Book-The Music of Bharata-Natyam

Book Title: The Music of Bharata-Natyam
Author/Editor : Jon Higgins

The present work is the inaugural volume of a continuing series on ethnomusicological studies of performance traditions of India published under the auspices of the Archives and Research Center for Ethnomusicology (ARCE) of the American Institute of Indian Studies. This volume looks closely at the music played in a traditional Bharata Natyam performance. The series editor is Shubha Chaudhuri. This edition is for sale within India only.

Product Details

• Hardback : 391pp, with cassettes
• Author/Editor : Jon Higgins
• Year of Publication : 1993
• Publisher : ARCE-AIIS/Oxford & IBH
• Language : English
• Product Dimension : 1.2 x 6.5 x 9.8 inches
• Shipping Weight : 750 g
• ISBN Number : 8120407059
• Price Rs. 500

Table of Contents :

• Note on Transliteration Foreword: Rhea Padis Higgins
• Preface: Jon B. Higgins
  
• Preface to this Edition: T. Viswanathan
  
• Acknowledgements: Daniel M. Neuman
  
• List of Taped Examples
  
• PART 1: THE TEXT
  
  • Chapter 1: Introduction
    
  • 1. The Dance Tradition of Bharata Natyam
    
  • 2. The Music Tradition of Bharata Natyam
    
  • 3. The Relation of Music to Dand in Bharata Natyam
    
  • 4. Notations Adopted for the Transcription of Music and Dance
    
  • Chapter II: Alarippu
    
  • Chapter III: Jatisvaram
    
  • Chapter IV: Sabdam
    
  • Chapter V: Padavarnam
    
  • Chapter VI: Padam
    
  • Chapter VII: Javali, Tillana and Sloka
    
  • Chapter VIII: (Epilogue) : The Artistic Progression
    
  • Glossary Bibliography
    
• PART 2: NOTATED AND TAPED EXAMPLES
  
  • Notated Example 1-1: Two avartas of adi tala from Pantuvarali padam
    
  • Notated Example1-2: Two avartas of adi tala from Pantuvarali padam
    
  • Notated Example 11-1: Khandam alarippu: Recited Solkattus and adavus
    
  • Notated Example 11-2: Alarippu-Juxtaposition of three stages of reduction In parts B,C and D
    
  • Notated Example 11-3: Tiruppugal in svara notation with one stanza of text
    
  • Notated Example 11-4: Tiruppugal with one stanza of text, khanda capu tala
    
  • Notated Example 111-1: Jatisvaram-Pallavi in svara notation
    
  • Notated Example 111-2: Jatisvaram-Pallavi (Kalyani raga, rupaka tala)
    
  • Notated Example 111-3: Jatisvaram-stamping, uccarippu and tirmanam with solkattus and adavus
    
  • Notated Example 111-4: Jatisvaram-Mora phrases from seven jatisvarams
    
  • Notated Example 111-5: Jatisvaram-Svara Section #1 with svara adavugal #1
    
  • Notated Example 111-6: Jatisvaram-Svara Setion #1 (kalyani raga, rupaka tala)
    
  • Notated Example 111-7: Jatisvaram-Svara Section #2 in svara notation with adavugal
    
  • Notated Example 111-8: Jatisvaram-Svara Secton #2 (Kalyani raga, rupaka tala)
    
  • Notated Example 111-9: Jatisvaram-Svara Secton #3 in svara notation with adavugal
    
  • Notated Example 111-10: Jatisvaram-Svara Secton #3 (Kalyani raga, rupaka tala)
    
  • Notated Example 111-11: Jatisvaram-Svara Secton #4 in svara notation with adavugal
    
  • Notated Example 111-12: Jatisvaram-Svara Secton #4 (Kalyani raga, rupaka tala)
    
  • Notated Example 111-13: Jatisvaram-Outline of a full performance of Kalyani jatisvaram (See taped example 111-10)
  • Notated Example IV-1: Sabdam Line 1 (Kambhoji raga)
  • Notated Example IV-2: Sabdam Line 1 (Kambhoji raga misra capu tala)
    
  • Notated Example IV-3: Sabdam Line II (Bhairavi raga)
    
  • Notated Example IV-4: Sabdam Line II (Bhairavi raga, misra capu tala)
    
  • Notated Example IV-5: Sabdam Line III (Natakuranji raga)
    
  • Notated Example IV-6: Sabdam Line III (Natakuranji raga, misra cap tala)
    
  • Notated Example IV-7: Sabdam Line IV (Surati raga) Notated Example IV-8: Sabdam Line IV (Surati raga, misra capu tala)
    
  • Notated Example V-1: Outline of Bhairavi padavarnam (mohamana)
    
  • Notated Example V-2: Varnam-tirmanam #1 (trikala, full version
    
  • Notated Example V-3: Varnam-tirmanam #1 (trikala), without tala markings
  • Notated Example V-4: Varnam-Pallavi-A in svara notation
    
  • Notated Example V-5: Varnam-Pallavi-A (Bhairavi raga, rupaka tala)
    
  • Notated Example V-6: Varnam-tirmanam #2 (tisra nadai), full version
    
  • Notated Example V-7: Varnam-tirmanam #2 without tala markings
    
  • Notated Example V-8: Pallavi in svara notaion
    
  • Notated Example V-9: Varnam-Pallavi-B (Bhairavi raga, rupaka tala)
    
  • Notated Example V-10: Varnam-tirmanam #3, full version
    
  • Notated Example V-11: Varnam-tirmanam #3 without tala markings
    
  • Notated Example V-12: Anupallavi-A in svara notaion
    
  • Notated Example V-13: Varnam-Anupallavi-A (Bhairavi raga, rupaka tala)
    
  • Notated Example V-14: Varnam-tirmanam #4, full version
    
  • Notated Example V-15: Varnam-tirmanam #4 without tala markings
    
  • Notated Example V-16: Varnam-Anupallavi-B in svara notation
    
  • Notated Example V-17: Varnam-Anupallavi-B (Bhairavi raga, rupaka tala)
    
  • Notated Example V-18: Varnam-tirmanam #5, full version
    
  • Notated Example V-19: Varnam-tirmanam #5 without tala markings
    
  • Notated Example V-20: Varnam-Muktayi svaras in svara notation, with sahitya and translation
    
  • Notated Example V-21: Varnam-Muktayi svaras with adavugal
    
  • Notated Example V-22: Varnam-Muktayi svaras with tatti mettu
    
  • Notated Example V-23: Varnam—Muktayi svaras (Bhairavi raga, rupaka tala)
    
  • Notated Example V-24: Varnam—three alternative rhythmic subdivisions of phrases in avartas five and six of the muktayi svaras
    
  • Notated Example V-25: Varnam

The book may be purchased from the source of this article at  http://www.scholarswithoutborders.in/item_show.php?code_no=EMU006&ID=1&calcStr=

Filed under: Arts, Bharatanatyam, Bharathanatyam, CD, Carnatic Music, Dance, Introduction, VCD, academics, adavus, books, choreography, learning, students

Rasa Unmasked by Sutra Dance Theatre

“Rasa Unmasked- Wisdom of India, Invoked and Savoured”

“Rasa Unmasked is a new dance work touring Australia and South-East Asia in March and April 2009. It is a sensuous, vibrant performance and the result of a remarkable collaboration, between:

Rasa Unmasked is a sensuous, contemporary dance work that sheds new light on India’s most vital aesthetic theory. The performance premieres in March in Sydney, Australia – before an international tour to Malaysia, Singapore and India.

Rasa Unmasked is the result of a collaboration between Anandavalli & Australia’s Lingalayam Dance Company, Ramli Ibrahim & Malaysia’s Sutra Dance Theatre and ethnomusicologist / composer, Alex Dea – all pioneers of classical art forms in contemporary contexts.

It is a stunning collaboration, seducing Malaysian dance doyen, Ramli, back to Australian shores after more than 25 years, since his time as dancer and choreographer at the Sydney Dance Company.”, says their Media Publicity pages

To watch a video

Find more videos like this on All Around You

Event Calendar

The Australia shows have concluded

Malaysia
KL :April 7th -12th:  Kuala Lumpur Performing Arts Centre, KLPac Website
Penang April 15th: Dewan Sri Penang, Penang, Penang Show Website

Singapore
April 19th: Theatre Studio, The Esplanade
India
April 22nd: Chowdiah Hall, Bangalore,
April 25th: Chinmaya Heritage Centre, Chennai
April 28th: Kamani Auditorium, New Delhi

For more details, reviews and to buy tickets visit: http://rasaunmasked.wordpress.com/media-release/

Rasikas vote (watched it- pl vote)

Filed under: Australia, Bangalore, Bharatanatyam, Bharathanatyam, Chennai, Dance, India, Introduction, KL, Kuala Lumpur, Madras, Malaysia, Male Bharathanatyam dancer, Performing Arts, South Asian Dance, artists, choreograhers, choreography, contemporary, dance drama, experiences, program, promotion , Delhi, Ramli Ibrahim, Sutra Dance Theatre

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

Sruthi- a magazine for Indian Music and Dance

Here is a magazine that most of you would love to subscribe.. “Sruthi”

To know a little more about this magazine which recently celebrated its Silver Jubilee, here is an excerpt of a write up from their website..

Sruti is India’s leading monthly devoted to Indian classical music and dance and theatre. The target audience of Sruti comprises several groups. These include lay music and lay dance enthusiasts, connoisseurs, musicians, dancers, teachers, scholars and students of the fine arts, institutions and organisations active in the field and officials of Government agencies concerned with the arts.
Many customs that have today come to be recognised as established best practices in the performing arts especially in south India have been the result of Sruti’s systematic campaigns in favour of good taste, decorum and performance excellence. Among its early triumphs was the restoration of the importance of ragam-tanam-pallavi, which had become conspicuous by its absence on the concert platform.

For over two decades, Sruti has constantly practised what it preaches—adherence to high standards of authenticity, objectivity, sophisticated writing based on thorough research, and a healthy respect for individuals and institutions, balanced by an equally healthy irreverence towards holy cows. Sruti is not an academic journal, even though it carries scholarly and technical articles from time to time.

Sruti’s several profiles of the leading exponents of music and dance have been pathbreaking in the annals of Indian journalism, as have been its special projects to document the teaching methodology and stylistic characteristics of leading schools of dance and music. It is a veritable treasurehouse of in-depth knowledge of the many centres of excellence—the kshetras which have served to propagate the classical arts of India.

Started under private auspices, Sruti was promoted as a not-for-profit venture and placed under a Trust in April 1985 when the Sruti Foundation was established with Founder-Editor N Pattabhi Raman as its Managing Trustee. Sruti, is its `flagship’ endeavour, while Samudri (Subbulakshmi-Sadasivam Music & Dance Resources Institute), is an ambitious initiative towards archiving valuable resource material in music and dance and promoting research and cooperative endeavours to ensure the sustainable development of the performing arts, based on traditional ideas and practices.
Other information

Special projects:

National Seminar on Bharatanatyam Dance Traditions

Analysis of the music of violin maestro Lalgudi G. Jayaraman

Analysis of the music of Carnatic vocal maestro G N Balasubramaniam

Bridging the North-South Divide – discussions on Carnatic & Hindustani music

Seminar on E. Krishna Iyer’s role in the Renaissance of Bharatanatyam

Books published:

Bala on Bharatanatyam

Semmangudi – A Mosaic Portrait

Thakur Jaideva Singh – A Great Savant

Awards

The Sruti Foundation instituted the E Krishna Iyer Medal in 1989, to be awarded to an individual or institution who has made a significant contribution to the preservation and promotion of Bharatanatyam traditions. The Medal is presented every alternate year.

The Sruti Foundation has also been entrusted with the task of administering TWO awards:

The Vellore Gopalachariar Award instituted by mridanga vidwan Vellore Ramabhadran, in memory of his father Vellore Gopalachariar. This award is given to a deserving musician every year.

The M Venkatakrishnan Memorial Award instituted by Bharatanatyam & Kuchipudi exponent Ramaa Bharadvaj of California, in memory of M Venkatakrishnan, the head of the cultural organisation called Sankarabharanam. This award is to be presented to an organiser of cultural events every alternate year.

The Indira Memorial Scholarship instituted by her family members, to be awarded to a talented but economically backward music student.

You can sample the current issue of the magazine at http://www.sruti.com/index.php

You can subscribe to/renew the magazine online at http://www.sruti.com/onlinesubscription.php

Subscription Charges (Inclusive of taxes)

For India  Rs. 540 /-

For countries other than India  Rs. 2110 /-

I have personally subscribed to the magazine  and their customer support is excellent and emails are promptly attended to.

Filed under: Arts, Bharatanatyam, Bharathanatyam, Carnatic Music, Chennai, Dance, Dance Gurus, History of Bharathanatyam, India, Introduction, Madras, NRI, Performing Arts, Rasika, artists, books, do's and don'ts for dancers, experiences, learning, promotion, review, students

Upcoming Programs of Shijith Nambiar and Parvathy

Shijith Nambiar and Parvathy

“One of the top male Bharatanatyam dancers in the country today” proclaims the mighty  “The Hindu”

“Shijith  Nambiar – the small prince of bharathanatyam”, “Dance like a man” rave other reviews.

The profile in their website reads….

“Shijith Nambiar & Parvathy Menon, Partners in Dance as well as in Life, are one of the prominent Dance Duos in the discipline of Bharatanatyam.

Shijith Nambiar, an ex-faculty member of “Kalakshetra”, Chennai, the world renowned institution founded by Smt. Rukmini Devi Arundale, is a brilliant Bharatanatyam performer with an unerring grasp of rhythmic intricacies.

A versatile Dancer, an exceptional Nattuvanar and a unique choreographer, Shijith Nambiar has already made his presence felt in India and abroad in the discipline of Bharatanatyam.

He has travelled around the globe with the repertory company of “Kalakshetra” and worked in Guadeloupe, U.S.A, Canada, U.K. and France as a choreographer and performer. Apart from his skill as a choreographer, teacher and performer, Shijith Nambiar is also a trained percussionist.

Shijith’s production “Krishna” was premiered in Kuwait last year. “Krishna” has already completed many stage in and outside India within a short span of one year. He was conferred with the “Yuvakalabharathi Title” in 2007 by Bharat Kalachar for all rounder in Bharatanatyam, Nattuvangam and Choreography.
 
Parvathy Menon born and brought up in Kuwait has completed her post diploma in Bharatanatyam from Kalakshetra and she is an exemplary example of the Kalakshetra baani (tradition). The excellent stage presence and exceptional bhavabhinaya demonstrated by Parvathy makes her distinct and exemplary. Parvathy has travelled widely around the globe as one of the lead performers of the Kalakshetra repertory Company.

Her most demanding role has been that of Christine in Masquerade of Kalakshetra which was widely acclaimed by eminent exponents of the discipline.

Shijith and Parvathy, together they explore the intricacies of Bharatanatyam, together they worship the spirituality of Bharatanatyam, together they pursue the dialogue of cultures in Bharatanatyam and finally together they take you to experience “Bharatanatyam”. “

Here are a few of their upcoming recitals…

October 18th An evening of Bharathanatyam by Smt: Parvathy Shijith at Narada Gana Sabha Mini Hall, Chennai, 7.30pm. 

November 5th KRISHNA ( our group production) for Dharani festival at the Fine arts hall Cochin.

 November  7th  KRISHNA  at Pallikoodam , Kottauyam, Kerala

November 23rd  KRISHNA for ABHAI at Naradagana Sabha, Chennai.

(Pl chk the local newspapers for timings if absent)

To Know more about this dancing couple visit their flash website at http://www.shijithnambiar.co.in/. You are in for some great music treat there…

For an indepth review of their performance and choreography featured in The Hindu, visit http://www.hinduonnet.com/fr/2008/07/11/stories/2008071150620300.htm

They are also performing during the season, those schedules will be listed in the Post titled Madras Music and Dance Season that is being compiled currently.

Filed under: Arts, Bharatanatyam, Bharathanatyam, Chennai, Dance, Dance Gurus, December season., India, Introduction, Kalakshetra, Kerala, Kuwait, Madras, Madras Music Season, Madras dance Festival, Male Bharathanatyam dancer, Masquerade, Narada Gana sabha, Nattuvangam, Performing Arts, Shijith Nambiar, artists, choreograhers, choreography, program, review, students, talent, upcoming artist , Krishna

Pooja Kumar’s Pittsburgh Recital (Oct 18, 2008)

Sri Venkateshwara Temple Presents

Bharathanatyam Recital 

By Pooja Kumar, 

( Disciple of Senior Kalakshetra Guru, Smt. Savithri Jagannatha Rao (Chennai, India).

Date: Saturday, October 18, 2008

Time: 6.00 p.m.

Venue : 1230 South McCully Drive

Penn Hills, PA 15235

For additional information, call: (412) – 373 – 3380  or visit: www.svtemple.org

Click to view Flyer pittsburgh_program_flyer2   

About the artiste:

Pooja Kumar

Pooja Kumar is a vibrant and dynamic artiste, a winner at The Cleveland Thyagaraja Aradhana Dance Competition.

Brief press comments-

• performs revealing striking talent, both in Nritta and Abhinaya;  perfect posture and neat feet positions”

- THE HINDU, Chennai, India Dec 2000

• Good command over rhythm, footwork was energetic…Movements were marked by clear geometric lines”

- THE HINDU, Chennai, India 2007

 

Filed under: Arts, Bharatanatyam, Bharathanatyam, Dance, Introduction, NRI, Performing Arts, South Asian Dance, USA, artists, program, promotion, talent, upcoming artist

Navarathri Concerts at the Navarathri Mandapam, Tiruvananthapuram, Kerala

Navarathri begins today. On this occassion here is a musical celebration of Navarathri that I want to share with the readers.

The Navarathri festival concerts at the Navarathri Mandapam in the Sri Padmanabhaswamy Temple precincts in Thiruvananthapuram in Kerala has a heritage that is unique. This year, the fest starts on Sept.30 this year.

The classical music ( and dance) are an integral part of the celebrations held by the Travancore royalty in the past and is kept alive by the family of that lineage.

And the rituals and concerts, steeped in tradition, make them unique.

For Navaratri, the idol of Saraswathi is carried on a caparisoned elephant from a temple in Padmanabhapuram ( the erstwhile headquarters of the Travancore royals) and brought to the Navaratri Mantap where pujas are carried out every day for nine days.

The concerts are from 6.30 pm. Rasikas must settle down before that; late comers are discouraged.

Before the evening concert, there is a rendering the ‘Thodaya Mangalam’ and ‘Ganapathy Sthuthi’ composed by Swati Tirunal, by a set of bhagavathars who hail from an ancestry traced to musicians who performed during the era of Maharaja Swati Tirunal.

This compositions of the king have been preserved since those times because the bhagavathars have carried it down the ages faithfully through this oral rendition.

Since the 1920s, great Carnatic artistes were invited to perform for Navaratri. Maharani Sethu Parvathi Bayi, in her time, took immense interest in promoting music and concerts. Of late, Prince Rama Varma who also performs ( as a veena player and a vocalist ) has taken on the assignment of arranging the concerts and he has invited musicians too to perform.

Also, he broke tradition when he invited a woman – Parsa Ponnammal, a sishya of Semmangudi Srinivasa Iyer – to perform in the mantap.

Since the mantap is part of the Padmanabhaswamy Temple, certain rules have to be followed – only Hindus are allowed here, men must be bare-chested, photography / and cellphones are not entertained. Other rasikas can sit outside the mantap and enjoy the concert.

30 Sep Tuesday
6pm to 8.30pm – Navarathri Keerthanam “Devi Jagath Janani” – Sankarabharanam
Vocal : Sri T.M.KRISHNA
Violin : Sri R.K.Sreeram Kumar
Mridangam : Sri Guruvayur Dorai
Ghatom : Sri V. Suresh

01 Oct Wednesday
6pm to 8.30pm – Navarathri Keerthanam “Pahimam Sri Vageeswari” – Kalyani
Vocal : Master BALAMURALIKRISHNA
Violin : Smt. Padmasankar
Mridangam : Sri Nanjil Arul
Ghatom : Sri Manjoor Unnikrishnan

02 Oct Thursday
6pm to 8.30pm – Navarathri Keerthanam “Devi Pavanae” – Saveri
Vocal : Prof. Smt. PARASSALA B. PONNAMMAL
Violin : Smt Charulatha Ramanujam
Mridangam : Sri Mavelikara R. Rajesh
Ghatom : Sri Adichanallur Anil Kumar

03 Oct Friday
6pm to 8.30pm – Navarathri Keerthanam “Bharathi Mamava” – Thodi
Vocal : Sri M.K. SHANKARAN NAMBUTHIRI
Violin : Sri S. R. Mahadeva Sarma
Mridangam : Sri Cherthala S. Dinesh
Kanjira : Sri Uduppi S. Srikanth

04 Oct Saturday
6pm to 8.30pm – Navarathri Keerthanam “Janani Mamava” – Bhairavi
Vocal : Prof. T.V.GOPALAKRISHNAN
Violin : Sri S. Varadarajan
Mridangam : Sri Tiruvarur Bhaktavatsalam
Ghatom : Sri T.V.Vasan

05 Oct Sunday
6pm to 8.30pm – Navarathri Keerthanam “Saroruhasana” – Panthuvarali
Vocal : Prince RAMA VARMA
Violin : Sri S. Varadarajan
Mridangam : Sri B. Harikumar
Ghatom : Dr. S. Karthick
Morsing : Sri Payyannur Govindaprasad

06 Oct Monday
6pm to 8.30pm – Navarathri Keerthanam ” Janani Pahi” – Sudhasaveri
Vocal : Padma Bhooshan Sri TRICHUR V. RAMACHANDRAN
Violin : Sri M.A.Sundaresan
Mridangam : Sri Bangalore Praveen
Ghatom : Dr. S.Karthick
Morsing : Sri Payyannur Govindaprasad

9.30pm – Mohiniyattam by Dr. Deepthi Omchery Bhalla ( entry restricted to invitees)

07 Oct Tuesday
6pm to 8.30pm – Navarathri Keerthanam ” Pahi Janani ” – Nattakurinji
Vocal : Ms. AMRITA VENKATESH
Violin : Sri R. Madhavan
Mridangam : Sri A. Balakrishna Kamath
Ghatom : Sri Perukavu P.L.Sudheer

08 Oct Wednesday
6pm to 8.30pm – Navarathri Keerthanam ” Pahi Parvathanandini”- Arabhi
Vocal : Sri Thamarakkad GOVINDAN NAMBOOTHIRI
Violin : Sri Sampath
Mridangam : Sri Kuzhalmannam Ramakrishnan
Ghatom : Sri Uduppi Sridhar

Here is some more information from  probably Prince Varma himself at rasikas.org

The ambiance there is something to be experienced to be believed. Perfectly balanced acoustics, lighting by oil lamps, the divine grace of the Goddess in whose honour the concerts are conducted,
utterly disciplined and informed audience, the feeling of having travelled back in time by around two centuries…..the list is endless. As I said before…..it is something that has to be experienced to be
believed.
There are some restrictions though.
1) Only Hindus are allowed inside since it is a temple.
2) Men have to wear a mundu/veshti/dhothi and take off their shirts.
3) Everybody has to be seated by 6:00 pm at the latest.
4) Nobody can leave before the concerts finish.
5) The concerts start at 6:00 pm Sharp and finish at 8:30 pm Sharp.
6) Since the concerts are done as offerings to the Devi and not as “Performances” there is no applause.
7) Mobile phones are STRICTLY Forbidden inside.
The main krithi for each day is fixed.
9) Women were not allowed inside the Mandapam for 200 years but I had the privilege of getting
this tradition changed after fighting against this for 22 years. And now women can enter the place
both as performers as well as listeners.
A speaker will be kept outside the steps of the Shree Padmanabhaswami Temple (Which is adjacent to the Navarathri Mandapam) for the benefit of those who wouldn’t be prepared to follow all the restrictions listed above, but would still like to enjoy the concerts.
A chunk of each concert would be broadcast by the All India Radio, Trivandrum on all days from
9:30 pm till 11:00 pm.
For further information, queries, feedback, please write to me at kuthiramalika@gmail.com
(Much safer than sending a letter to the administrator by post by the way.)

Source: http://www.kutcheribuzz.com/news/20080918/navarathrischedule.asp

http://rasikas.org/viewtopic.php?id=6275&p=1

Read an article titled The Navarathri Mandapam Experienceby Rama Varma in the Hindu here

Filed under: Arts, Carnatic Music, Dance, India, Introduction, Kerala, Performing Arts, artists, experiences, program, promotion , Kerala, Navarathri, Swati Tirunal

Subraanjali Dance Theatre presents “Shanmukha in KL”

 Date: 11th Oct,2008

Venue:MATIC Auditorium, KL

Time: 8.00pm

For More Information contact: 012 633 1911

About the Artistic Director:  Sri.Nadarajan Muniandy graduated from Kalakshetra Graduate in 1993. He began his learning of the Kalkshetra Style under Guru Krishna Kumari in KL. He has also been under the tutelage of Guru(Smt.) Sharada Hoffman. Since his graduation , Sri. Nadarajan Muniandy has been active in KL as a performer, teacher and choreographer. He established the Subraanjali Dance School in 1997 where he trains his students . The school provides rigorous training to interested students and adheres to the Kalakshetra tradition.

Source: Mrs. Santhakumari,KL

Filed under: Arts, Bharatanatyam, Bharathanatyam, Dance, Dance Gurus, Introduction, KL, Kalakshetra, Kuala Lumpur, Malaysia, Male Bharathanatyam dancer, Performing Arts, Rasika, South Asian Dance, artists, choreograhers, choreography, dance drama, learning, program, promotion, students, talent, upcoming artist , Nadarajan Muniandy

An introductory book for beginners

Bharatha Natyam, A Basic Study is written by Subashini Pathmanthan for the benefit of non-Tamil speaking students of Sri Lanka. The printing and publishing of this book is sponsored by the India-Sri Lanka foundation.

The author’s personal talent and experience in the field of Bharatha Natyam are apparent in this book of 42 chapters that cover almost all aspects of dance, including its origin and development.

She traces the ancient dance forms such as koothus, modern and ancient works, dance in ancient pun music and devotional music which enable the reader to understand the ancient role of the divine art in society.

The book also includes references to dance found in numerous inscriptions, the relationship of dance with fine arts such as music, ancient pun isai, sculpture, and paintings, choreography in classical Bharatha Natyam, Keerthanams, Padams and Jaavalis. All these aspects clearly indicate how Bharatha Natyam is connected to numerous other aesthetic art forms.

Current and emerging trends in Bharatha Natyam, costumes, styles, accompaniments, stage décor, the impact of technical developments and the influence of Tamil cinema in Bharatha Natyam are also dealt with.

The book examines the relationship of Bharatha Natyam with other classical Indian dance forms and Sri Lankan classical dance forms ( Kandyan dance), and South east Asian dance forms. In these chapters one can understand and trace the origin of all other dance forms which are based on Natya Sastra.

Again these chapters reveal the relationship, similarities, dissimilarities of Bharatha Natyam with other Indian classical dance forms, the Sri Lankan classical dance forms ( Kandyan dance) and South East Asian dance forms.

Further this book deals with the contribution of men towards the development of Bharatha Natyam, and their role in the development of Indian Classical Dances. It also deals with temples, Indian classical dances and royal patronage to Indian classical dances as well as popular Tamil folk dances.

Source:

Delving into dance By Vathana Varatharajan published on Aug17th in Sunday Times.

http://www.sundaytimes.lk/080817/Plus/sundaytimesplus_14.html 

Filed under: Arts, Bharatanatyam, Bharathanatyam, Dance, Dance Gurus, Introduction, Performing Arts, South Asian Dance, Sri Lanka, UK, adavus, books, learning, promotion, students

Ajith Bhaskaran Dass’s upcoming”Ujjwala” at Malaysia

Suvarna Dance Company presents an exclusive one night performance entitled UJJWALA – AWAKENING THE INNER FLAME, will be staged at the Malaysian Tourist Center, Auditorium Dewan Tuaku Abdul Rahman. 109, Jalan Ampang, Kuala Lumpur
on 30th August at 7.30pm, by Ajith Bhaskaran Dass

For details and making your reservation visit http://nmadasamy.com/AJIT/ujjwala.html

About Ajith

Ajit Bhaskaran Das: Is a leading exponent of Bharat Natyam and Odissi in Malaysia. He has also received extensive formal training in contemporary dance. His performances, therefore, reflect a unique image of conscious artistry, transcending boundaries between old and new, East and West. Ajit mesmerized audiences in North America with his portrayal of Kothal in the Shakti dance ballet Shyama and as a lead dancer in Bhagavad Gita, which toured the US and Canada in 20002 and 2003.  Ajit is Artistic Director of Suvarna Dance Creations, a well known dance company in Malaysia.

Filed under: Arts, Bharatanatyam, Bharathanatyam, Dance, Institutes, Introduction, KL, Kuala Lumpur, Malaysia, Male Bharathanatyam dancer, Performing Arts, South Asian Dance, Suvarna Dance Company, artists, choreograhers, choreography, experiences, program, promotion, talent