Tuesday, 22 May 2018

Masks marking obscurantism - The Eastern Eye: Column by Dr.Utpal K Banerjee


Chhau dance that originated in the Purulia district in West Bengal and drew inspiration from martial arts and combative training has been used, down the corridors of time, as a means to portray mythical battle stories to the audience, which is why elaborate masks and headgear associated with fights and war are worn during the performance. Listed on UNESCO's world heritage list of dances, Purulia Chhau -- apart from being influenced by military movements -- was also influenced by a combination of regional dances. Their costumes were influenced to the extent of using more interesting clothes or fabrics to create the ensemble as well as using elaborate masks that were extremely creative. As their faces are covered by masks, dancers per force emote through body language.

Taser Desh (Kingdom of Cards) performed by Creative Dance Workshop on May 13 in Kolkata, provided a brilliant idea to use the creative idiom of Purulia Chhau to visualise the dance drama penned by Rabindranath Tagore in 1933 and dedicated to Netaji Subhash Chandra Bose.

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Sunday, 20 May 2018

Aditi Mangaldas Dance Company's 10X10 bound by a single conceptual thread - Footloose and fancy free with Dr. Sunil Kothari


'Have courage to dance your own dance, be informed by the immense history and geography of this great style Kathak but do not get bogged down by it,' said Aditi Mangaldas, the Kathak diva to her repertory dancers, musicians, and disciples of Aditi Mangaldas Dance Company. 'Conceptualize, choreograph and dance a production by yourselves.' All members of her company are individuals in their own right, who have continued their association with the type of training and philosophy of the company. Thus was born 10x10 which was presented in Delhi at Little Theatre Group on 10th May keeping in view the number 10, and ask the question: 'What do the numbers say to you?' 

They must have brainstormed, discussed, argued, practiced while conceptualizing short pieces as was evident when the number from One started materializing before the packed house. 

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Saturday, 19 May 2018

Article - Navarasa Sadhana: A system of acting methodology for actors and dancers - G. Venu ">




The Navarasa-s or the Nine Rasa-s are the greatest contribution to the Indian theatre from our rich tradition. The reality that the accomplished enactment of various characters and dramatic moments on the stage can submerge the viewers in aesthetical experience has been meticulously studied and analysed by our ancient Indian aestheticians. And they realised that this experience of beauty or aesthetic experience is created only when witnessing or experiencing a creative work of art. This realisation had led them to conduct exhaustive and micro-level analyses into the vast area of this subject. Navarasa sadhana is the systematic and daily practice of the Nine Rasa-s by the actors, with the aim of strengthening their capacities for producing this aesthetical experience in the viewers.....

For three years, I conducted enquiries and studies based on 'Netra and Hasta' (eye and hand). I contacted all the living masters of Kerala, visiting some of them in their residences. Some of the masters came to Natanakairali to participate in the workshop. Many classes by the masters were held throughout these three years. Sessions by the maestros of Kathakali, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, and Kavungal Chathunni Paniker were held. Kathakali artistes Sadanam Krishnankutty and V. P. Ramakrishnan Nair also held classes. Sessions in Kutiyattam led by Guru Ammannur Madhava Chakyar, Kidangoor Rama Chakyar and Ammannur Kuttan Chakyar, by Lakshmana Peruvannan on the 'Kannezhuthu' (painting of the eye) of Theyyam were held. Classes were also held at Tantra Vidya Peethom led by Brahmasree K. P. C. Narayana Bhattathiri. Acharya Gireesh Kumar's introduction to Sreevidya, the month-long practical classes by Lakshmanan Gurukkal on the Dasa Mudra-s of Sreevidya, classes by Swami Hari Om Ananda on 'Netra and Mudra in Yoga Vidya' and the session on the protection of eyes in Ayurveda by Swami Radhakrishna Chaithanya were all part of this three-year-long quest.

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Friday, 18 May 2018

Original way of looking at group Bharatanatyam - Taalam: column by Leela Venkataraman


It was an original way of looking at Bharatanatyam, with Bengaluru's Vyuti Dance Company at the Shri Ram Centre presenting the Delhi premiere of Sakhi, a group production which sought to be, and was, different from the usual Bharatanatyam recital. As a disciple of Leela Samson, Vyuti's founder Aranyani Bhargav's Bharatanatyam commitment has been unquestionable. While strongly affirming her loyalty to the dance form and its margam repertoire, she would seem to find its format, given its stylised entirety, too minutely structured for individual experimentation. Considering the almost insurmountably daunting challenges of trying to be original and standing out, within the solo presentational canvas, Aranyani and a group of Bharatanatyam dancers have got together to explore fresh ideas for presenting group expressions. In the process, they have harnessed two devices which strictly speaking, are outside the time honoured Bharatanatyam technique –one is the physical touch and contact, with two or even three dancers with arms linked performing as one unit. The single dancer's body even in interaction with more dancers on stage avoids physical contact in Bharatanatyam. Yet another device resorted to of lifts and elevations in the air saw a dancer being lofted off the floor. Negotiating between the group and solo, multiple and the singular, Sakhi contradictorily it would seem, aims at being different while not deviating from the prescribed Bharatanatyam technique. 

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Thursday, 17 May 2018

Zohra Segal Arts Festival - Footloose and fancy free with Dr. Sunil Kothari


The concept of the existential philosophy, 'I am therefore you are,' took shape in form of Nayaka Pratinayaka by Aruna Mohanty in Odissi dance to the libretto written by Odiya poet/critic Kedar Mishra. When I first saw it in Bangalore, it made an impression on me. The memories were revived again when Aruna Mohanty presented it during Zohra Segal Arts Festival at IIC in New Delhi. 

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Masquerade of grandiose dreams - The Eastern Eye: Column by Dr.Utpal K Banerjee


Miguel de Cervantes, belonging to the 16-17th century, was considered as the greatest litterateur of the Spanish language and one of the world's pre-eminent novelists. His masterpiece Don Quixote has been translated into more languages than any other book except the Bible and is considered as the first modern novel, a classic of Western literature and among the best works of fiction ever written. The story follows the adventures of a noble man who reads so many chivalrous romances that he loses his sanity and decides to set out to revive chivalry, undo wrongs, and bring justice to the world, under the name Don Quixote de la Mancha. He recruits a simple farmer, Sancho Panza, as his squire, who often employs a unique, earthy wit in dealing with Don Quixote's rhetorical orations on antiquated knighthood. Don Quixote does not see the world for what it is and prefers to imagine that he is living out a knightly story. Man of La Mancha, a 1964 musical by Dale Wasserman was inspired by Cervantes and his 17th century masterpiece Don Quixote and tells the same story of the "mad" knight Don Quixote as a "play within a play" performed by Cervantes and his fellow prisoners as he awaits a hearing with the Spanish Inquisition.

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Thursday, 10 May 2018

Obit/Tribute - Rani Karnaa - Dr. Sunil Kothari


When I was working on my book on Kathak for Abhinav Publications for exponents section, I had to gather information about the contemporary dancers. Keeping track of dancers by attending their performances and writing reviews I was aware of leading dancers. Contemporary of Maya Rao, Uma Sharma, Urmila Nagar, Kumudini Lakhia, Rashmi Vajpeyi, Shovana Narayan, Durgalal, Geetanjali Lal and others, Rani Karnaa's was an important name. In post independence era, Delhi had become a major centre for Kathak dance. Gurus like Narayan Prasad, Sunder Prasad of Jaipur gharana were training young dancers who were shining stars of Kathak.

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