Ruchi Kishore’s : DIRTY CHAI, a hip hop musical

DIRTY CHAI, a hip hop Bollywood musical, is a colorful & crazy dramedy, full of heart!

Chaya Chandrika Gopi, or “Chai” as she likes to be called, is a rebellious Indian-American bride-to-be. Chai’s parents have promised her to a nice Indian boy and the wedding is in ten days. With her back against the wall, not yet ready to give in to this assault on her freedoms, Chai leaves home but unexpectedly falls in love with a charming & mysterious stranger, making a powder keg out of an already complicated situation. Chai finds forbidden love with a fearless American girl, Ronnie, and is trapped between upholding her family’s traditions or following her heart, which goes against everything she’s been taught.

Chai is a messy concoction of two very different cultures, two conflicting identities, and two opposing desires, just like the dirty chai she orders each morning- a perfect brew of espresso and chai (tea).

Her Indian father, Mr. Hardik Gopi, is a traditional Hindu man.

Her White American mother, Mrs. Rani Gopi, converted to Hinduism after falling in love.

Filled with excitement and sarcasm, DIRTY CHAI challenges the walls of formality, fear, and judgment that separate people. Every cause has an effect in this intricately interwoven dramedy about human lives, embracing family, and the chaos of falling in love.

P.S. There will be a wedding so, “chai” not to miss it! o.O

Directed by Adam Marcus Starring Ruchi Kishore as “Chai” Sponsored by Café Cafe Mobile Coffee

Now Watch the play online on this link: https://m.facebook.com/story.php?story_fbid=194272942628895&id =103549798665628 As tributes pour in on Surekha Sikri’s demise listen to her Swan Songs

Surekha Sikri as charismatic in her old age as she was in her younger days Surekah Sikri the young Theatre Actor

Veteran actor Surekha Sikri passed away this morning, Friday the 16th July 2021, following a cardiac arrest, her agent, Vivek Sidhwani informed. In a statement shared with the media, the agent said the actor had been suffering from complications arising from a second brain stroke. She was with her family and her caregivers who requested privacy at this time.

Surekha Sikri (19 April 1945 – 16 July 2021) was an Indian theatre, film and television actress. A veteran of , she made her debut in the 1978 political drama film Kissa Kursi Ka and went on to play supporting roles in numerous Hindi and Malayalam films, as well as in Indian soap operas. Sikri has received several awards, including three and a Filmfare Award.

Sikri won the National Film Award for Best Supporting Actress thrice, for her roles in Tamas (1988), (1995) and (2018). She was awarded the Indian Telly Award for Best Actress in a Negative Role in 2008 for her work in the primetime soap opera and won the Indian Telly Award for Best Actress in a Supporting Role for the same show in 2011. In addition, she won the Sangeet Natak Akademi Award in 1989 for her contributions towards Hindi theater. Her last release Badhaai Ho (2018) got her immense recognition and appreciation from viewers and critics. She won three awards: the National Film Award for Best Supporting Actress, Filmfare Award for Best Supporting Actress and the Screen Award for Best Supporting Actress for her performance in the film.

As a fitting tribute to the great performer she was we will listen to her mellifluous recitations of Hindi and Urdu Poetry. But before that, here are some of the tributes which poured in on social media and otherwise from her millions of admirers, and eminent people whom she knew, including actors and directors from film, television and theatre.

Ashish Abrol, Income Tax Commisioner, laments: “Surekha Sikri or Surekha di as we called her passed away today morning. I cannot get myself to accept that she is no more. I came to know her in 1985 when she was a faculty member in NSD and came completely under her thrall as she became a mentor, teacher, older sister and a maternal figure for me. Her panache, idiosyncrasies, brilliance as an actor and her erudition… often when her silences taught you more than lectures of so many others. Her love for chaat and the occasional joint… later of course she could not eat much courtesy the intestine problems. She was perhaps the greatest theatre actor ever in modern India; some one who could emote and yet be aware of her own performance as if standing out of her body observing herself perform. More than that she was always overflowing with warmth that traveled to you through her twinkling often mischievous eyes. She was so thrilled when her son Rahul had an exhibition in The Habitat Centre …I was not in touch with her for some time more since her paralysis and with her inability to speak. A triple national award winner; Surekha ji was known to the country at large courtesy her TV and film roles…in Tamas, as Dadisa, in Mammoo but it is her oeuvre in theatre that is stunning; she owned the stage, set it on fire and then doused the flames with her voice and gentleness. RIP Surekha di my mother in another life you live on in your performances and our memories”

“She was one of my personal favourites .. a lovely actress .. will never forget her Nsd work when I was in college in delhi .. god bless her” – Lillet Dubey

“There is a total immersion in life…have deeply admired her work, her persona from the Nsd days, so fully engaged in enjoying everything that came her way intensely” – Amba Sanyal

“Surekha my dear dear friend! We were in the same batch! A consummate actress,very strong woman , determined and brave! ! Never let go of her beliefs and strong options! I shall miss her dearly” –

“Very very sad news. We have lost another great actress. Surekha Sikri left for her heavenly abode. Heartfelt condolences to her family. May God rest her soul in peace” – Satish Anand

“Another great loss to theatre and films. She was a great actor and inspiration to all her juniors at NSD. Will never forget her superb performances. Rest in peace Surekhaji” – Anila Singh Khosla

“Deeply saddened – was always uplifted by her rendering of Faiz’s poem- may she rest in eternal peace” –Salima Hashmi

“Shocking news. She was one of the few who defined theatre for us in our youth. What a great loss for all of us” –Rajiv Bhargav

“Last of the greatest products of NSD..and loved and respected hugely for her talent and principles. Will be sorely missed” – Dolly Thakore

Tail Piece: Surekha Sikri was very fond of poetry. Listen to her reciting poetry by Faiz, Raghuvir Sahay & Sarveshvar Satish Alekar: Remembering Dilip Kumar Dilip Kumar and Saira Banu at Turf Club, Pune. Behind from left: Satish Ghatpande, Dilip Gokhale, Avinash Limaye, Arvind Thakar and Suresh Basale In 1975 to celebrate 100th show of our Theatre Academy, Pune’s original Marathi Production Vijay Tendulkar’s: Ghashiram Kotwal, we invited Dilip Kumar and Shashi Kapoor as the chief guests. Thereafter not many know that Dilip Kumar became our friend. There were many occasions where Jabbar Patel, Anil Joglekar and me were invited to his home on the Pali Hill. Several story ideas were discussed to make film. Story drafts were discussed but never materialised. But we became friends. Dilip Kumar used to speak Marathi fluently. He had seen many popular Marathi Sangeet Natak’s. Sometime at his home he will take out harmonium and sing old Marathi theatre song made popular by Bal Gandharva. Dilip Kumarji and Saira ji used to visit Pune during weekends. They used to stay at famous Turf Club and used to invite Ghashiram actors Gang for a high tea and chat. Above is one photograph of their 1993 visit to Turf Club Pune. Dilip Kumar and Saira Banu seen with ( from left: Satish Ghatpande, Dilip Gokhale, Avinash Limaye, Arvind Thakar, and Suresh Basale) We lost all these three actors over the years.

100th Show of Ghashiram Kotwal in 1975 Dilip Kumar seen with Shriram Ranade, Chandrakant Kale and Shashi Kapoor 100th show of Ghashiram at Shanmukhanand Hall, Mumbai Dilip Kumar is with the artists. Five minutes monologue of Dilip Kumar in 1953 film Foothpath written and directed by Zia Sarhadi

Aneeta Chitale: Sojourn to Maldives – Book Review / Interview

Book Cover: Sojourn to Maldives Manohar Khushalani: You are a poetess at heart Aneeta Chitale, and, with an anthology to be released soon, how did you think of writing a novel?

Ans. I have been penning poems since the age of eleven. I used to write and keep them as treasures! I was a bit shy I think when it came to presenting it. But I had strong streaks of an artist; I was very active in theatre and writing, even during my Pune University days.

Q2. Can you tell more about your journey as an: “ Appreciated Poet-from India”. You have just received “Gujarat Sahitya Academy Certificate from Government of India Year 2020- and Motivational Strips” the largest Forum for writers all over the world.

Ans. I have been very fortunate to write poems on varied topics, especially on the environment, unprecedented times of the Covid 19 – where life has become a challenge to lead a normal lifestyle. I wrote on a wonderful theme: ‘Striving For Survival’ collection of my poems OPA Forum, out of which three of my poems have featured in OPA International Magazine this year. I am happy to say that my poems were selected from more than 600 + poems from Global Poets-

Most of my poems are on Europe’s most acclaimed ‘atunis.portal’. I am most humbled by The Chief Editor Sir Agron Shele’

My poems ‘ The Three Witches’,’ Gypsy’ and ‘Rhapsody’ made waves. The Best Poets almost 162- contributed to a Quarterly OPA@ E- magazine/Print Year-2020 & For the month –July 2020. And the best part was I have got accolades & givenan ‘International Spot Light- from The Government of Seychelles – Island and by World’s Largest Forum Motivational Strips.’ My three poems were widely read: Devi, Grasshopper and Himalayas.

I give my sincere ‘Thanks’ to Ms. Maggie Vijay Kumar & Sir Shiju H. Pallithzeth Founder President of (MS) Motivational Strips. Recently on 17th August 2020, I received the news that my writings; my novel “Sojourn To Maldives” and poems have been ‘Globally’ appreciated and in India as well overseas. I also write in ‘Bi-Lingual’ journals. Have contributed to few journals especially in Egypt and Greece.

Aneeta Chitale : Author Q3. You have been associated with the teaching profession for the last twenty years in different countries. How did writing happen to you amid such a demanding lifestyle?

Ans. I have been lucky enough to have travelled to different foreign countries like Sultanate of Oman, UK, and The Republic of Maldives during my long service, in teaching filed. When you are working abroad, you have to work hard and cope up with the international standards, and which is highly qualitative work according to the quality frameworks. I have taught to the ‘Sophomores’ which again is very challenging, but at the same time very eclectic I should say. I was always on new locations and amidst the ‘multi-cultural’ society, which provoked me to write. I had been writing in my diary all along. It was only recently, I could write the full novel. I had to write brick by brick, I must admit.

Q4. Having travelled to various countries across the globe; why did you choose Maldives as the setting of your debut novel, ‘Sojourn to Maldives’?

Ans. The Republic of Maldives is an archipelagos, it is formed by a chain of tiny islands; one thousand, one hundred and ninety-nine islands. It’s situated to the south west of India, in the Indian Ocean. It has bioluminous beaches and most exotic water villas, in the whole world. I was mesmerized by the turquoise green waters and the serenity, and its unique topography. Some islands are absolutely remote and miniscule and situated in the deep ocean. When I saw all this, I was fascinated and I knew this was the going to haunt me. Much later, it emerged as a backdrop for my debut novel. Maldives is famous for adventure- water sports

Q5. How is the story of Aari, and Brad in ‘Sojourn to Maldives’ different from the run of the mill romance?

Ans. The protagonist in the novel, Aari is a strong willed woman of today, who has embarked her professional journey on the islands of Maldives. She is an ‘expatriate’ who faces many challenges in her personal and professional life. She explores the new found land. She meets Bard Marquez, a Spaniard, who is an ‘International Champion’ a wind surfer, on these exotic islands; quite by chance the romance blossoms. But the islands of Maldives have a political unrest and fate plays its part. Brad is an adventure freak, an novum and Aari an aficionado of altruism! The relationship has a roller coaster ride! It is for the readers to find out. I would say.

Q6. What kind of research you had to conduct before writing this book which touches on the “political dimensions” between the two counties- India and The Republic of Maldives?

Ans. I had to do extensive research, as my novel is set in the backdrop of the Indian Ocean. The life on the ocean and especially on the remote island; is in total contrast compared to the urban lifestyle I have lived in India. The ocean routes, the seafarer’s and the boat journeys, was minutely, studied by me. The Muslim culture is the fabric woven in this novel. The social, cultural and religious beliefs and sentiments are much valued, respected and penned by me. The ‘Political Crisis’ is the discerning perspective here and it is a glaring reality, portrayed by me.

Q7. As an Indian author, writing a novel of this magnitude depicting an era of ‘Political Turbulence’ how difficult was it for you to incorporate the real – socio cultural milieu in your novel?

Ans. This writing is not just a piece of fiction but it has charted the ‘International Boundaries and routes’ inked with skirmish between India and Maldives. Being a neighbor, have its pros and cons.

The turbulent times between the years spanning from 2008 to 2014 is presented on the canvas. The relations between the two countries were totally raptured in this era. The entire plethora of Indian nationals and foreigners had gone berserk. I had to study it in detail and follow it consistently.

Q8. Your bio describes you as a ‘Solo Traveller’ round the globe. How has this helped you groom as a Poet/author?

I got my highs and lows both in this journey as a teacher. But ‘Highs’ has a price tag too! One learns to be more independent minded, be more brave and learn to face challenges with a smile! As an ‘Expatriate Teacher’ you have to walk on the unchartered routes be it on an ocean or a desert. You have to walk that extra-mile. I had to face many obstacles too and the moment you leave your native country, and after the initial euphoria has died, one is left in a vacuum. That time is most difficult and one has to mature as a person. Being solo – as my son was very young that time. And I had to leave him in India with my parents and my husband. One learns from the book of life! There is no gain without pain.

Q9. With an anthology to be soon published how did you think of writing a novel?

Ans. I have been penning poems since the age of eleven. I used to write and keep them as treasures! I was a bit shy I think, when it came to presenting it. But I had strong streaks of an artist; I was very active in theatre and writing, even during my Pune University days. But this novel is a surprise for me. I had my stories talking to me. Writing a book is a huge task. I had the passion for writing for sure. Being an artist has always paved my way to success. I have done a small role in a Marathi movie when I was 21 years old.

Q10. You have written a story on ‘India’s Bi-Lateral Relations with Maldives’. Can you shed some light on this international relationship between the two countries?

Ans. Maldives is our neighboring country and has got a great strategic importance in ‘The Indian Ocean’. The recent political crisis had turned the friendly ties, into a feud with this nation. There was a dark patch that altered the relations between the two neighboring counties for more than a decade. But India has always been very helpful and friendly. The other great powers, like China had a major role to play a gambit. But the bilateral relations were handled very sensitively by the Indian High Commissioner and Ambassador India, His Highness Dnyaneshwar Mulay -To the Republic of Maldives. Indian High Commission did a commendable job then. Indian Defence Services did a brilliant job, with the precision of eagle’s eye. One has to read the story, to know about it.

Q11. In this book you have touched on ‘global the water’ crisis? Do you think this is a burning question even in Maldives?

Ans. The one thousand and one hundred and ninety one islands of Maldives have its own fate to face. With the sea levels rising everyday a great climatic shift is going to happen any time in future. The land which is habitable is only 300 kms and the mineral water is most scare here. One has to depend on the two monsoons- this country gets annually. The rain water is the most treasured resource and some islands are totally isolated and if the water perishes there is no future for these islands. Rain water harvesting is a great practice Water is a Global Crisis. Indeed.

Q12. Which authors have influenced you the most in your journey as a writer?

Ans. I have be most impressed with the writings of Khushwant Singh, Girish Karnad, JK Rowling. Poets like Pablo Naruda , S. Coleridge, Maya Angelou and Rabindranath Tagore.

Margaret Mitchell, William Shakespeare. I have always loved reading Henrik Ibsen’s plays.

Q13. With a large number of paperbacks, as well as ebooks being published, how difficult is it for the emerging authors/ poets to sustain the competition?

Ans. I think writing world has got its highest spurt now and the eBooks and paperbacks are both equally, relevant in todays’ fast paced, high tech world. It is a healthy world, where one has both the choices available. But it’s always a great pleasure, to hold the fresh mint paperback copy in your hands. New authors have to learn to ride over this wave.

Q14. In today’s publishing world, a constant debate is going on about ‘Traditional vs Self-Publication’, what is your take on this?

Ans. I am sure the new authors/poets have a great choice to make and enjoy the benefits of Self-Publishing too. One can be happy to self-publish his/ her work, than be frustrated about not being approved by the traditional publishing houses. Both has it’s plus and minus points, I feel.

Q15. What is the message you would like to convey to the budding authors/ poets?

Ans. If you have the skill and desire to write you must write and not be in a dilemma, should I or shouldn’t I write? You must follow your heart’s passion. Writing should be a long term affair. There is no short cut to success.

Resonances of the Past – a review by Manohar Khushalani

Resonances of the Past (The Ruth Wieder Magan Show) first Published in IIC Diary Feb-March 2021 Ruth Wieder Magan To commemorate International Womens Day, Organised with the support of “The Foundation for Independent Artists”, Ministry of Culture and Sport, Israel) the India International Center Screened three films by Ruth Wieder Magan;Mirror Sky (50 min), Come Away Human Child (6.42 min) andKadayil Shabbaso (10 min)

A Webinar was also conducted at IIC, The Ecstatic Voice. What is the Female Voice? Participants were: Ruth Wieder Magan, well-known contemporary voice/body theatre artist from Israel; Prof. Michal Govrin, Prominent Israeli writer, poet and theatre director; Gabriella Lev, theatre director, writer, performer, Artistic Director and Co-Founder, Theatre Company Jerusalem; Michael Shachrur, prominent body worker, dancer; Sara Siegel and Yuval Steinberg, filmmakers. The sentiments echoed what the films resonate with. Ruth is best known for her pioneering work integrating sacred texts into contemporary voice/body theatre. Her pioneering approach to the transcendental aspect of voice is founded solidly in sacred cantorial Jewish traditions. In Mirror Sky in a backdrop of dimly lit scenes Ruth, swirling, moaning, producing gutrral sound explains the origin of her techniques:

“The process of my voicing goes something like this; a voice arises from the particular presence of present time. I will begin to track the life of the vibration. Where is it sounding in my body?

[As Music Swirls] Is it liver or kidneys or blood or eyelids?

And where in my perception of the cosmos? is that reverberation, am i feeling angels or am i sensing the moon or feeling stars shifting?

….and how is that kernel of sound moving out into space?

Does it want to travel forward or travel back into the sides? and what cultural meaning arises in me

As i hear the sound emitting from my very own voice

…is it ancient America or China or is it atlantis?… or am i hearing an animal? Her investigation continues

Ruth’s source of inspiration, were her own parents, both were Holocaust survivors. Their memories and experiences triggered the melodies and intonations rooted in the barren world of the yore.

The movies are psychedelic Ruth’s voice and body performance is mesmerizing. Audience connected to so many insights and the things she said ”..a wound is a gateway, a gateway to the universe. A wind blown image of her own hair swirling over her face like diaphonous clouds punctuated with screams of agony seems to haunt you The End and the Future of Theater NYC Theatre District – Will it be the same? Theater halls have opened in the UK and Australia, and the lights will shine bright on Broadway after two years. It is too early to say whether the policymakers are being over- optimistic or careless. But for most of the world, specifically, India, theater shows will not go live for at least a couple of years. And even when the theaters open with safety protocols, the theater may not remain a financially viable business. Is it the end of theater as we know it? Is it the end of an art form that has been performed for at least 5,000 years? But then theater has survived the plague and the Spanish Flu. Before we speculate about the future, let’s take a moment to investigate the past.

The first obituary of the theater was written in the 1920s when the talkies ushered in a new era of entertainment. But not only did the theater survive the competition from cinema, the Broadway Book Musicals became a billion-dollar industry around the time. The first real blow to small regional and off-off-Broadway theater came from the television in the 1960s when a television set became a household item. But that did not stop Tennessee Williams and Arthur Miller from writing great plays. They forced the audience to return to the theaters. Harold Pinter, Beckett, Albee, and more recently Mamet created scintillating works for the stage despite the competition from the cinema and the television industry. The competition challenged theater to become more daring and intelligent.

Yakshagana Talking of India, we must first understand that the Indian theater is more diverse than anywhere else in the world. Indian theater is in part sacred, ritualistic, and regional. There is a deep wide chasm between the text-centric theater that is performed in the cities and the traditional theater that exists in rural India. The traditional Indian forms of performance like nautanki, pandavani, bhavai, terukkuttu, yakshagana and even the classical theater Koodiyattam have a significant regional presence and local patronage. Some of these forms are a few thousand years old and we can assume they have survived epidemics, attacks by Mughal invaders, World wars, famines, floods, earthquakes, poverty, and competition from TV and cinema. Did they survive because they spoke to the audience in their dialect? Are they immortal because they tell the local stories of the land? Or did they survive because of their sacred-spiritual nature and patronage by the temples? The temples were the seats of arts and any attack on the temple was an assault on the arts and the artists of the land. Hence this continuity of art forms is no small miracle. But the urban theater has neither local patronage nor loyalty of committed artists. Therefore, it is starting to crumble under competition from OTT and entertainment in the digital space.

Modern theater, such as we see in the cities, lacks the spectacle of traditional theater and sometimes even entertainment. The traditional theater is non-realistic and highly stylized. The costumes, make-up, body movements, gestures, music and accentuatedabhinaya /acting create a performance that is moving, surreal and mesmerizing. The modern theater relies heavily on dialogue and story-telling through realistic verbal acting. The sitcoms on TV and binge- worthy shows on the OTT are also pivoted around the story and dialogue. Why would someone watch a dramatic performance cramped in a theater when they could watch drama on their phones sitting on their couch or even the toilet seat? It isn’t just the ease of watching drama on the phone, but the addiction to the phone that has become an impediment. Not to fault the story-telling. The shows are gripping and fast- paced. But then it is so easy to manipulate the audience and keep them hooked till the end. There are formula sheets, beats, and tricks that every writer in the industry uses to keep you glued to your phone.

The straight plays in Delhi and even Mumbai theaters be it English or the regional languages are laced with activism. Polemics has replaced aesthetics. Left-leaning plays have so much propaganda thrown in the script that the audience can see through it. Can we really blame the audience for not wanting to watch social activism on stage? Directors think they can compensate aesthetic appeal with lighting but they forget the audience is not here to watch a sound and light show. The audience craves good stories. It wants to see life through a clean lens. The audience is done watching Brecht, Beckett, Karnad, and Tendulkar. Bedroom comedies are passé. OTT gives the audience enough sex, comedy, and violence. What can you give them on stage that TV and cinema can’t?

The irony is the directors and actors who are flag bearers of socialism in the theater circle abandon their ideals to work for the commercial OTT and Cinema. The crew and extras are treated as third rate citizens in Bollywood, worse than apartheid, but the champions of social equality on stage never raise their voice against the injustice. And let’s not even discuss the underbelly of theater where fresh actors are made to sweep floors in the name of training. While the artists in traditional art forms are committed to the tradition and the art, the modern actors distance themselves from the theater as soon as they break into the TV/OTT industry. Without fresh ideas and dedicated theater practitioners, theater as we know in Indian cities, is at the brink of extinction.

The pandemic has given us distance and time away from the theater and rehearsal halls to re-imagine our future. It has been a time to experiment and create many futures of theater. Theater companies and individual practitioners moved the theater online within a few months into the pandemic. Broadway HD has been streaming ace-quality theater productions shot on multiple cameras since 2015. National Theater and the Royal Opera House streamed their old productions at the start of the lockdown in UK. The Melbourne Theater Company has recently launched its Digital Theater version where they stream their running shows for a limited time. Going forward, all their productions will be available to watch online for $25. While the digital productions are a great option for the theater aficionados, but a good digital production needs multiple cameras and sophisticated editing.

Watching theater production with limited camera movement can be a tad boring because our minds compare it to the cinema and TV shows. Our minds are accustomed to two second shots. Watching an hour-long play set in the same space, in more or less the same frame becomes tiring unless it’s a fast-paced comedy like ‘One Man, Two Guvnors’, by National Theater. The musicals lose their grandness on the small screen. Lest we forget, the audience goes to the Musicals for live music. The experience of watching a musical on a small screen is unsatisfying.

Independent theater groups experimented with and adapted short stories for online presentations. It started with some artists performing or even reading short stories and plays live on Zoom. The production quality of the online plays was worse than YouTube content because they were shot on phone without professional lighting and sound equipment. The shows were under 30 minutes to accommodate the audience’s attention span. Story-telling was restricted by time and technology. As time passed these experiments faded away and it became clear that the future of theater is not online.

One future of theater could be virtual reality theater that has been in the making since 2016. National Theater has launched a studio where they will use virtual and augmented reality to create shows for a communal virtual experience. It’s the high-tech, AI technology used for immersive story- telling. But this future requires a capital investment of 100 plus cameras, edit suites, and technical crew on top of the cast and the musicians. How many companies can produce this kind of theater? How many of us can afford a ticket to this show? Dr. Bharat Gupt

Richard Schechner

Of the many futures of theater, one future could have its origin in the past. Richard Schechner, a performance theorist and a veteran performer has been working with Natyashastra for over four decades. Dr. Bharat Gupt, a classical theorist and Natyashastra expert, is mentoring students in Greece, Romania, India and the US to create performances using the principles of Natyashastra. These performances are an organic convergence of music, movement, myth, abhinaya and story. Theater makers could look to Irish story telling as one kind of performance. This is our time to study the past so that we can shape a meaningful future.

Whatever form the theater takes from here, it has to become more immersive, aesthetic, poetic, non-realistic, surreal, intense, and communicative. The stories have to break fresh ground. The writers have to muster courage to experiment with the shape and the structure of the story. The performers have to make a connection with the audience. Theater has to go beyond activism and entertainment to become truly transformative and cathartic. Folk Dances of India: Ghoomar

Dhanak Preet ki sar pe odh kar ghoomar ghoomar ghoome

O lalak reet sab jag ki chhord kar ghoomar ghoomar ghoome

Dhola wale thaant, ghoomar ghoomar ghoome re baisa, ghoomar ghoome re

Ghoomar Lyrics, Padmaavat

Rajasthan is well famous for its vibrant traditions, enthusiastic dance forms and elegant culture. Ghoomar is just another spectacle of this diversity and culture that started with the Bhil tribe to worship Goddess Sarasvati and is now embraced by other Rajasthani communities.​1​ Typically performed by women, Ghoomar gained popularity during the reign of Rajputanas, who ruled Jaipur after defeating the Bhils. It is believed that the two communities embraced this folk dance form to signify peace.​1​

This Folk dance is performed by a group of women moving circularly, swirling and twirling around in their flowing robes called ‘ghagharas’, a traditional Rajasthani long skirt. This spectacular folk dance derived its name from ‘ghoomna’ and is elegantly showcased by women wearing a veil, ‘ghoonghat’ on their head covering their face.​2​ The upbeat rhythm and graceful and elegant gestures like pirouettes, finger-snapping, beating palms, and other foot movements maintain the tempo. This splendid spectacle fills the body with enthusiasm and zeal for our old long-standing Indian traditions.

According to rituals, it is mostly performed by the newly married bride on being welcomed to her new marital home. Ghoomar is often celebrated at weddings, festivals and other religious occasions too.​2,3​ This folk dance symbolizes the transformation of young girls to womanhood in the Rajput community and traditionally performed in wedding attire.​3,4​ Kundan, mirror and silver jewellery are used as accessories for the celebration. Women are seen wearing joyous, vibrant colours of red, orange, pink with heavy embroidery and mirror work. They cover their face with a veil threaded with lace and zari borders.​2,4​ These bright colours signify prosperity and high enthusiasm filled within the community.

Ghoomar is famous all over India and is being performed by various artists and celebrities in movies. Deepika Padukone took more than a month to learn this folk dance to get her footwork right for the film Padmavati. ​4​

In today’s world, this dance is performed by all ages of women worldwide and is cherished as a historically and culturally significant entertainment folk dance form.​3​ It showcases the rich culture of Rajasthan through aesthetically pleasing movement and traditional attire. Tourism in Rajasthan has boosted due to the peculiarities of regions, their manner of dressing, traditions, and folk dances. Ghoomar was a tribal dance that graduated to a folk routine that has now assumed international proportions thanks to a vibrant culture and its recognition as a pride of India. ______Independent Project by Sezal Chug Guide: Prof. Manohar Khushalani ______

1. 1. Wikipedia E. Ghoomar. The free Encyclopedia. https://en.wikipedia.org/wiki/Ghoomar 2. 2. CultureTrip the. Ghoomar. theculturetrip. https://theculturetrip.com/asia/india/articles/why-ghoom ar-is-one-of-the-worlds-best-local-dances/ 3. 3. Utsavpedia T. Ghoomar. utsavpedia.com. https://www.utsavpedia.com/cultural-connections/ghoomar- of-marwar-inspiring-indian-dressing-for-centuries/ 4. 4. RajasthanDirect the. Ghoomar. rajasthandirect. https://www.rajasthandirect.com/culture/dance/ghoomar

Folk Theatre of India: Nautanki Nautanki is one of South Asia’s most famous folk theatre performances, especially in northern India. Nautanki was the most significant source of entertainment in most of the cities and villages in north India.​1​ Nautanki’s rich musical compositions and humorous storylines hold a strong influence over rural people’s imagination. Nautanki, also known as svang, originated in the late 19th century in Uttar Pradesh and steadily gained popularity.​2​ Nautanki’s origins lie in the Saangit, Bhagat, and Swang musical theatre traditions of Northern India. One Saangit called Saangit Rani Nautanki Ka became so popular that the whole genre’s name became Nautanki.

1​ Nautanki performances can be performed anywhere where some space is available that can accommodate a few hundreds or thousands of people. Sometimes this place is made available by village Chaupal or the village community centre.​3​ Other times the school playgrounds can also be used as a performance site. A Nautanki stage is usually elevated and is made up of wooden cots that the local villagers generally provide. A few decades ago, since there was no electricity in Indian villages, the light was provided either by giant lanterns or Petromax, a device run by kerosene oil. Traditional Nautanki performances usually start late at night and go until dawn the next day without any intermission.​4​ Traditionally storylines of nautanki performances were inspired from folklore or are sometimes based on mythological themes, stories of contemporary heroes etc.​3​ For example, nautanki plays such as Bhakt Moradhwaj and BSatya- Harishchandra are based on mythological themes, whereas Indal Haran and Puranmal originated from folklore. ​2​Pandit Ram Dayal Sharma, a renowned Nautanki maestro and Dr Devendra Sharma have co-authored many new Nautankis.​2​ These recent Nautanki performances focus primarily on social messages such as health, women’s empowerment, dowry etc. These issues generate awareness among the poorer sections of society and create a sense of togetherness. It brings locals together to stand against the atrocities of the community and fight for their rights.

Nautanki was introduced in America by Dr Devendra Sharma, a Nautanki artist, singer, writer and director. The participants in his nautanki performances are usually engineers, doctors, and other Indians living in America, who are given a rare opportunity to connect with their cultural roots.​2​ At the same time, these performances have exposed other communities in America to Indian culture. Nautanki has undoubtedly been a valuable part of our hearts and will survive in the future and flourish in multiple contexts to secure a special place in our culture.

______Independent Project by Sezal Chug Guide: Prof. Manohar Khushalani ______

1. 1. devnautanki H. devnautanki. A Brief History of the Nautanki Performance Tradition. http://www.devnautanki.com/about_history.html 2. 2. the free encyclopedia W. Nautanki. Wikipedia. https://en.wikipedia.org/wiki/Nautanki 3. 3. iwmbuzz T. nautanki-north-indian-folk-theatre. iwmbuzz. https://www.iwmbuzz.com/theater/snippets-theater/nautank i-north-indian-folk-theatre/2019/11/30 4. 4. sahapedia S. shades-nautanki-north-indias-operatic- theatre. sahapedia. https://www.sahapedia.org/shades-nautanki-north-indias-o peratic-theatre

Folk Theatre of India: Yakshagana Yakshagana is a traditional folk art developed in the western parts of Chikmagalur districts in Karnataka and Kasaragod district in Kerala. Yakshagana comprises music, dance, theatre, costumes, and makeup with a blend of unique style and forms.​1​ It is said to have evolved from pre-classical music forms and theatrical arts during the Bhakti movement. Yakshgana is referred to as ‘Thenku thittu’ towards the south from Dakshina Kannada to Kasaragod in Tamil Nadu, whereas it is referred to as ‘Badaga Thittu’ north of Udupi.​1​ Both of these forms are equally played all over the region. Yakshagana is inspired by ancient Hindu literature like Ramayana, Mahabharata, Bhagavata and other Hindu and Jain epics. Yaksha- gana means the song (gana) of a Yaksha. Yakshas were an exotic tribe mentioned in Sanskrit literature.​1​

Yakshagana is a product of the Vaishnava bhakti movement, which originated in southern India from the fifth to the seventh centuries. It emphasizes the love and devotion for Lord Vishnu as the chief means for spiritual perfection.​2​ Existing folk music and dances were adopted to create new performing arts to spread and propagate the message of love and devotion among the common folk. Yakshagana is also a result of this blend of existing dance and drama. A Yakshagana performance usually consists of background music played by a group of musicians and percussionists, also known as the himmela and a dance and dialogue group known as the mummela, who together enact poetic epics on stage.​1​

In the early 19th century, Yakshagana began to see a significant change from its traditional strict forms. Practitioners of the day produced several new compositions. The early 20th century saw the birth of ‘tent’ troupes, giving performances to audiences admitted by ticket only. Gas lights were replaced with electrical lights, seating arrangements improved, folk epics and fictional stories formed the modern thematic base of the discipline.​3​ The Yakshagana form that we witness today results from a prolonged evolution that drew its essence from ritual theatre, temple and secular arts, and the artists’ imaginations—all interwoven over several hundred years.​3​

______Independent Project by Sezal Chug Guide: Prof. Manohar Khushalani ______

1. 1. wikipedia Y. Yakshagana. wikipedia. https://en.wikipedia.org/wiki/Yakshagana 2. 2. karnatakatourism yakshagana. yakshagana. karnatakatourism. https://www.karnatakatourism.org/destinations/yakshagana / 3. 3. thehindu yakshagana. yakshagana. thehindu. https://www.thehindu.com/entertainment/dance/how-yakshag ana-is-adapting-to-modern-times/article34273628.ece

Folk Dances of India: Raas Leela

Raas Leela, commonly referred to as Krishna dance, is a folk dance form that predates ancient history and is part of the traditional stories of Krishna in which he dances with his lover, Radha. Raas means aesthetics, and Leela means to act or play, which translates to “play of aesthetics”.​1​​

The Raas Leela takes place when the Gopis of Vrindavana sneak away from their families to the forest to dance with Krishna throughout the night after hearing Krishna’s flute’s sound.​2​ Raas Leela is considered to be an expression of passion and love for our special person. Raas Leela is a popular dance form in Mathura and Vrindavana’s regions in Uttar Pradesh, especially during the festivals of Janmashtami and Holi. It is observed as one of the State Festivals of Assam, which usually is celebrated during Late November.​3​ Swami Sri Uddhavaghamanda Devacharya, a prominent saint and a disciple of the world-renowned Swami Sri Harivyasa Devacarya in the early 15th Century, started this whole idea of performances of Raas Leela in Vrindavan, Mathura.​1​ Swami Uddavaghamanda trained his students, the Brahmachari, to play the parts that appeared in the songs like “The Vani literature of Vraja” to get a visual representation of the Leela that was being described. Many people were sceptical of this idea of the enactment of Raas Leela on stage.​3​ However, traditions say that Lord Krishna himself appeared to empower the actors to represents the love between Krishna and Radha and remind people of the core values behind Raas Leela. This popular dance form has been performed worldwide and is enjoyed by people at festivals, celebrations and get-togethers.

______Independent Project by Sezal Chug Guide: Prof. Manohar Khushalani ______

1. 1. the free encyclopedia W. Raas Leela. encyclopedia. https://en.wikipedia.org/wiki/Raslila 2. 2. sadhguru isha. raas-leela-dance-passion. isha.sadhguru. https://isha.sadhguru.org/in/en/wisdom/article/raas-leel a-dance-passion 3. 3. timesofindia indiatimes. raas-leela-of-unconditional- love. timesofindia. https://timesofindia.indiatimes.com/raas-leela-of-uncond itional-love/articleshow/4250112.cms