattam in terms of facial makeup, hundred plays that are being performed on the costumes, enactment, and the total treatment of the Kathakali stage. These productions are noted for their stagecraft. Many features of this art were carried literature and dramatic qualities. forward in the successive art forms of the same tradition, such as Krishnattam, Ramanattam and finally Kathakali is one of the popular classical dance forms Attakatha that is Kathakali. of India today, which has its roots in the Sanskrit theatre. Originating from the story narration form like The actual staging of an act is a long procedure which Chakkyar kuttu to the dance drama form of Kathakali, lasts for almost eight to ten days. In the introduction the art form has undergone many socio-religious, as Chakkyar talks on the four purusharthas, they are well as technical transformations. Today, the style treated as trenchant social satire. stands as the perfect reflection of the The next phase of the theatrical tradition is Krishnattam. community and its traditions and cultural heritage. Manaveda, a Zamorin of Calicut, wrote the text of the References: play in Sanskrit, which revolved around Krishna's story. This performance was first staged in 1650 AD. The K. Bharatha Iyer, KATHAKALI (1983) 1st edition performance of this play is a votive offering. Oriental Books Reprint Corporation, New Delhi. The story enactment goes on for eight successive Prabhakar Mande, Lokrangbhumi (Parampara, days. In the due course of time, this purely lyrical Svarup ani Bhavitavya) 1994 Godavari Prakashan, Aurangabad.

P 63 | JULY 2017 Kalamandalam Leelamma was one of Cingireddi the country's foremost exponents. She Narayana was born in Kottayam, the central part of Kerala, and Reddy better known was initiated in Kerala Natanam - an art form jointly as C Narayana Reddy shaped by Padma Shri Guru Chemancheri or CiNaRe, was an Kunhiraman Nair and Guru Gopinath. Later, she award-winning Indian joined and was trained in Telugu poet and writer - Mohiniaattam, Bharatanatyam and Kuchipudi by a doyen of Telugu Kalamandalam literature. He had Sathyabhama, produced over eighty ARR Bhaskar and literary works including poems, prose-plays, lyrical Kalamandalam plays, translations, and ghazals. He was also a Chandrika, professor, lyricist, actor, and politician. He was born respectively. on July 29, 1931 in Hanumajipet in Karimnagar Realising her area, district, Hyderabad to Malla Reddy and Buchamma. she decided to His father was a farmer and his mother was a focus her mind ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ housewife. After completing his higher secondary and body in education, he went on to study at the Osmania enriching University, Hyderabad in 1949. Reddy studied in Mohiniattam. Urdu medium till his graduation, as education in Telugu was not available under Nizam's rule. Thanks to her immense talent, she was appointed as the teacher in He took Telugu as his subject during his graduation. Kerala Kalamandalam at a young age of 18 years. Reddy received his Master of Arts degree in 1954 Prof. Leelamma, the disciple of Padma Shri awardee and became a college lecturer in 1955. He received Kalamandalam Sathyabhama acquired a good PhD in 1962 on "Modern Traditions of Telugu" and command of the art form contributed a lot to become a professor in 1976. Mohiniattam. While she was the in-charge of post- graduation course at Kerala Kalamandalam, she He wrote Navvani Puvvu (The Bashful Flower) in innovated more than eighty new adavus. She also 1953 and later went on to publish several other designed all the viniyogas (details) of Hastha Mudras works like Vennela Vada (The Moonlight Town, 1959), described in Hastha Lakshana Deepika after Jalapatam (The Waterfall), Divvela Muvvalu (Candle discussing with Kathakali Gurus. By choreographing Bells, 1959), Ritu Chakram (Cycle of Seasons, 1964), over hundred new items, she gave a fresh blood too Madhyataragati Mandahasam (The Smile of the to the art form. Middle Class, 1968), and Mantalu Manavudu (Flames and the Man, 1970). His 1980 published She had graced most of the exalted venues across poetic work Viswambhara (The Earth) received wide the globe and was considered as a perfectionist. She critical acclaim and has been translated into several has been awarded Sangeet Natak Akademi Award for Indian languages. The Sahitya Akademi appreciated her contribution to Mohiniattam. She passed away on it as a monumental work. He died on June 12, 2017. June 15, 2017.

P 64 | JULY 2017 P 65 | JULY 2017 P 66 | JULY 2017 CLASSIFIEDS

KUCHIPUDI KATHAK

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

Geeta nritya vidyalaya Dhamar Dance Institute Teacher: Girija Nair Teacher: Sanchita Lahoti ‘Gurukul’ 32/2 Powai Chowk behind Shastri 2723/13,2nd floor, 14th main road, Nagar, Saibaba temple Mulund colony 2nd stage, Attiguppe main Road, West Mumbai – 82, Maharashtra, India RPC Layout, , Karnataka, India Contact No: +91-9867234249 Contact no: +91-08880565690

Nritya Tapshya Kathak Dance Acdemy BHARATHANATYAM Teacher: Chetan Saraiya. MA, Kathak. 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

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

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