Music and Dance Season 2009-2010

I will consolidate all posts on the Madras dance and Music Season 2009-2010. For those of you who would like to know what it is like , “The Hindu” had brought out a curtain raiser on the upcoming “Chennai Music and Dance Season 2008″ (PDF version)
This includes an interview with Alarmel Valli. You can download the same at http://www.hindu.com/ms/index.htm

This Season’s Dance Award Winners are listed here

Thematic presentations and dance dramas that are scheduled to be presented for this season are listed here

Madras/Chennai Concerts*

Krishna Gana Sabha’s Natya kala Conference: that is an annual event during the season will be held at the sabha between December 26 and 31, 2009 .This years conference is convened by Ananda Shankar Jayant . The theme is “Dance Matters”.
contact e-mail: anandasj@rediffmail.com

Online Schedules/guides

• The dance concerts we get to know of will be added to our calendar which can be viewed in the middle column of the front page of this blog. I have added schedules from Narada Gana Sabha, Bramha Gana Sabha, Nungambakkam Cultural Academy, Bharat Kalachar, Sri Krishna gana sabha,  Kalakshetra and others (that I came to know o)f. All programs are subject to change.
• A new comprehensive website (http://www.thedecemberseason.com/home.php) has been launched to provide substantial information on schedules and location of concerts, andother related information like lodging and dining.
• Saigan’s Consolidated and updatedMargazhi Season Guide can be found here
• Visit http://artindia.net/madras09/index.html for a listing of  this season’s music and dance performances( Maintained by Sri. G.S. Rajan)
• Mr. Ramkumar’s blog regularly provides Madras Kutcheri  updates (including  the season concerts, esp. for carnatic music concerts)

Updated Sabha/organization Websites

• Madras Music Academy- http://www.musicacademymadras.in/home.php (schedules updated for this year)
• Bharat Kalachar- http://www.bharatkalachar.com/twentythirdmahotsav.html (schedules updated for this year)
• Vani Mahal-http://www.vanimahal.com/isai_iyal_vizha.php (schedules updated for this year)

Tickets Reservation for NRI:
Kartik Fine Arts: NRIs who want to attend the December season concerts can e-mail the sabha Secretary and reserve tickets. Reservation queries must be sent in October. Such people will get preference in issue of tickets. (subject to availability)

KARTIK FINE ARTS[Regd]Registered office address:
New No.16, old no.39,
Bheemana Garden St,
Abhiramapuram,
Chennai- 600018,
Ph:91-44- 24997788.

Administration Office address:
2,Sringeri Mutt Road,
Chennai,
Ph:91-44- 2495 2695.
E.Mail :kartikfinearts@vsnl.net  http://www.kartikfineartschennai18.com/

Swathi Sangeethotsavam is an annual classical music festival celebrated in honour of Maharaja Swathi Thirunal Rama Varma (1813 – 1846) the  poet king of the Travancore dynasty. This seven day festival is held annually from January 6 to 12 at the ‘Kuthira Malika’ palace at Thiruvananthapuram, Kerala, India where the king himself composed many of his musical gems.This could be a fantastic add- on to your season pilgrimage.Prince Rama Varma who organizes this music festival extends a warm welcome to all music lovers. These amazing concerts are entirely free . The schedule of Jan 2010 festival is as follows:-

Jan 6  Sanjay Subrahmanyan
Jan 7  Balasai (Flute)
Jan 8 Kunnakudi Balamuralikrishna
Jan 9 Varma
Jan 10 Mavelikara P.Subramaniam
Jan 11 Pandit Venkateshkumar (Hindusthani)
Jan12 Seetha Rajan

For more details on this festival visit http://www.aparnaonline.com/princerama.html

Sharing your Schedules

Please feel free to share your performance schedules, reviews and other related info here. Leave it as a comment and I will work on getting it published. Events will be added to our  Event calendar .

Source of Info: Personal emails, Music and Dance Websites, Brochures, Mgazines etc.

*-Please verify program schedules  with newspapers/sabha  as they may be subject to changes

Filed under: A.Lakshman, Anita Ratnam, Anitha Guha, Arts, Bharat Kalachar, Bharatanatyam, Bharathakalanjali, Bharathanatyam, Carnatic Music, Chennai, Chitra Visweswaran, Dance, Dance Gurus, December season., Dhananjayan, Gayathri Balagurunathan, India, Kalakshetra, Kartik Fine Arts, Kavita ramu, Kerala, Krishna Gana Sabha, Madras, Madras Music Academy, Madras Music Season, Madras dance Festival, Male Bharathanatyam dancer, Padma Subrahmanyam, Padma.S. Raghavan, Performing Arts, Prince Rama Varma, Priyadarshini Govind, Rajeswari Sainath, Rasika, Shanta, Sheejith Krishna, Shijith Nambiar, Shobana, Sreekala Bharath, Sri Krishna Gana sabha, Urmila Satyanarayanan, Vijayanthimala Bali, artists, awards, choreograhers, choreography, dance drama, dance festival, experiences, learning, leela samson, program, students, upcoming artist , Ananda Shankar Jayant, December, Kuthiramalika 2010, Natya kala Conference, Pooja Kumar, Season, Swathi Sangeethotsavam, Vani Mahal

Natyakala conference Updates

This year’s Natyakala conference as you may recall had “Ramayana” as its theme and was convened by Ananda Shankar Jayant.

Interviews with the  participants/presenters at Natyakala conference organized this season (Dec 2008) can be read at Narthaki http://www.narthaki.com/iindex.html

A report by Rajee Mani  on the conference posted in Narthaki may be read at http://www.narthaki.com/info/rev08/rev682.html

A detailed report on the procedding on a day to day account by Pratima Sagar may also be read at http://www.narthaki.com/rindex.html. Look for an article titled Natyakala Conference 2008

Leela Venkatraman’s report in The Hindu – http://www.hindu.com/fr/2009/01/02/stories/2009010250970300.htm

Filed under: Anita Ratnam, Arts, Bharatanatyam, Bharathanatyam, C.V. Chandrashekhar, Chennai, Dance, Dance Gurus, December season., Krishna Gana Sabha, Literature, Madras, Madras Music Season, Madras dance Festival, Sri Krishna Gana sabha, artists, choreograhers, choreography, dance drama, experiences, learning, review , Conference, lec-dem

Tenth annual performance of Kaisiki Natakam- Vaishnavism

The tenth revival performance of the all night ritual theatre tradition KAISIKI NATAKAM will take place on December 9, 2008 at Tirukurungudi, Tamilnadu .

The sacred environs of the AZAGIYA NAMBI temple at Tirukurungudi will reverberate with this historic performance that was revived after more than 50 years of decay and neglect.  The story of the low born devotee Nambudevan and his single minded devotion to Lord Vishnu as Nambi, resonates with the same passion as Nandanar in Chidambaram. The interception of the demon and his subsequent surrender at the feet of this true devotee is the legend of Kaisiki Natakam which takes its title from the ancient Ragam (Pann) of the music score. 
  
Over the past twelve years, Anita Ratnam has been heading the team that began the revival efforts. The journey has been long and fraught with many challenges. Still ahead lie more bridges to cross but the annual performance has revived crowds to this magnificent shrine and international music and theatre directors have visited to document this unique ritual theatre form.  
 Tirukurungudi temple is near Eruvadi, Tamilnadu – 30 minutes drive south of Tirunelveli. 
  
Time of performance is 10pm onwards on December 9. Duration is for about 4 hours into the early hours of December 10. 
  
ARAYER SEVAIwill be performed by the priests of Sri Villiputtur temple around 4am on December 10. 
  
ALL ARE WELCOME 
  

Contact:  
Anita Ratnam: arangham@gmail.com  
www.arangham.com 

To Read the complete story visit Narthaki at http://www.narthaki.com/info/prv08/prv194.html

The Arangham website’s ritual and revival has been updated

To read more about the revival of Kaisiki Natkamvisit Arangham here

To Learn more about the Arayar Sevai Visit Arangham here

Filed under: Anita Ratnam, Arts, Bharatanatyam, Bharathanatyam, Dance, History of Bharathanatyam, India, Introduction, Literature, Performing Arts, Rasika, Tamil, artists, choreography, dance festival, learning, program, promotion , Arayar Sevai, Kaisiki Natakam, Vaishnavism

Vaishnavism and related aspects in Bharathanatyam

A reader of this blog recently attended a dance program by Zakir Hussain titled “Narayanam”, that showcased his reasearch work in Vaishnavism.Zakir received training in dance under Chitra Visweswaran and learnt theory from Krishnaveni Lakshmanan of Kalakshetra. She told me that his work was based on Vaishnavism during 5th and 6th century and that he had learnt the Aagama mudras from the chief priest of Sri Parthsarathy Swamy Temple, Chennai. I recall that Ms. Anita Ratnam did a similar research with the Aryar Sevai and their revival. She incorporated her research into her production titled “Neelam”.

 At this point, my memories take me back to the small Thengalai Iyengar ” Kothanda Ramaswamy” Kovil in the colony that I grew up in. The mudras that the temple priest used in his everyday rituals were indeed mesmerising and narrative.

Here is an excerpt form the Aryar Sevai

” Arayar Sevai means : ” the service of offering of royal priests”.
They sang and danced before the Lord and intrepreted the individual paasurams of AzhwArs as a part of the temple ritual known as Arayar SEvai . This tradition continued at Temples such as Srirangam, SrivilliputthUr,  AlwAr Thirunagari. The Arayars had a distinct place of honor in the worship of the Lord at the above temples. Great AchAryAs like RaamAnujA , EmbAr, ParAsara Bhattar enjoyed these bhakthi-laden SamarpaNams of the ARayars before the Lord during major festivals like Pagal Patthu and Raa Patthu . Special programs were carried out during this important festival.

The Arayars always performed inside the temple and in front of the Lord alone. They developed a repertoire of paasurams of the AzhwArs in general and those of Swamy NammAzhwAr in particular dealing with the dasAvathArams of the Lord and those pasurams , where KuruhUr SatakOpan looses Himself in the role of  ParAnkusa Naayaki seeking the aasrayaNam of the Sacred feet of the Lord and the unparalleled joy of union with her Naayakan , the Sarva Swami , Sriman NaarAyaNan.

The Arayars were trained by their own forefathers to follow the Arayar Sevai in the strictest sampradhAyic manner going back to Swamy Naatha Muni. The Arayars wear the DhOti in panchakaccham style, adorn a silk upper garment and have a conical cap(VishNu’s cap) during their service(sEvai) to the Lord . They wear the garlands used by the PerumAL and hold the brass cymbals in their hands to beat time to the vocal music and perform SaathvIkAbhinayam to the passages of the AzhwAr Paasurams.Unlike the dance that emphasizes Nruttham techniques requiring the wearing of ankle bells , the Arayars engage in the performance of Nruttham-free Naatyam , where facial and body movements (abhinayams) are most important. The basic Thatta-Adavu of Nruttham is occcasionally used. Whenever the Paasurams dealt with SringAram , even the Thatta- adavu is eschewed. The Arayars of Each temple have their own particular rasAnubhavams during the performance of the Arayar sEvai. For instance , at SrivilliputthUr and AzhwAr Thirunagari ,  the Arayars walk back and forward in a delectably sweet way that is a treasure to behold.

So for those of you who want to look into more information on these lines, please check the links below.

http://www.ramanuja.org/sv/bhakti/archives/sep2001/0012.html (Info on Satvika Abhinaya of Aryars fro Andal Pasurams)

http://www.ramanuja.org/sv/bhakti/archives/apr99/0069.html ( Anitha’s Aryar Sevai and Kaisiki Natakam)

http://www.narthaki.com/info/rev07/rev433.html  (Review on Neelam) 

http://www.thehindu.com/fr/2008/11/21/stories/2008112151220300.htm ( Review of Zakir Hussain’s Narayanam)

Unfortunately  Arangham’s link on the research no longer is active.!

Srimathi KaLLapirAN RanganAyaki AmmAL , a devout  Bhakthai of VaanamAmalai Matam has written extensively about Arayar Sevai at Srirangam temple in her book: “Acharya PrabhAvam”..

Bharata Natyam artist , Srimathi Lakshmi VisvanAthan has a small chapter on Arayar sevai in her book , Bharatha Naatyam: The Tamil Heritage .

Will keep this post updated when I find more details.

Filed under: Abhinaya, Anita Ratnam, Arts, Bharatanatyam, Bharathanatyam, Carnatic Music, Chennai, Chitra Visweswaran, Dance Gurus, History of Bharathanatyam, India, Literature, Madras, Male Bharathanatyam dancer, Performing Arts, Sudharani raghupathy, Tamil, adavus, artists, books, choreograhers, choreography, experiences, program, review, upcoming artist , ritual, Vaishnavism, Zakir Hussain

Dance Writing Workshop a combined effort by Narthaki and The Hindu

The writer/critic indeed assumes a great responsibility in terms of  helping  the sustenance and growth of all art forms.  Narthaki and Hindu have come up with this effort to train and educate interested participants. I indeed appreciate the timing of this workshop just before the season unfolds in Madras… and,  those of us who can only wish we were there will get to so lovingly read and reread those reviews that bring accross the season to us in words.

Narthaki lists the following details in the website …

www.narthaki.com and The Hindu organize 
a week long dance writing workshop 
in Nov 2008 at Chennai

Mentored by 2 distinguished writers

- 3 hours a day daily for 7 days
- Watching performances and rehearsals with dancers at Anita Ratnam’s dance space or 
at a specified place arranged in advance where some senior dancers will perform for 30 minutes and have discussions about process and choreography
- Responses about the performance. 

Participants have to pay Rs. 750 only for the entire session
A certificate will be given at the end of the session
All will have to keep their evenings free to watch performances

Participants from outside Chennai have to make their own travel and stay arrangements. 

Exact dates and other details will be announced shortly. 

Those interested, please write to narthakionline@gmail.com 

Irresponsible review and criticisms just leave so much bitter after taste … It is high time some channelised effort in terms of informing the media is undertaken. Well we indeed need to Thank (with a capital T) the management of The Hindu for being one of the major newspapers which delegates considerable space to the Arts…
Our electronic media?:)  Well, that’s not in our purview..

Well there is also this subjective bias inherent in the human form, in you and in me that we need to  “unlearn” over and over again… Sentiments, emotions and passion runs high in this field and it is indeed difficult to steer clear of all of this and come up with a sensible unbiased review..

Filed under: Anita Ratnam, Arts, Bharatanatyam, Bharathanatyam, Chennai, Conference, Dance, India, Madras, Performing Arts, Rasika, Workshops, artists, books, choreography, experiences, learning, review, students, talent

Kavitha Ramu Talks…

Here is a transcript of my informal chat session with Kavitha ramu, who apart from being all that she is also comes accross as a very friendly person so full of warmth.. There is absolutely no formality in this interview and I enjoy the spontaniety in her answers. I am sure you will enjoy this too..

Kavitha Ramu

 1. Kavitha Ramu- getting to know her…
A senior Bharatanatyam artist with over 20 years of experience as a soloist and over 400 performances spanning over many years.
An A grade artist of doordarshan and an empanelled artist of the ICCR.
Trained in nattuvangam from Kalaimamani Indira Rajan.

 Her Academic background:
An university rank holder in Economics {Bachelors} and university topper in public administration  {Masters}.Presently pursuing Masters in Bharatanatyam from the University of Madras.
  Her Awards and Titles

 Kavitha has received many awards and titles including the Nadanamamani by Karthik Fine Arts, Yuva Kala Bharati by Bharat Kalachar, Yuva Kala Vipanchee by Vipanchee trust, Ambujam Krishna award by the Music Academy, Nrithyasri by Sarigamapadani Foundation. Lakshmi vishwanathan endowment prize by krishna gana sabha.has performed widely in India and abroad..

 

• 2. How and when did you start learning.. Your Guru(s)….        

  Well, I started learning when I was 4 yrs of age and it was my mom who initiated me into this art form…….because I was always dancing when she played any song! My first gurus were a couple in Salem Shri.Narayanan and Smt.Jayalakshmi Narayanan. My father was posted in Salem then and so I started learning in Salem. That was for a year..even then my gurus were so impressed by my dancing that they came all the way to Cuddalore to handle classes for me when we shifted to Cuddalore again because of my dad’s transfers…… the principal of my school in Cuddalore liked my dancing so much that she appointed the dancing couple to handle classes for children in our school once every week. My first full length program was when I was 8.

 

We then shifted to Madurai and I was under the tutelage of Smt.Neela Krishnamoorthy, elder sister of Dr.Padma Subrahmaniam. She was the one who refined me and perfected my adavus, making them stronger and graceful…………a wonderful experience learning with her and I was with her for almost six years with many a moment to treasure………..a very enterprising guru…..and one important event was when we performed as a group at the World Tamil Conference at Madurai………..I was too young to remember what items we did……probably in my 6th standard………but Neela miss made us learn karagam from the great karagam artist Shri. Om Periasamy…………we all performed karagam as well. Later my guru gave us a formal arangetram in Chidambaram………

.
My formative years in Bharatanatyam was with Guru.Neela Krishnamoorthy and truly a lifetime experience……..all the vacations used to be full time in her place……we used to have a whale of a time. Myself, my gurus daughter Lakshmi, Srividya and Gayatri were the gang of 4……..Guru.Smt Neela is no more….but there is not a day that I dont think of her and reminisce the good old days……..and whenever i see paddu akka (referring to Ms. Padma Subrahmanyam) or Kannan anna(Veenai Kannan) the bonding is so spontaneous…..
Later in tanjore i was with Guru.Rajendran for less than a year…………

After coming to Chennai, it was Guru. Kalaimamani K.J.Sarasa and by then I was quite experienced as a dancer ………though I started performing full time only after I came to Chennai.Sarasa teacher’ s nattuvangam was the best I could have had…vibrant, stylish with the necessary punches……………her nattuvangam for me was especially different coz I love to be a speedster as far as the pace is concerned……………

 

•3.       Your experience while performing  at the World Tamil Conference…

Performing at the World Tamil Conference was quite an experience………..that was my solos at two different venues for the 8th World Tamil Conference at Tanjore. When I was clueless as to what to present , it was Revaty aunty {Smt.Revathy Sankkaran} who picked up this idea of compiling verses for Tamil classics depicting the navarasas. The music was scored by violin Maestro. Kunnakudi R.Vaidhyanathan and choreographed by my guru. Sarasa teacher……………

It had verses from thevaaram,perumal thirumozhi,kaalamegappulavar charitram,thiruvasagam,thirupugazh,perur puraanam,kambaraamayanam and thiruarutpa……….

 4. Tell us about your experience working with Mr. Sheejith Krishna.. Coming from different schools how easy was it to collaborate…

Sheejith has always been a very good friend………..we started working together for the first time for a production by ABHAI , Narasimachari sir’s choreography, “Aindhinai” which enunciated the five types of land and spoke about their culture and varied moods…….we were the hero and the heroine for kurinchi, the very first piece………….where we were supposed to fall in love and get married………..it was great fun and challenging to dance to chari sir’s choreography…….Sheejith and I were very comfortable dancing and he would often pull my leg by singing ‘kaarmegakkuzhal’ which spoke of his heroine’s long tresses and I had a boy cut then………after our time in ainthinai…..we did a project called “idhuvum adhuvum”, again compiled by Revathy aunty; which spoke of the contradictory forces which co exist happily…….something in the lines of ying yang………..both of us did the choreography in portions and it was well received………

well you had asked me about the different styles……..probably you meant the Kalakshetra style and Vazhoor style. Somehow I always feel, in Bharatanatyam it is the person’s style that matters more and the so called bani s become superficial….as long as the adavus are perfected, araimandi is neat and the lines are clean…all the so called styles gel well! so we really didn’t have a problem doing it together . Sheejith now teaches full time in Kalakshetra as a lecturer and his choreographies are very innovative………

since we are very good friends otherwise working together does not bring any clash of opinion…his wife joti is also a great pal………

 

 5.  Read that you coordinated the opening and closing of the SAF games, 1995. Would love to hear about that….
SAF games…….being a cultural coordinator there was yet another memorable experience…………..we had several folk dance groups from all over the country and my role was to give them some formations………guiding them in such a manner that the flow one by one is not interrupted…………. we had our popular bhangra, dandiya bihu, and thappattam and a few forms like poong chalam, dholu kunitha,laavni,jawara which deserve their rightful place……..we also had lezims………

interacting with the groups………….going to their place of stay and see them rehearse……….making them understand the formations and flowing movements required….a joyful learning experience…………I was working with Major General Narendar Singh who was in charge of the opening and closing ceremonies…………I was just in the final year of my Masters then and this experience will always remains close to the heart

 •6.      Your time management must be excellent given that you also occupy an administrative position in the TN Govt .

 My time management is not so good. If you thought it would be good…and managing both is not as easy as my father told it would be………only because my father told me that I was a failure if I was not capable of making it to the service…..and I had to prove  I was not(a failure) and I took up the exams………..and got selected…………but  my priorities as a dancer and the responsibilities of an officer are at logger heads with each other………………and the dancer in me has to make a lot of compromises because of officialdom…..for instance, I had a flourishing dance school with more than 50 students before I entered service…….and now I have none ….i had to dismantle the whole thing………….it is easier said that one can have somebody to handle classes……but things don’t flow smoothly…..

7. Your thoughts on is it easy to branch out from the style of One’s Own Guru.. Do most dancers tend to become imitations of their Gurus?
Out of experience as I already told you , I do not believe that the different styles are very different……….as long as adavus are pefected and lines are neat all styles would be pleasant to watch and work with…small changes in kitathakatharikitathom and a few adavus are not glaring…….

yes…….I do agree that some dancers do imitate their respective gurus which sometimes does not suit them. But it is inevitable because they are so much used to watching their guru….and it knowingly or unknowingly gets into mental framework that it appears as though they imitate their guru……….however if the dancer takes a conscious effort to evolve a style that suits him/her it would be a pleasure to watch………………. So,as far as I am concerned.no stlye is difficult for a good dancer and a quick learner………..

 •8.      How healthy is the dance scene for Upcoming Artistes in Chennai?

Today’s dance scene is very healthy I should say………….youngsters of today are very eager to learn, quick to learn, very professional in their approach…………..fluent in different styles ,I have seen many perfect their hip hop and jazz as they have perfected Bharatanatyam, also keeping their styles intact……………very energetic, happy to help, easy to work with….all positives and can’t really think of any negative quality in the dance scenario of today!

Ok I have told you about the dancers of today…………well with the dance scene for upcoming youngsters I think sets me thinking…………hunting for sponsors becomes very difficult for many a gifted artist. Platforms are aplenty but whether the one who deserves that platform gets it or not is a question.

 •9.      What are your thoughts on innovation?

Innovations are part of dance……….always welcome. There are many contradictions about how much such innovations can stretch,but personally i feel that it is entirely the artists’s space/world. It is after all his/her creation, something that takes form in him/her, nurtured in him/her and is manifestation of each choreographer’s uniqueness. It is that person’s creative best and should always be appreciated.

It is very easy to criticise a work as ‘very ordinary’ and ‘boring’. But one has to understand that every artist wants to give his/her best try to make the work presentable…….lot of research, lot of thinking, good deal of effort go into a project……..again am not just talking just about innovative and contemporary themes, also about their choreography! I always think that water tight compartmentalisation of styles should not be stressed upon. Anita akka{Anita Ratnam} for instance is a very successful choreographer because she does not hesitate in incorporating thappattam, kalari, western fusion and so on wherever they are required…..

 •10.  Your choreographies …

My choreographies..
Balaghantam: excerpts from tha ramayan
Azhwargal kanda ambhjappaadan:a thematic presentation combining pasurams and works of Smt.Ambujam Krishna.
Mathurapuri nilaye: a thematic presentation on goddess Meenakshi
Ondre kulam:
Samathuvame samudhayam:
latest-the peacock .

11.  Do you teach? Have you given a thought to teaching?

I love to teach………it gives a lot of satisfaction watching one’s students perform as I already told you I do not handle classes for want of dedicated time for classes. Nevertheless some of my old students who were in school and who are now of marriageable age, who do not want to go elsewhere to learn, insist that I start again. So, I do have plans of starting again mainly with those few in mind………..

 Thanks Kavitha for sharing your thoughts/views with us despite your busy schedule…

 Best Wishes ..

 

 

 

 

Filed under: Anita Ratnam, Arts, Bharatanatyam, Bharathanatyam, Chennai, Dance, Dance Gurus, India, Madras, Padma Subrahmanyam, Performing Arts, Sheejith Krishna, Tamil, Thanjavur, artists, awards, choreograhers, experiences, k.J. Sarasa, talent , Kavita ramu

Dance Of Numbers.

Well, numerical concepts have long been dealt with by choreographers. But recently, Sangeeth Natak Academi organised a Festival of Dances entitled “Nritya Sanrachna” in Hyderabad. The festival, which presented several dance forms of India, was conducted at Ravindra Bharathi from 21st to 25th of July 2008.

Kutcheribuzz says “The dances were choreographed based on numbers, or Sankhya Yoga, for which India is renowned from ancient times.”

Here’s a look at the number, the concept and the choreographer

• 10- Dasavataram-Bharathai Shivaji (Mohiniattam)
• 9-Navarasa-Dr. Ananda Shankar Jayant(Bharathanatyam)
• 8-Astanayika - Singhajit Singh (Manipuri) 
• 7-Sapta Aavartathe seven movements or orbits) - Prerana Shrimali from Delhi (Kathak)
• 6- “Shatrutu” (the six seasons) by Swapna Sundari in Vilasini Natyam
• 5- Pancha Bhootas- contemporary performance by Anita Ratnam
• 4-Chaturvedas-Rajashree Shirke (Kathak)
• 3-Trimoorthi-Shashdhar Acharya (Chhau)
• 2-Dwaitam-Radha and Raja Reddy(Kuchipudi)
• 1-Advaitam-Dr.Padma Subrahmanyam (Bharathanrityam)
• 0-Shoonya-Sonal Mansingh (Odissi)

The programme was co-sponsored by the Department of Culture of A.P. Government and Shankarananda Kalakshetra of Hyderabad. Ananda Shankar Jayant coordinated the entire event.

Read the whole article here

Filed under: Anita Ratnam, Arts, Ashta Nayikas, Bharatanatyam, Bharathanatyam, Conference, Dance, India, Padma Subrahmanyam, Performing Arts, Rasika, South Asian Dance, artists, choreograhers, choreography, contemporary, dance festival, experiences, learning, program, review, talent, titles , Anada Shanakar Jayant, Hyderabad, Kuchipudi, Mathematics, Numbers, Odissi, Sankhya Yoga, Sonal Mansingh

Chennai Music and Dance Festival – Best way to divert the mind

This festival is a tradition of music and dance set by our ancestors. Even Andal speaks of people getting together and singing and dancing in Margazhi, and she too dressed up as a gopi and danced. This month is called shoonya because there are no weddings and such auspicious events, so our ancestors must have thought if people have nothing to do, they might get sloppy. It is cold too, they might not bathe in time, etc. So they were asked to listen to lectures and have dis courses. In the old days people would sing on the streets, but as ours became a sophisticated city we got centres in every area. Of course the Music Academy was the first to start.We formed Bharat Kalachar to discover new talent and gave them this month of Margazhi to perform.

Semmangudi Srinivasa Iyer was the chairman of Bharat Kalachar, and he spotted a number of talents, like Sanjay Subramaniam, Unnikrishnan, T.M.Krishna, and I am happy to see that they are all doing well at a national and international level today. It is good to see youngsters coming up with new, contemporary themes in their art. And technology helps them a lot, allowing them to keep up with their learning at a distance, to record compositions and so on.

Also I find youngsters bringing Western instruments into the fold of Indian classical music, like the guitar, the keyboard, and others.

I do find the audiences are getting younger. They also attend the afternoon concerts to see who is new in the field.

Conducting such festivals is a good way to wean people away from drugs and other vices. Cinema too, since it has deteriorated so much. This is the best way to divert our minds. It need not be confined to December.

But Margazhi was the traditional time for it. Also, Bakrid and Christmas come at this time. All religions are celebrated this month. Otherwise it would have been a month of hibernating!

(As told to Anjana Rajan) by Mrs YGP In the Hindu

Filed under: Anita Ratnam, Arts, Bharatanatyam, Bharathanatyam, Chennai, Dance, December season., History of Bharathanatyam, Institutes, Introduction, Madras, Madras Music Academy, Madras dance Festival, Performing Arts, Rasika, Sri Krishna Gana sabha, Workshops, artists, experiences, learning, promotion, students, talent, upcoming artist

Expressions: The season

Excerpts from Compilations by Lalitha Venkat in Narthaki:-

Comments by Dancers

Margazhi for dancers is, indeed, a mad stampede. Are we happy about this? Absolutely. Yet, as I dream about the flavor and fragrance of the forthcoming festival, a small part of me aches. The tragedy is audiences today are only more familiar with the ‘mass scale Bharatanatyam’ and are unable to recognize a first rate performance. Even some of these performers are forced to realign their style to the ‘popular level’ by imitating the tricks and mannerisms of the ‘stars’ for that is how one can draw crowds. Large doses of these have resulted in our acceptance of mediocrity.
(Swarnamalya in ‘The mad stampede,’ The New Indian Express, artfest@margazhi, Dec 3, 2007)

December is very special. To me it’s not the end of the year, but the beginning. The December audiences of Chennai are very special. They are unpretentious, but challenge you to give your best. They follow you from theatre to theatre. You will not find such an audience, anywhere else.
Bharatanatyam is not all geometry, leaps and stretches. Beyond that there is poetry. I always want to see the music and hear the dance.
(Alarmel Valli in ‘Poetry in motion,’ by Sushila Ravindranath, The New Sunday Express, Dec 9, 2007)

This season is an acid test for every artist. It is a challenge for us to grow as artistes. This place is the heart of Bharatanatyam. When we perform here, the response comes from people’s hearts and minds. I find the best audience here and I feel renewed and re-energized each time I perform here.
(Alarmel Valli in ‘Of raga and bhava’ in Margazhi Fest, ET Madras Plus, Dec 22, 2007)

Margazhi utsavam today needs to reduce its pace and volume. Too many awards, performances and sabhas…I am afraid the festival is not growing in the right direction.
(C V Chandrasekhar in ‘There was so much to imbibe,’ The Hindu Music Season, Dec 14, 2007)

I am happy but it would have been more befitting if awards had come my way during late eighties or early nineties when I was active during the music season in Chennai.
(Kamala on receiving Natya Padmam award, in ‘Dance is my very life,’ Mylapore Talk, Dec16 – 22, 2007)

Youth in the dance scenario are taking our breath away. They are bold, ride roughshod, are rude and often do not listen to words of caution. Much of what they do may be hackneyed stuff in new packaging. It is often far too complex and clever for my liking. They are copycats and do not shy from hiding it. They are not subtle. They will steal an idea and even a theme, as it comes out of the fire from a senior dancer.
Nevertheless, for the moment they are speaking true. And there are some among them who do some original thinking as well.
Can anyone say that young artists do not live for their art or are any less committed than their mentors? Were we as talented or driven as they are? How can you put such enthusiasm down?
(Leela Samson in ‘Spirit of daring,’ The Hindu magazine, Dec 16, 2007)

December then was not as chaotic. Today everything is on an ascending mode…sabhas, rasikas, artistes and performances. Leaving you wondering, where to go and what to see. Yet, my fascination for this unique celebration of the arts will never fade.
(Vyjayanthimala Bali in ‘Season has special significance in my life,’ The Hindu Music Season, Dec 19, 2007)

Most youngsters in the field are getting carried away by the term choreography because of its popular association with glamorous ramp shows and film numbers. They are in a hurry to do their own thing. One needs to master and practise the technique for a few years to understand spaces and energies before creating something. Guidance and support of seniors can help you realise and visualise many vital aspects. Choreography demands a lot of time. Some of my works have taken me almost a year.
It is not easy to come out of the pure classical mould and attempt something with a contemporary appeal. I have faced immense criticism and opposition. But I strongly believe that one shouldn’t give up one’s artistic urges influenced by a few opinions. Of course, you cannot forget the audience. Continue the creative journey; they will surely join you sometime.
(Anita Ratnam in ‘Aesthetic vehicle of self-expression’ by Chitra Swaminathan, The Hindu Music Season, Dec 19, 2007)

With thinning audience, dancers of great repute are finding themselves performing to dwindling numbers – which can be a very discouraging thing. The yearly Natya Kala Conference, which is usually an exercise in new dimensions exploring and re-looking at traditional art forms, too has been suffering lack of quorum. The kind of learning and interaction that could happen in these lecture demonstrations and short performances, is not something that can happen in regular forums.
(Chitra Mahesh in ‘Sitar played as rain drummed its own tune,’ Deccan Chronicle, Dec 24, 2007)

Bharatanatyam for me is a language of the present tense. I dance in the ‘now.’ Often I create a new vocabulary to convey what I intend to through my dance. I discover my own technique, which happens naturally. It’s been a long journey of more than 30 years. And the journey has become more internal.
My performances are not recitals. They are not about imitating hastas or adavus. I see them as experiences. It’s living the moments of re-creation; initiating a thought process. You go up on the stage and change the energy of space.
(Malavika Sarukkai in ‘Exploring a woman’s psyche’ by Chitra Swaminathan, The Hindu Friday review, Dec 28, 2007)

Our biggest problem is, we have too many dancers and not enough slots. I was thinking of suggesting to sabhas to ask the senior people to cut down their program by a half-hour and let talented dancers perform before them in that slot, which is enough to show your talent.
I think the audience’s minds have opened up. They are willing to appreciate new things if well done. Also to appreciate traditional things, if well done.
(Anita Ratnam in ‘Many graces, many faces’ by Anjana Rajan, The Hindu Friday Review, Dec 28, 2007)
General Comments
The crowded schedule leads to a general fatigue and as the season winds down, the fatigue is perceptible in everyone – irritable celebrities, cranky audio technicians, harried sabha secretaries and even the janitor at the bottom of the pecking order!
(Ramanathan Iyer, editor Carnatica.com, in ‘Yours musically’ – The New Indian Express, artfest@margazhi, Dec 1, 2007)

The stars may be paid a pittance by the local sabhas; the fledglings may spend to perform; many concerts are free; the audience floats in and out; chatterers gossip in the front row, readers peruse yesterday’s reviews during today’s recital, plastic bags rustle, mikes crackle in mid-performance, tani avartanams signal exoduses, even gandharva gaanam cannot keep the listeners in their seats after 8.15 pm. But the Carnatic musician and music lover will not miss the Madras mela for the world. Wherever they may be, earning dollars or euros, acclaim and applause, the musicians rush back for the season…
The Chennai festival lacks centralised authority, and continues to run on private initiative, even personal whimsy. But this ad hoc hodgepodge character is its charm.
(‘Get drenched in the rain of ragas’ by Gowri Ramnarayan – The Hindu Music Season, Dec 1, 2007)

On Dec 9, 2007, Fortune Refined Sunflower Oil launched the Fortune Carnatic Express – a fleet of 8 vans to provide rasikas free transport between sabhas. It is a noon to night service on weekdays and morning to night service on weekends. The service works in the T Nagar, Mylapore, Alwarpet and Nungambakkam areas where most of the main sabhas are located.
It is normal to find vocalists getting into wild gestures when performing. Some musicians just cannot sing without stretching out their arms. Some get lost and the facial expressions are a feast for the cartoonist. But it is a little odd when a rasika takes to such mannerisms. This person almost hit his neighbour in the next seat with his swaying arms. He didn’t seem to hear the protests from rows behind as his vigorously nodding head obstructed the view.
(‘Listening with gestures’ in ‘Music matters’ – The Hindu Music Season, Dec 19, 2007)

The December season is a somewhat self effacing creature. It is accessible only to the determined seekers. Indeed, but for a few apologetic billboards, a casual visitor would be hard pressed to infer from the streets of Mylapore and T Nagar, the happening of any more significant an event than a high school fete. A large majority of the state’s (Tamilnadu) 40 million domestic and 1.5 million international visitors, many of whom arrive during the ‘peak tourist month’ of December, pass through Chennai, blissfully unaware of this cultural phenomenon.
(Vijay Sarathy in ‘The Seasoned Tourist’ – The New Indian Express, artfest@margazhi, Dec 22, 2007)

A few take complimentary tickets or purchase tickets in bulk for near dear ones to ensure a large audience. When complimentary tickets are restricted, some even resort to boycotting the sabha for the season.
(Former committee member of a Mylapore sabha, in ‘Music faces the music’ – Mylapore Talk, Dec

The change mainly has been with regard to cost. Gone are the days when a dance recital required only ten lights. Today, we need 80 lights. A mike used to be provided for the vocalist alone. Today, the whole orchestra requires it. Every artiste now brings his/her own equipment and listeners need high power speakers.
There are more performers today. More avenues are available with lec-dems and the like. But people do not have the patience to sit through concerts for a long number of hours. They need shorter programs with variety.
(R Krishnaswamy, Secretary of Narada Gana Sabha, in ‘Cater to music, dance and drama,’ in Margazhi Fest, ET Madras Plus, Dec 22, 2007)

Filed under: Anita Ratnam, Arts, Bharatanatyam, Bharathanatyam, Chennai, Dance, Dance Gurus, December season., Madras, Madras Music Academy, Madras Music Season, Madras dance Festival, Workshops, artists, awards, do's and don'ts for dancers, experiences, students, talent, upcoming artist , Bharatanatyam, Bharathanatyam, dancers, deecember Season, do's and dont's, Indian Classical dance, Madras

Season Glimpses

Excerpts from Narthaki reviews by Lalitha Venkat

Bharatiya Vidya Bhavan is one organization that offers its programs free for rasikas during the Chennai season. Being centrally located, these shows naturally attract a full house on most days.

DEC. 12.
Gangani concluded his Kathak recital at 6.50pm and there was mayhem after that. The hall was already full by now and there were many wanting to come in to see Sudharani Raghupathy and her troupe of 22 perform MAMMUDHA – FROM DUST TO LIFE. Being a free program, most of the family and friends of the performers had come that day. As a volunteer blocked the door saying there was no place, there was a near stampede as people pushed the man aside and moved in, most of them having to settle to standing along the walls to watch the show!

It was an almost plain backdrop of grey panels broken by the face of a half man-half woman – maybe symbolizing that Manmadha was not all macho but a bit effeminate too (As Sudharani described her visualization of Manmadha at the press conference earlier). It was refreshing to see a new theme being enacted. Mammudha (as he’s known in rural South India) or Manmatha, the God of Love, at the behest of Lord Indra trained his arrow on the meditating Shiva, only to bear the brunt of Shiva’s third eye which reduced him to ashes. Moved by his inconsolable wife Rathi’s tears, Shiva promised her that Manmatha would come back to life, but be visible only to her eyes! Through diligent research, the whole story was composed into a 1hr 45 minute long presentation, with production, concept, soundscape and direction by the talented KSR Aniruddha, the son of Sudharani Raghupathy.

Priya Murle as Indra was brilliant in her Therukoothu style portrayal. She was such a natural that she almost stole the show. Sasirekha Balasubramanian as the Therukoothu Kattiyakaran narrator was engaging. Aruna Subbiah as the narrator in Bharatanatyam style seemed superfluous. A talented dancer like her could have been used in a more meaningful role. Anusha Venkatramani as Nandi made an imposing figure. TM Sridevi was a pretty Rathi and the gorgeous guru Sudharani was an elegant Manmadha. Celebrating 60 years of her career in dance, this is the first time she is taking on a male role. The dummy horse dancers did a neat job. The well presented show was testimony to all the hard work put in over the months, but a couple of scenes, especially the dialogue between Manmadha and Shiva could have been edited a bit. Costumes of Manmadha, Rati, the folk dancers, narrators, Indra and Nandi by V V Ramani were striking. Lighting by theatre veteran Mithran Devenesan added sparkle to the production that has been running to full houses this season!

DEC 13

Programs at the Bhavan generally adhere to timings and (so) was 5 items on SKANDA, one of the names of Lord Muruga or Subramanya, presented by students of Chidambaram Academy of Fine Arts, conceptualized by guru Chitra Visweswaran. Though she was invited to perform herself, she could not bring herself to do so, so soon after her husband Visweswaran’s demise, so she is presenting her students during the season. She still cannot contain her tears when she announces a composition of her late husband. It was a neat and compact one hour presentation with a plain backdrop broken by peacock feathers. The dancers included Uma Namboodripad, Arupa Lahiri, Ashmita Raghavan, Supriya, Nivedha, Shalu and Jai Quehani. The supporting orchestra comprised of Sukanya and Mridul Vivek on nattuvangam, Murali Parthasarathy on vocal, Adyar K Gopinath on mridangam, R Thyagarajan on flute, G Sitarama Sharma on violin and C Munuswamy on tanpura. It was good to see the full auditorium.

DEC. 25

Starting with an invocation to Lord Venkata, the devotee finds climbing uphill difficult but is re-energized on getting a darshan of Devi. Then follows a description of what he sees at Thirumala, the different vehicles of the Lord and the audience broke into rapturous applause especially when she pulled the chariot! After entering the sanctum, the devotee describes the 16 upacharams in “Shodashakalanidhikku.” An item on athma pooja where the beautiful description is about body being the temple, head being the kalasam and so on. “Bhavayami Gopala Balam…” that is synonymous with MS Subbulakshmi, followed by an item in sringara bhava on love between Perumal and Thayar. The swing song was composed in folk tune and so was the next item “Brahmam Okate.” As we were enjoying Padma’s mind boggling array of a myriad facial expressions for the one line, the power went off resulting in total blackout. But the orchestra continued playing, Padma stood where she was, keeping beat with her ghungroos and when the power came back on in about 3 minutes, they continued the item from where they left off! Because of the T Nagar area being such a mess now, I thought that the audience turnout of about 100 or so was fairly good, but my dance critic friend disagreed with me and was most annoyed that programs were being presented to near empty halls.

DEC.28
Anita Ratnam always premiers her new production of the season at Krishna Gana Sabha and so it was too this year, with FACES on Dec 28. It shows familiar and loved persona from our cultural tapestry, but through depicting them, Anita’s idea is to convey the dominant emotion connected with that personality. “These faces were already there – have always been,” says Anita. “But they have been recognized as personalities rather than emotions. So when you look at them just as faces, they become easier to relate to, the emotion becomes personal.” It is not thematic but it is a collection of her favourite dances that she had created, but never performed. Annapoorni is the face of compassion, Durga vanquishing Mahisha is the face of rage, the forgotten face is an exercise in abhinaya to “aasai mugam marandhu pochey” sung soulfully by Sikkil Gurucharan to Anil Srnivasan’s plaintive piano notes, timeless faces from the Ramayana story uses an excerpt of the Ramayana alaap of Sikkil Gurucharan, Meera is the face of blissful surrender to OS Arun’s melodious rendition. The presentation uses lot of theatrical stage movement, and the backdrop with swinging bamboo poles is quite dramatic. Anil Srinivasan’s musical arrangement uses traditional Carnatic music compositions sung as they are, not specifically tailor-made to suit set choreography or stage directions, so Anita’s choreographic inputs uses its natural flow. What is striking in the soundscape of Faces, are moments of stark silence. “The silence allows the mind to ponder, and form a coherent thought before being rushed into the next face/movement. The dance lies ultimately in the rasanabhuti of silence,” explains Anil.

he beautiful costumes have been designed by Delhi based Sandhya Raman. The idea is to bring out the classical grace of the feminine image without the heavy embellishment of traditional costumes. The costumes have been created with wraps and drapes, so the main tussar-toned basic costume is combined with green, chrome yellow or copper gold wrap, to facilitate lightning change for each item to reflect the respective emotion. The crystal-studded organza Benaras cutwork like a flowing Sufi costume for the final item is absolutely stunning. Long time collaborator Mithran Devanesen directs the lights and joining the team is dramaturg Aparna, who has worked with contemporary dance theater in Germany.

Considering that Krishna Gana Sabha is the most affected venue thanks to the messy flyover construction work in T Nagar, a fairly good number attended the program. Says Anita, “Since I danced NEELAM on Vaikunta Ekasasi day last year, Mr. Yagnaraman was so appreciative. He was so open minded and always encouraged my endeavors. I dedicate my work this year to his memory. Do you know, an organizer would not offer me a slot for ‘Faces’ since it had ‘Christian’ music?” Strange are the ways minds work!

Filed under: Anita Ratnam, Bharathanatyam, Chennai, Chitra Visweswaran, Madras, Madras dance Festival, Mammudha, Padma Subrahmanyam, Rasika, Shree Bharathalaya, Sudharani raghupathy, review