Bharathanatyam and the worldwide web

Whats’s happening in the world of Bharathanatyam?

Book: Balasaraswati – Her Art and Life, by Douglas M Knight Jr.

In his biography, “Balasaraswati: Her Art and Life”, Douglas Knight (her son-in law) explores the life of  the dancer Balasaraswati.

” This is the first complete biography of T. Balasaraswati (1918–1984), a dancer and musician from southern India who became recognized worldwide as one of the great performing artists of the twentieth century. In India she was a legend in her own time, acclaimed before she was thirty years old as the great dancer of traditional bharata natyam. Balasaraswati was a passionate revolutionary, an entirely modern artist whose impact was proclaimed by some of the most prominent figures in contemporary dance in India and the West. Her art and life defined the heart of a tradition. Her life story offers an extraordinary view of the enigmatic matrilineal devadasi community and traditional artistic practice from which modern South Indian dance styles have emerged. This deeply engaging biography draws together Balasaraswati’s personal account of her life and her reflections on the process of making dance and music. It includes the commentary of family members and dozens of contemporaries from throughout her fifty-year career, revealing hereditary artistic values and conventions that have virtually disappeared in modern India. The book is generously illustrated with rare historical photos and a duotone gallery of distinguished photographers’ images of Balasaraswati’s dancing.” (1)

To see a video of the launch of this book at the Asia Society, where Knight was joined by his son, Aniruddha Knight, Balasaraswati’s grandson – click here. This is an hour and 20 mins+ video presentation that includes a rare video clipping of Mylapore Gauri Ammal’s abhinaya, Balasaraswathi  presenting “Krishna Nee Begane Baro” after doing an alapana.

For a review in Narthaki by Mr. Ragothaman, who happens to share a lot of the information that you get to see in this blog,  click here. It is very encouraging to see that his review has paved way for a special section at Narthaki.com for Book Reviews. If you do get to read the book, please share your book reports/review at Narthaki.com.

To purchase this book : I found two links where you can buy the book online. These links also provide more information about the contents of the book.

  1. http://www.upne.com/0-8195-6906-2.html. This website lists the book’s table of contents at  http://www.upne.com/TOC/TOC_0819569066.html
  2. http://www.amazon.com/Balasaraswati-Douglas-M-Knight-Jr/dp/0819569062

Filed under: Aniruddha Knight, Arts, Balasaraswathi, Bharatanatyam, Bharathanatyam, History of Bharathanatyam, Literature, Rasika, academics, artists, books, experiences, learning, review

Opportuntiy to perform at ABHAI’s “BRHAN – NATYA – YAGNA” at Thanajavur

The Association of Bharatanatyam Artistes of India (ABHAI) under the leadership of its president Dr. Padma Subrahmanyam plans to conduct the Brhan- Natya- Yagna, an offering of dance by 1000 dancers to commemorate the 1000th year of the Brihadeeswara Temple at Thanjavur. The  artistes will come together on the evening of 25th September 2010, in the temple premises to pay obeisance to Brihadeeswara and Raja Raja Cholan by performing together .

EntryRequirements:
(a) Open to ABHAI members
(b) Open to disciples of gurus who are ABHAI members.
(c) Minimum age – 12 years
(d) Must have performed the Salangai Pooja

* Donate Rs.100 to ABHAI and participate in the Brhan-Natya Yagna.
Last date for Registration: 15th August 2010.
Outstation participants can send DD in favour of ABHAI.
Queries may be sent only to: abhaichennai@gmail.com
Or contact ABHAI office: (91-44) – 24994751 (11am to 4pm)

* Dance gurus must inform ABHAI about the number of students they will be sending for this event. Individual dancers not attached to a guru can also participate.

* Dance gurus participating will be given a DVD with the specific items – on Vinayaka and Karur Devar’s verses on the Thanjavur Peria Kovil. The music composition/arrangement and dance choreography for the event are being taken care of by Dr. Padma Subrahmanyam. Participants are required to adhere to the choreography to ensure uniformity in presentation.

* Participating dancers to wear practice saree costume (colours will specified later). Younger girls to wear salwaar kameez (colours will specified later).

Mr. Ragothaman brings this event to our notice .

For more info : http://www.abhai.org.in/comingprojects.php

Filed under: Arts, Bharatanatyam, Bharathanatyam, Dance, Dance Gurus, Padma Subrahmanyam, Thanjavur, artists, choreography, dance festival, experiences, program, students , ,

Style Intolerance and Personal Preference

I have seen a growing obsession and intolerance to styles among dancers, students of dance and rasika. While stylistic differences are becoming less apparent due to dancers learning from more than one guru, yet antagonism between dancers who follow different styles does exist and is quite shocking.

I have often heard arguments centered around:-

  • geometry vs spontaneity
  • measured movements vs fluidity
  • individuality vs mass-production
  • aesthetics vs authenticity
  • tradition vs innovation
  • typical vs unpredictable
  • dignity vs grace

While personal preferences are but normal, is this total intolerance to others usual too?  Have you ever sensed this animosity I am talking about?  Blessed is the rasika who is able to appreciate across boundaries???

I  just spoke to someone who refused to attend a program because despite the dancer being a  ” perfect executioner” ( a term that came from the other end of the phone), he/she hates the style.

“Near and dears” and “not- so near and dears”  often express reservations with comments like

” Style too mathematically defined and superficial for my taste!” , ” Abhinaya measured”, ” Total Exhibitionism, self-obsessed “,”filmy”…While a few of these refer to the school/style, a few refer to the individual interpretation of the style too.

While most rasikas define and identify  the known styles/panis of Bharathanatyam ( as in kalakshetra, Vazhuvoor, Tanjore, Pandanallur etc etc) I knew a rasika/ critic who had his own classification system. This person never failed to coin terms that caught those destined to sit next to him off-guard!  Watching programs with this person was entertaining, educative and upsetting  all at once . This person was never ever pleased easily and his verdict was usually pronounced within the first 2 mins of the dancer’s stage presence. Here are a few samples:-

  • ” vettu killi tothu kili style”  - as in extra tempo
  • “karappanpuchi style”- too much hurried movement on stage
  • “Chani Mithi”- lack of movement on stage/ too much on the spot movement
  • “kathakalashepam”- very lokadharmi
  • “kizha boltu style”- no angasuddha
  • “tharasu”- measured to perfection
  • “intellectual type”- when more content is delegated to the compere!
  • “circus”- you know what
  • “photo shoot”- when too many poses were thrown in together
  • “key kodutha bommai style”- perfect but lack of internalization
  • mezhugu (wax) apple – everything is alright, but lacks soul
  • “all in one”- when the dancer learnt from gurus of more than one style
  • “garva natyam”- a dancer who always danced with the feeling and knew that she was good

Once he could place the dancer in one of his classes, he would  know what to expect. But the ones who were really good made him forget all about his nomenclature and classification. He would remain in his seat for a couple of minutes after the show, soaking up the experience. Finally he would get up and say ” paravalle illa?” (it was ok, wasn’t it?”).  He had coined a special feminine gender term for “nattuvanar”- “tattuvaani”!

And then, when a dancers natyarambham during the alarippu was below acceptable standards, he would proclaim ” tham enga vachikkarthu? kitathatta thaiya vachikkarathu!” playing on the phonetics of tham dit tham, kita taka thai. He once pacified an expectant parent who sought approval after his daughter’s performance. Not wanting to displease the father, he offered the following appraisal:

“Nanna key kodutha bomma mathiriye adina pongo! karapampoochi thootudumna ivakitte.. keep it up! Guruvaiyum sollanum parungo. She should take the credit for this!”( She danced like a wound-up toy, speedwise, she could win  the cockroaches..keep it up… You need to credit the Guru too!”

All of us friends and cousins had to scurry off hurriedly before we embarrassed ourselves!

This person isn’t with us any more. But his comments and classification system still lives among those of us who were blessed to know this genuine rasika. He enjoyed the goodness everywhere and objectively (within his scope of course) evaluated every performance.  We realized that vettukilis , tothu kilis, kizha boltus and mezhugu apples come from all different dance schools and so do the rare gems.

Filed under: Bharatanatyam, Bharathanatyam, Rasika, choreography, contemporary

Immigrating Mudras

Mudras adorn the New Airport (Delhi)/ Source: The Hindu/ Reference: Mr. Ragothaman

Teaching Indian Arts in alien soil always provides fodder for enough discussion. A number of searches for “Teaching Bharatanatyam outside India” brings readers to this blog. (At another instance I will share the unbeleivable search terms that I get to see!)

Anyway getting back to what I was talking about, it seems like teachers, students and parents alike, believe and expect that special techniques are needed to transfer the” know-how” outside India . The reasons for this expectation and line of thought could stem from the following basic differences between the home and host environments:

  1. What constitutes to being “acceptable” social norms in the country of residence of the student. This would include issues such as the dynamics of teacher- student relationship, general approach to issues (some kind of items may be difficult to teach in environments where Jeevatama Paramatma principle cannot be used easily to describe the erotic content in a  few items)
  2. The heterogeneity of the students coming to one class. Students come from a variety of homes, with different mother tongues, different amounts of exposure to “-Indian-ness” (knowledge of Epics and Mythology included, exposure to Indian History and Art etc.) I agree that some amount of this diversity is seen in the bigger cities in India too, but rarely would it be this heterogeneous a crowd. It then becomes the teachers priority to bridge the gap. He/ she may even need to say ” Saraswathi is not addressed at Mrs. Bramha”. And I am not joking!
  3. The existing environment of the student. This could include aspects of peer-pressure, the language of communication the student is more fluent in, the common patterns in body language and attire . I know of students’ who learnt Bharathanatyam either because they were in love with it  or their parents forced it down their throats. Either way, these students maintaianed their dance instruction sessions a secret, for the fear of being labelled  ”odd and different”. And when it comes to body language the successful student may have to unlearn and appreciate the subtle differences in even small movements that would involve the muscles of the face, shoulders  and in body posture.
  4. The approach to learning the art form. Art for arts sake may not be entirely a possibility these days. These kids are now attending other extra-curricular activities which are goal oriented, that specify small steps and short-term achievable goals and targets which may range from 3 months to an year at the most. I could give you examples of the various Math classes the students attend (Kumon for instance) or the ABRSM piano course with grade levels. It may not be quite appropriate to compare these with learning Bharathanatyam. But what I am trying to say is that these students and parents are now more attuned  to having their goals specified for them in tangible terms and a gratification or reward system and it happens within a short time span. Whereas, learning Bharathanatyam traditionally focussed more on individuals initiative and the achievement was proportional to the former with the role of instruction being less specific. And it takes quite a long time for a student of Bharathanatyam to have enough grasp to understand and appreciate his/her achievement. This can be frustrating for students who are used to saying “I have passed such an such  grade/level  within this many months”. I do know that ISTD (UK) and a few online degree programs are attuned to this specific- goal target- exam method of teaching.

I am not coming to the conclusion that all students in India learn the Art, solely for its sake. Things have changed drastically there too. Teachers praise and appreciation was at one time more reserved for mighty achievements. Today it comes a little more easily since the end  outcome of Bharathanatyam training and the kind of involvement from the Gurus side is constantly changing too. I am not going to go into the parameters and perspectives of judging the effectiveness of a particular school’s curiculum and style of instruction. To an uninitiated parent it is as much a challenge in India as it is abroad. But then learning art for the sole reason to put it down in the CV for college applications definitely gives a different outcome.

Ms. Soumya Tilak shared this link with us “Immigrant artists and gurus make Indian classical dance a California tradition”. This article has interesting quotes from a few successful dance teachers in USA ( Mythili Prakash, Ramya Harishankar and Katherine Kunhiraman)

Filed under: Arts, Bharatanatyam, Bharathanatyam, Dance, Dance Gurus, India, Malaysia, NRI, UK, USA, academics, do's and don'ts for dancers, experiences, learning, students , , ,

Indian Dance Gala, Edison, NJ (August 7, 2010 4.30-7.30pm)

Indian dance for Sri Krishna Vrundavana

This fund raising event features, Kathak, Odissi, Kuchipudi and Bharathanatyam performances

Please click on the link above for more details.

Filed under: Bharatanatyam, Bharathanatyam, Rasika, USA, program, promotion

2009 Yuva Puraskars Announced by SNA

Sangeet Natak Akademi (SNA) has announced the Ustad Bismillah Khan Yuva Puruskar awards for 2009 . Here is the list of awardees (for dance):

  • Ragini Chander Shekar (Bharatanatyam)
  • Swamimalai K Suresh (Music for dance – bharatanatyam nattuvangam & vocal)
  • Monisa Nayak (Kathak)
  • Hanglem Indu Devi (Manipuri)
  • Chinta Ravi Balakrishna (Kuchipudi)
  • Lingaraj Pradhan (Odissi)
  • Menaka P. P. Bora (Sattriya)
  • Manjula B Murthy (Mohiniattam)

For a more complete list of awardees (that will include those given to musicians) please visit http://www.carnaticdarbar.com/news/201002/20100701.asp

Thanks to Mr. K.T. Jagannathan for bringing this to our notice.

Filed under: Arts, Bharatanatyam, Bharathanatyam, India, Performing Arts, artists, awards, students, talent ,

Leela Samson to take charge as chairperson of Sangeet Natak Academy

Leela Samson, a member of Sangeet Natak Academy is expected to soon take charge as  its chairperson . Her appointment was cleared by Prime Minister Manmohan Singh recently.

The Sangeet Natak Akademi - India’s national academy for music, dance and drama – is the first National Academy of the arts set-up by the Republic of India. It was created on 31st of May 1952.As the apex body specializing in the performing arts of the country, the Akademi also renders advice and assistance to the Government of India in the task of formulating and implementing policies and programmes in the field.Additionally, the Akademi carries a part of the responsibilities of the state for fostering cultural contacts between various regions in India, and between India and the world

Related: The New Boss is in (interview with Ms. Leela Samson)

Another earlier interview

Thanks to Mr. Ragothaman for sharing this piece of info with us.

Source: http://timesofindia.indiatimes.com/india/Leela-Samson-to-be-Sangeet-Natak-Academy-chairperson/articleshow/6111583.cms

Filed under: Arts, Bharatanatyam, Bharathakalanjali, India, Sangeet Natak Academy, academics ,

Raghava Yadhava- A report.

Raghava Yadhava conceived and artistically directed by Nadarajan Muniandy and Ajith Bhaskaran Dass was a showcase of aesthetics and harmony all the way- invitation, brochures, colour co-ordinated costumes of the dancers, props etc etc inclusive.

The evergreen stories from the shores of the Ganges and Yamuna, the well known episodes from the life of Rama and Krishna go well with most audience.

The first segment “Raghava” was presented by Nadarajan Muniandy and his students trained in the Kalakshetra style at Subranjali Dance Theatre. Nadarajan had cleverly choreographed the pieces to provide opportunities for his students who varied in their skills and length of training. All dancers including the little ones who just had to do some Mardhita across the stage took their work seriously and gave it their best. I am sure their problem areas will all be set right under the rightful guidance of their devoted teacher. The narration itself started with Rama, Lakshmana and Sita crossing the Ganga in Guhan’s boat. The second piece was Arunachala Kavirayar’s “En Palli Kondeeraiya” choreographed in the shapdam/varnam format with medium sized jathis inbetween.  Nadarajan Muninady had strung together Sita Swayamvaram, Surpanaka and Maarichan episodes in between. The last piece of this segment portrayed Hanuman taking the ring from Rama and travelling across the ocean to Lanka and finding Sita in Ashoka Vana. Nadarajan’s simple narration and effective execution, and simple humour carried the message effectively and effortlessly to all sections of the audience including kids. While his students did participate, Nadarajan Muniandy solely carried “Raghava” on his shoulder.

Yadhava, the next segment was Ajith’s baby. He had the flexibility of making it truly a group choreography since he had just 7 of his well trained dancers accompanying him. This group started with Madurashtakam as the opening piece set to the tune of Ghatam Karthik’s Rathipathipriya Thillana. That tune never fails to impress and set a tempo! The Gokula Bala Varnam that followed had some wonderful visuals of Vasudeva carrying his child to Nandagopan’s house, Krishna’s kiddy pranks, Boothana episode etc. The Viswaroopa Darshan to Arjuna was so beautifully conceived- the students lined up behind Ajith randomly flowed out in Avatars ultimately merging back into Mahavishnu . Oothukadu Venkata Subbaiyer’s Kalinga Nardhana thillana was their concluding item. Ajith’s choreography draws beautiful geometric patterns that covers space and time and tests the fitness levels of the dancers and his students stood up to the task. Ajith’s  Mandi adavus that were sprinkled throughout his segments with innovative variations and utplavanas are a delight to watch. He tried a few jathis using only tripathakam, which still came across as complete and wholesome. His style comes across like a blend of Kalakshetra’s geometry and Vazhuvoor’s spontaneity, if I may say so.

The physique, dancing styles and body language of Nadarajan and Ajith naturally suited the respective roles they chose to portray for the evening and brought out the subtle distinctions in the characterization of the avatars. The dancers were supported by the orchestra that was ably led by Smt. Subashri on the nattuvangum. She was a picture of confidence and control and her jathis with special sollus like “ gumtha” for Surpanaka, “Mriga” for Maarichan etc came out beautifully. The Mridangists, 2 of them were such an asset to the program. They were Theban Arumugam and Pallavarajan Nagendran. The Mridangists also handled ghatam, kanjira etc for the special effects.  Bavani Logeswaran on the vocals, Achyuthan sashidharan Nair on the violin and Balasubramaniam Kalaiyaperumal on morsing did all they could to embellish the program. Since everything else was fine, one did not have to worry too much about the slight sruthi misalignment in the flute department. Meena Kumaree was the narrator for the program.

Nadarajan and Ajith  are both passionate dancers and wonderful teachers who manage to instil the same passion in their students. The students would do well to observe their teachers’ araimandi and how they complete their movements irrespective of the tempo.

And at the end of show Ajith and Nadarajan had more to offer… The audience had to exit from the top and once they exited the auditorium, they were thanked for their presence by none other than Nadarajan and Ajith themselves. I am accustomed to seeing a few members of the audience moving up to the stage or the green room to greet the artistes. This was a first, to me.  All other dancers and dance students were lined-up at the bottom of the stairwell and with their hands in Anjali the kids cutely said “thanks for coming” to everybody who came close to them.  A mami moving in front pointed out “Nadarajan and Ajith don’t seem to stop with teaching dance to their students, they teach them respect and humility and this will go a long way in ensuring their success in lives. “ She’s probably got a point. Congratulations to the teachers and the students!

Filed under: Arts, Bharatanatyam, Bharathanatyam, Dance, Dance Gurus, KL, Kuala Lumpur, Malaysia, Performing Arts, Suvarna Dance Company, academics, artists, choreograhers, choreography, program, review, students , , ,

Cluttered Desk!!!

Well…. I have been quiet not because there has been nothing to say… it is a case of too much to say and too little time. I am just waiting to see if I finish this post in one sitting!

Did you get to read the article titled “Preserve the house of Tanjore Quartet” in “The Hindu”?

Well if you havent already , here it is http://beta.thehindu.com/news/cities/Tiruchirapalli/article437551.ece

Thanks to Mr. KT of Carnatic Darbar for bringing this to my/our notice.

Hmm the next point on my agenda is to share the views expressed by some die-hard BN fans. They are slighty upset that they didnt get to see enough BN in the World Tamil Conference Theme song.

Not seen it yet?  I am aware  of its appearance in a couple of Tamil Channels at least. If you havent, no worries.

See it on You Tube

Now for some general musing. ..

Went for a show a couple of weeks back. Not an exclusive BN program, but a collage of Indian art Forms(not ina way I expected though). It was a showcase of  Indian Music and Dance , both “Classical” and “Contemporary”.  All of this brought together under a central theme. There were a few wonderful performers with outstanding potential, and lots of average performers. Everything seems to have been rehearsed to perfection.

Throwing together pictures of any and every different kind may not always result in an artistic collage. There is a reason why  mango trees don’t grove in deserts. “Unity” in “Diversity” cannot be thrust upon,  it should come naturally. Patchwork is not always meant to be Art. High pitch, tempo and volume are not measures of quality and attempts to excel solely in these parameters may have pathetic consequences.

Meaningful pauses in an artistic composition help more than just provide rest both to the performer and the audience. They help emphasize, reinforce and aid comprehension of the thoughts presented earlier. Success lies in harnessing the “Power of the Void “ effectively and appropriately, if your idea is to have the crowds understand and appreciate what you present and the idea behind it. If having the crowds sway as long as it is physically possible for them, in their hope to release their pent up emotions and energy is the goal, then that may be a different case. Continuous activity may end up creating din and cacophony.

Every bit of the stage being occupied by artistes doing their own thing… .To me, the disorientation and noise was overwhelming! Kind of like how Dan Brown’s character Robert Langdon feels in confined spaces.

Yes! I did it. I am posting it now. Will come back and edit the draft. I am afraid if I leave it in the drafts, I might not come back to post it all that soon.

Filed under: Bharatanatyam, Bharathanatyam, Carnatic Music, Dance, KL, Kuala Lumpur, Madras, Malaysia, Performing Arts, Tamil, Thanjavur, contemporary, program, talent ,

Kuchipudi Kalanidhi seeks new choreography submissions for its 2010 Emerging Choreographers’ Showcase

Kuchipudi Kalanidhi seeks emerging classical Indian choreographers to submit new work to be performed in an Emerging Choreographers’ Showcase during its 2010 Festival of Indian Dance. Now in its third year, the festival is aimed at providing a platform for outstanding classical Indian dancers who are based in the United States, advancing the future of Indian dance by making it accessible to diverse audiences in this country. Each year, the festival attracts hundreds of spectators from the DC metropolitan area who share a passion for the arts and are strong supporters of classical Indian dance. The Emerging Choreographers’ Showcase will be an invaluable opportunity for young artists to gain exposure and present their work in the area. The Showcase will serve two main purposes: to provide emerging artists a forum to present their art, and to encourage classical Indian dancers to showcase new works that preserve the classical dance heritage while simultaneously making it relevant to current times.

Deadline: June 20, 2010

Choreography Guidelines: Choreographers may submit existing or new work. Submitted work must be between 5 and 15 minutes in length. Submitted work can be solo or group choreography. Choreographers may choose to perform in the Showcase themselves or choose dancer(s) to perform the work for them. Submitted work must be a classical Indian form or based in/inspired by classical Indian movement. No Bollywood, bhangra or folk pieces accepted.

Honorarium: Chosen choreographers will receive a $250 honorarium.

Time line: Choreographers are encouraged to use the Emerging Choreographers’ Showcase as an opportunity to reflect on and refine your work. Therefore, you are given an opportunity before the final performance to workshop your piece and receive feedback.

  • June 20, 2010: submission deadline for choreographers
  • July 20, 2010: choreographers and works are selected for the Showcase
  • Sept/Oct 2010: informal workshop of all the pieces; each choreographer is given a Q&A session with the audience to receive feedback on the work so far.
  • November 6, 2010: final performance at the Emerging Choreographers’ Showcase during Kuchipudi Kalanidhi’s 2010 Festival of Indian Dance

Submissions: Choreographers may choose to submit a digital video file or DVD of the work to be considered.

  • Choreographers must submit a digital file (should be playable on both PC and Mac) or DVD containing the entire work to be considered for presentation in the Showcase. The video must be recorded in a dance studio, or equivalent, and must show the dancers and choreography clearly. If the video is of a stage performance, the dancers and choreography must be clearly visible. Maximum length of work is 15 minutes. Submitted DVDs will not be returned.
  • Choreographers must write and submit a one-page narrative describing the work under consideration, and include all technical, musical, and other credits as applicable.
  • Choreographers must include your bio and resume with mailing address, email address, and phone number where you can be reached.

Deadlines: All submissions must be received by June 20, 2010. Choreographers will be notified of their status by July 20, 2010.

Submit to:
Anuradha Nehru, Artistic Director
Emerging Choreographers’ Showcase
Kuchipudi Kalanidhi
6816 Bradley Blvd.
Bethesda, MD 20817
E-mail (for digital video files):
kalanidhi.dance@gmail.com

Questions? Email kalanidhi.dance@gmail.com or call (202) 361-3067

Filed under: Dance, Institutes, USA, choreograhers, choreography, competitions ,

RSS Event Updates

  • Rangoli Foundation presents Yoga Workshops (part of 25th Anniversary Celebrations),California, USA
    When: Sun Jul 11, 2010 to Sat Aug 14, 2010  Where: Rangoli Space, Sherman Oaks, Ca , USA Event Status: confirmed Event Description: Renjith Babu Choorakkad (Instructor from Chennai, India) Rangoli Foundation presents a unique series of Yoga workshops during summer with Renjith Babu Choorkkad at the Rangoli Space, Sherman Oaks, Ca. Renjith combines strong and […]
  • DANCING MY SHIVA by Mavin Khoo, 8.30 pm MYT, KL
    When: Fri Jul 30, 2010 to Sun Aug 1, 2010  Where: AUDITORIUM DBKL Jalan Raja Laut, Kuala Lumpur Event Status: confirmed Event Description: Tiket: RM30, RM50, RM100 For further information please contact: 0122072402 (Puan Sri Khoo)
  • TARIAN THE SPLENDOR OF ENLIGHTMENT BTSOE, KL
    When: Fri Jul 30, 2010 to Sat Jul 31, 2010  Where: Dewan Plenary, KLCC Event Status: confirmed Event Description: BTSOE is a dance drama about Prince Siddharta Buddha’s experience during His search for the meaning of peace. It highlights his birth, growing up, marriage and search for enlightenment. Presented by approximately 70 dancers ranging from the ages […]
  • Siri Teater Tradisional – Bharata Natyam By: Temple of Fine Arts, 8.30pm MYT, KL
    When: Sat Jul 31, 2010 8:30pm to 10:30pm  IST Where: Panggung Bandaraya Kuala Lumpur 8.30 – 10.30 pm Event Status: confirmed Event Description: For more info contact :Department of Culture and Arts No Tel: 03-2052 3600 www.jkkn.gov.my / www.klfestival.org.my Free Programme
  • Alarmelu Valli and Madhavi Mudgal in Svanubhava, an exclusive event for students of classical music and dance, Chennai, India
    When: Mon Aug 2, 2010 to Sat Aug 7, 2010  Where: Kalakshetra and others Event Status: confirmed Event Description: Svanubhava is a joint initiative of Matrka, an outfit formed by Carnatic vocalists Bombay Jayashri and T. M. Krishna, and city-based Youth Association of Classical Music (YACM), an organization run by a group of youngsters to provide a platform […]
  • Indian Classical dance Gala, Edison ,NJ, 4 pm ET
    When: Sat Aug 7, 2010 4pm to 7:30pm  IST Where: 215 May Street, Edison ,NJ Event Status: confirmed Event Description: Fund raising for Sri Krishna Vrundavana All are welcome Not ticketed, donations welcome. Flyer posted in the blog
  • Shivaya: 25 Years of Creativity & Excellence,Thousand Oaks, Ca
    When: Sat Aug 28, 2010 Where: Scherr Forum Theatre, Thousand Oaks Performing Arts Center, Thousand Oaks, Ca Event Status: confirmed Event Description: On aug 28 : 5:00pm - 8:00pm (local time) On aug 29 4:00pm - 7:00pm (local time) To celebrate the 25th anniversary of the Rangoli Foundation, the Rangoli Dance Company (RDC) presents traditional Bharatanatyam d […]

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A note to readers and authors…

The primary aim of this blog is to share Bharathanatyam related information with an interested audience . I have made all attempts to cite sources with the best of my abilities and intentions if I have used a source. Thanks and Regards, Sangeetha.S

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