Season 2009-2010’s thematic solos and dance drama lineup

Here I list a  few that I have come across:-

• “Ethiraja Vaibhavam” – Solo Dance Feature on ‘Ramanujacharya by Zakir Hussain. Rupa Srikanth’s review can be read here
• Sharanya Sampath’s thematic presentation on “108 Divya Desam”
• Navtej Johar’s Meenakshi memudham Dhehi, a solo BN presentation- Read Review
• Pavithra Srinivasan’s “Sundarakandam”, a solo BN presentation
• Anjaneya Veera by Gayathri and Balagurunathan
• “Kadalagi Kasindhu”, Mystical Journey of Love with choreography by Kavitha Ramu. Saw some fantastic photos of this new production. Will share details when I get to know more. I am planning to do a special post on this one! For now you could browse http://www.kkthemusical.com/index.html
• “Sri Lalitha Nrutyarchanam” by Manju Bhargavee and Group - Read Review
• Madhuvanthi Arun’s Tamizh. Click here for more information
• “Koodi Erundu Kulirendelo Rembavai” from Anitha Guha’s dance school
• Kalakshetra’s “6 part Ramayana series”
• Dr. Padma Subrahmanyam’s “Paavai Noonbu”- it was nationally telecast in DD some years ago
• Dr. Padma Subrahmanyam’s “Dasavatharam” BN solo
• “Viralimalia Kuravanji” by Nrithyodaya(Dr. Padma Subrahmanyam’s dance school)(refer)
• Krishna Kumari Narendran’s “Siva Swaroopa Thandava Lahiri” -Photogallery/ preview
• Krishnakumari Narendran’s “Srisaradhe”
• “Peacock Blue” – Concept Design by Gowri Ramnarayanan, Shhijith Krishna (Dance) Anjana Anand (Dance) Gayathri Venkatraghavan (Vocal)
• “Sita In Navarasa” a dance drama by Suryanarayana Murthy and his group.
• Kerala Kalamandalam presents “Arunachala Kavirayar’s Ramanatakam” kathakali in Tamil
• Radhika Shurajit, Aadal Kaneero MLV80 (preview)

Search our calendar for event timings and venues.

But remember to check since all programs are subject to change

Filed under: Anitha Guha, Bharatanatyam, Bharathanatyam, Chennai, Dance, December season., Gayathri Balagurunathan, J. Suryanarayana Murthy, Kalakshetra, Kavita ramu, Madras, Madras Music Season, Madras dance Festival, Padma Subrahmanyam, Sheejith Krishna, choreograhers, choreography, dance drama, dance festival, review, students , kuravanji

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

Malini Srinivasan-an inspiration for those closet artists

Malini Srinivasan is a dancer with an offbeat story — she has come back to Bharatanatyam after a gap of 18 years just for the love of it. She was earlier with Guru K.J.Sarasa in Chennai, and is now training with Balagurunathan and Gayathri in Singapore.Malini presented ‘Navaraathri Nayakiyar,’ an ode to the three forms of Devi, conceptualised and choreographed by Gayathri. It was a compilation of slokas on Durga (‘Shankaranudan aadi,’ ragamalika), Lakshmi (Ashtalakshmi stuthi, ragamalika, Adi) and an Abheri thillana in Adi with lyrics on Saraswati (’Vellai thamarai poovil iruppal,’). The music for the last two was composed by T.K.Padmanabhan.

Right from the opening Mallari (Gambhira Nattai, khanda triputa), a brisk tempo was maintained through the 70-minute programme. The lyrics had been given a matter of fact treatment and the attributes of the Devis were couched within nritta and thattu mettu sequences. The Ashtalakshmi stuthi had been well researched and each form of Lakshmi was described with its relevant symbolism. This was the centerpiece of the programme and had a sprinkling of theermanams as well.

Sans narratives, this blitzkrieg of rhythm might have been hard to take, but the presentation piggybacked on Malini’s passion, energy and her impressive stage presence. Her timekeeping and footwork were commendable like in the trikalam theermanam with the nadai bedam. Her torso could be firmer and some exuberant arm movements maybe toned down for further refinement of the style.

The wonderful orchestra was a big contributor as well. Gayathri (nattuvangam) spearheading the effort very efficiently made a pretty picture with her obvious enjoyment of the music and dance. Hariprasad (vocal) was excellent; T.K.Padmanabhan (violin) and B.Muthukumar (flute) gave good leads to the singer in the frequent raga switches while always producing excellent melody. K.P. Rameshbabu (mridangam) was equally skilful with rhythm.

This is surely an inspiration for those closet artists who still have the passion within.

Source:The Hindu

Filed under: Arts, Bharatanatyam, Bharathanatyam, Chennai, Dance, December season., Gayathri Balagurunathan, Institutes, Introduction, Madras, Madras dance Festival, NRI, Performing Arts, SIFAS, Singapore, artists, do's and don'ts for dancers, experiences, promotion, review, students, talent, upcoming artist

So what’s new?

What exactly makes a presentation novel? Three young dancers share their views with Gowri Narayanan in their interview featured in the Hindu.

“ Except for the stars with assured audiences, dancers know that the margam, however well-honed, and in the best style, has few takers, unless framed differently. Apart from the natural changes that come in with the times, and personal growth in life and art, dancers are compelled to recognise that the tag of novelty is vital. ‘Mammudha,’ not ‘Manmatha’. Packaging is all.

How do artists satisfy their own urge to create without forcing themselves to do something offbeat for novelty’s sake? Bharatanatyam artists Sheejith Krishna and Gayathri Balagurunathan from Kalakshetra have been recognised for their group and individual choreography. Gayathri has also worked with the innovative Sarabhais at Darpana Academy, Ahmedabad.

Both have premiering works this season: in ‘Masquerade’ at Kalakshetra, Sheejith transforms Alexandre Dumas’ novel into Tamil dance drama, while Gayathri’s ‘Aran Adal’ is her take on the eternal theme at Hamsadhwani. After ‘Mammudha’ premiered this season, lawyer K.S.Anirudha is best known as the lyricist and mastermind behind the dance drama.

All three snatch time between their rehearsals and shows to share their personal take on that eternal conundrum: so what’s new?

Sheejith begins, “Bharatanatyam is as much my language as my spoken tongue, to interact with students, audiences, and myself. As I try to communicate better with it, the ‘new’ happens, naturally. But this ‘new’ has to fascinate me first.”

For K.S.Anirudha novelty is variety in presentation and brevity in content. “Today if someone narrates the whole Ramayana in two hours for ‘En Pallikondirayya,’ the audience will either sleep or exit.”Less depth and layers, but how many viewers are knowledgeable enough to regret that?

“Whether people understand or not, I like to stay within the classical, the aesthetic,” Sheejith interpolates. “But what’s classical? Once they called Therukoothu folk, now it’s classical,” Anirudha argues. “Be truthful to the grammar of the form, and do everything you like within it,” Sheejith counters. Gayathri laughs, “You need sound foundation in the grammar for such new take offs! Trying new things is not just to please others, it’s to learn so much more.”

Familiar but unperceived

A new world opens when alphabets are combined to make words, sentences and paragraphs. “Finding the language makes you identify its spirit and pull it out into light,” says Sheejith. ‘New’ can be something familiar, but hitherto unperceived.

Sheejith believes that Bharatanatyam is not confined to Hindu thought, mythology and epics alone. Any ambience or culture can be depicted by this universal genre. Anirudha who has used multi-arts and multi-genres in his work warns, “Not unless it sheds Carnatic music.” Sheejith has to agree. Has he not used an orchestra for his ‘Masquerade’? Its Mohanam is something else.

With greater exposure to the global world, novelty is an elusive, even illusive concept. Fusions, blends, blurring borders are all natural corollaries of widening frontiers. From her Darpana days Gayathri knows that even old wine in new bottles will have different flavours. “In Mrinalini and Mallika Sarabhai’s choreography, Kurukshetra echoed female foeticide, dalit oppression and terrorism. We found our identity as individual dancers from different stylistic backgrounds as we drew our feelings within that boundary.” All three agree that media support is essential for survival.

Think different and you instigate change and progress. A Thota Tharani Ganesha is a splash of colour, unlike anything from temple wall or Thanjavur painting. “But it makes you think, you can’t take it for granted,” agrees Anirudha. This demands an open mind. “For any experiment I expect sympathy, tolerance and ‘biaslessness’ from audiences,” he insists.

Adds Gayathri, “And the patience to watch!” She believes that clarity in thought and getting that thought in the body will find its target. “Do it for yourself first,” warns Sheejith. “Work hard,” comments Anirudha, and muses, “But mediocre work is also practised hard. So who’s to say what’s good?”

Sheejith answers at once, “Definitely I’m doing good work. I trust my intuition. I’ve to be clever like a journalist or politician to communicate my message, can’t cheat. The audience — lay or informed — has to take something back: values.”

“Aha!” exults Anirudha. “You’re coming to my side: make it accessible, lokadharmi.” Gayathri laughs, “I believe in spirituality, meditative spirituality beyond creeds. It will touch hearts, unfailingly.”

Filed under: Aniruddha, Bharathanatyam, Gayathri Balagurunathan, Kalkshetra, Madras dance Festival, Sheejith Krishna, artists, choreography, upcoming artist