Having an Eureka Moment today…Rasanubhava

After being really immersed in dance talk for the last few days… here are a few opinions I want to share with all of you.. They may be right, may be wrong or somewhere in between..

• Dance quality may vary from absolutely despicable for all, to adored by all with all permutations and combinations existing in the ratio of audience like/dislike.
• Good dancing and excellent(great) dancing are very different.. If a clean presentation is what you are looking for outstanding students can reproduce their Gurus choreography with authenticity and technical perfection, with minimal introspection on the repertoire. An excellent/great presentation occurs when the dancer has convinced himself/herself andinvaraiably convinces therasika and succesfully makes them forget the fact that they are watching ” so and so”. If the audience can watch Lord Muruga, Krishna and Venkateswara or Goddess Meenakshi live on stage.. that indeed is a live performance..
• As long as a dancer however good as she/he may be , if he/she is consciously trying to impress the audience only with his/her vidwat or elaborate choreographies with a delibrate “wow” factor introduced, it is going to come accross as farce and highly pretentious..
• Transcending the limitations of the human form, the infrastructure and the environment is what gives the rasanubhava.

Sri Nevyeli Santhanagopalan in his Jaya Tv show quipped that a big vidwan once said something to the effect

 ”kaiyla viralai romba ennarare, kasukku prachanai illaye?”

 Well, the vidwan puts in a lot of mathematical calculations in his rendition , so is he faring well ?” I leave the interpretation to the imagination of the readers… But I can see it hold good for our Bharathanatyam performances too!

The above points may be modified and applied to Carnatic Music  or for that matter any Art Form.. It is more than all those codes, the grammar, the pani (style), the execution,.. it is that which is inherent  in the artiste that makes mastery apparent and gives rasanubhava to the audience.

Well as a rasika it may be easy to say

Filed under: Arts, Bharatanatyam, Bharathanatyam, Carnatic Music, Dance, Dance Gurus, December season., India, Madras Music Season, Performing Arts, Rasika, South Asian Dance, artists, do's and don'ts for dancers, experiences, students, talent, upcoming artist

Madras(Chennai) Music and Dance Season (2008-2009)-Dance Program Schedule

I will put in the dance programmes for the 2008-2009 Chennai Music Season that I get to know of (as and when I get to know) … Please visit to the links below for more complete information..  I request readers/dancers to send in info of programs already not listed here . You may send them to me as a comment in this post or email it to me if you know my ID:) The sources of info of the following schedules are based on personal emails received and from websites whose URL’s have been listed below:- (*)

22nd Nov. 2008 : 

Priya Ramadoss(Disciple of Smt. savitri Jagannatha Rao) Performs at Naradha Gana Sabha mini hall under the auspices of Natyarangam at 6:00pm

Navya Natarajan Menon Performs at Naradha Gana Sabha mini hall under the auspices of Natyarangam at 7:30pm

23rd Nov. 2008 :

Lakshmi Ramaswamy demonstrates Prof. Raghuraman’s lecture on “Aham and Puram” of Tamil literature for Natyarangam.(morning lec dem series). Pl check timings

1st Dec. 2008

 Group performance by students of Sri Mudralaya (Disciples of Smt. Lakshmi Ramaswamy), Mylapore Fine arts.. 7.30-9pm

11th Dec.2008

 Bharathanatyam Solo by Purnima Balasubramanian (Disciple of Smt. Lakshmi ramaswamy) at Meenakshi College, 11am

13th Dec.2008

Bharatanrityam Recital By Bala Devi Chandrashekar, Mylapore Fine Arts,Inaugural Day Concert: “Garland of Gems by Great Composers” ,Time: 7.00 pm

15th Dec. 2008

Dance Drama ” Jagam Nee Aham nee” by students of Sri Mudralaya (Smt. Lakshmi Ramaswamy),  at P.S. Senior School, 6pm 

16 Dec. 2008:

Rama Vaidyanathan  Nungambakkam Cultural Academy – Rama Rao Kala Mantap, 111, Habbillula Road, T.Nagar, Chennai-600017. Tel:+91-(0)-44-28343252. 07.00pm.

Shilpa Krishnan, Hamsadhwani sabha,  Adayar Youth Hostel in Indira Nagar, Adyar, Madras, evening concert (Contact  R. Sundar – Secretary – phone : 91 44 24915555/ 24901700)

18 Dec. 2008:

Rama Vaidyanathan Institute of Mathematical Sciences, Ramanujan Auditorium, Taramani, Chennai. 08.00pm

 

20 Dec. 2008:

 Rama Vaidyanathan Brahma Gana Sabha – Petachi Sivagami Auditorium, Mylapore, Chennai 600 004. 06.30pm

21 st. Dec. 2008:

 Shruthi and Shalini Srivatsan will be performing at Adayar Hostel under the Hamsadhwani banner. The program is slated for 7:30pm

22 Dec. 2008:

Rama Vaidyanathan Kalakshetra – Thiruvanmiyur, Chennai 600 041. Tel: +91-(0)44-24524057. 06.00pm

23 Dec. 2008

Kalaimamani Ramya Ramnarayan , 2 PM , Narada Gana Saba

Bharatanrityam Recital by Bala Devi Chandrasekhar,Nungambakkam Cultural Academy, Time: 6.30 pm

Kum Sharanya Balaji,(Disciple of Guru Vishal Ramani, USA), Varasiddhi Vinayagar Temple, besant Nagar) for TVG Academy of Indian Music and Arts, from 5-6.30pm

24 Dec. 2008:

Rama Vaidyanathan Bharat Kalachar – No.7, Lake 1st Main Road, Nungambakkam, Chennai 600 034. Padma Seshadri School Auditorium. 06.45pm

Deepti Venkatraman (Disciple Of Ramya Ramnarayan), Kartik Fine Arts Bharatiya Vidya Bhavan, Mylapore, 4pm

25th Dec. 2008

Smt. Lakshmi Ramaswamy presents her dance drama based on the Sangam Literatute nattrinai, titled ” Sangamum Sangamamum” at Narada Gana Sabha Main Hall, 2- 3.30pm

26th Dec. 2008

Bharatanatyam solo by Kalaimamani Ramya Ramnarayan for Kartik Fine Arts at Bharatiya Vidya Bhavan, 6 pm

29th Dec. 2008

Lecture by Dr S Raghuraman on  ‘dravidaththil Taai deiva vazhipaadu’ (worship of mother goddess in tamil culture). Demonstration by Lakshmi ramaswamy and her students for Katik Fine Arts at Bharatiya Vidya Bhavan

Pooja Kumar, Karthik Fine Arts (Bharatiya Vidya Bhavan) at 4:30 p.m.

31st Dec. 2008:

Lakshmi Ramaswamy’s Sri Mudralaya students perform at Guruvayoorappan temple, Mahalingapuram , 7pm

Sharanya Balaji (Disciple of Guru Vishal ramani), Youth Hostel, Indira Nagar for Hamsadhwani Sabha , 7pm

02 Jan. 2009:

Pooja Kumar ( Program awarded to the Winner of Cleveland Thyagaraja Aradhana ), Narada Gana Sabha Main Hall at 6:30 p.m.

 Deepti Venkatraman,(Disciple of Ramya Ramnarayan)  for Mudra Fine Arts at Old No.10/4(New No.21/4),Shenoy Road, Nugambakkam, Chennai 600 034, 5 pm

Bala devi Chandrasekhar, Bharatanrityam at Vani Mahal,“Shree Krishna Smriti” ,Time: 5.30 pm

03rd Jan. 2009:

Bharathanatyam solo by Archana Mahesh (Dis. of Lakshmi Ramaswamy) for GanaMukunda Priya at RK Swamy Hall at 4.30pm

 Deepti Venkatraman (disciple of Ramya Ramnarayan) Thiyaga Brahma Gana Sabha, Vani Mahal, T.Nagar at 6.30pm

04 th Jan. 2009:

Sadhaa Shanmugham Smaraami”,  Bharathanatyam Solo by Savitha Vankatapathy for Gana Mukundapriya, at R.K. Swamy Hall  at 4.30pm 

06 Jan. 2009:

Solo by Mythili Prakash at The Music Academy , chennai at 11.30 am

07 Jan. 2009:

Solo by Shijith Nambiar at The Music Academy , chennai at 11am

Sri Krishna Jananam Produced by Bharatakalanajli under partial funding from ISKCON. Artistic direction & production co-ordination: Naatyaachaarya V.P.Dhananjayan  Choregraphy: Prof. A. Janardhanan (former Principle artiste and Principal of Kalakshetra, Chennai  Music composition: Mysore S. Rajaram (former Director, Kalakshetra, Chennai. Participants: Bharatakalanjali Artistes & Graduates from Kalakshetra (Pl chk for timings) at Music Academy

09 Jan. 2009:

Pooja Kumar, Bharath Kalachar at 6:00 p.m.

Rama Vaidyanathan Music Academy, TTK Auditorium, 168, TTK Road, Chennai. Tel:+91-(0)-44-2811 2231. 06.00pm

Navia Natarajan Menon, Kartik Fine Arts, Narada Gana Sabha (Mini Hall),Chennai, 6:00pm – 7:00pm

14th Jan. 2009:

Bharathanatyam solo by smt. Lakshmi ramaswamy at Mylapore Fine Arts, 7.30pm.

15th Jan. 2009:

Bharathanatyam solo by Smt. Lakshmi ramaswamy at Bramha Gana Sabha, 7.30pm.

18th Jan. 2009:

Bharathanatyam by Aishwarya Narayanaswamy for Brahma gana sabha Sivagami petachi auditorium, Mylapore, 6pm

 27th Jan. 2009:

Bharathanatyam by Aishwarya Narayanaswamy at Parthasarathy swami sabha, R.K.Swamy hall, Mylapore, 7.15pm

 

*Please confirm the schedules with Local newpapers or sabha guides

To see the list of awardees for the Music Season (‘08-’09) click here

Links for Updates

• Searchable database of concerts from kutcheribuzz
• Season Coverage by Kutcheribuzz
• Mr. Ramkumar ’s blog
• Music Season Coverage By Art India
• Updates from from Carnatic Darbar(includes schedules from lot many sabhas)
• Kalakshetra Schedule from Carnatic darbar
• http://www.musicacademymadras.in/2008-work/2008_schedule.html (Their Dance programs are usually after the Music season in the first week of January or so)
• Here are a few available websites of a few other popular sabhas..
  http://www.krishnaganasabha.org/home.html: The Pongal Dance festival and Nadaswara Isai Vizha, a part of December Art Festival will be held from January 2 to January 19, in which young as well as experienced dancers will be featured.
  http://www.bharatkalachar.com/
  http://parthasarathysabha.com/
  http://www.kutcheribuzz.com/ebrochures/srithyagabrahmaganasabha/
  http://www.kutcheribuzz.com/ebrochures/kartikfinearts/
  http://www.rrsabhamylapore.in/ (Rasika Ranjini sabha)

A few of these may not be updated regularly

Filed under: Arts, Bharat Kalachar, Bharatanatyam, Bharathanatyam, Chennai, Conference, Dance, Dance Gurus, December season., Dhananjayan, India, Kalakshetra, Kartik Fine Arts, Krishna Gana Sabha, Literature, Madras, Madras Music Academy, Madras Music Season, Madras dance Festival, Male Bharathanatyam dancer, NRI, Narada Gana sabha, Natyarangam, Performing Arts, Rasika, Shanta, Sheejith Krishna, Shijith Nambiar, artists, choreograhers, choreography, dance drama, dance festival, experiences, learning, program, students, upcoming artist , Add new tag, Aishwarya Narayanaswamy, Bala Devi Chandrashekar, Hamsadhwani, Navia Natarajan, Pooja Kumar, Ramya ramnarayan, Shilpa Krishnan, USA, Vishal Ramani

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

Clarinet an accompaniment for the Chinna Melam?

Chinna (Tamil for small) melam or the “small band” was a dance performance accompanied by small instruments like mridangam, sruthi, etc . It is supposed to have been the precursor of what is today called Bharathanatyam.
The Periya (Tamil for large/Big) melam literally, “big band” is a traditional Carnatic music ensemble consisting of the nagaswaram, the tavil, the talam, and some form of harmonizing drone, either traditionally an ottu or more recently a shruti petti (bellows reed organ). Chinna Melam and Periya Melam were part of the temple rituals .

The below article is edited and published with permission from the author Mr. Sriram Venkatakrishnan. It provides a historical point of view of the role of the clarinet, its “carnaticisation” (adaptation to the carnatic music system) and its role as an accompaniment to the chinna melam.

“Carnatic music like all other art forms has evolved continuously thanks to various influences. The era of the British Raj saw composers such as Tyagaraja, Muttuswami Dikshitar and Patnam Subramania Iyer experimenting with western tunes. A Western instrument that was assimilated into Carnatic music thanks to the efforts of Muttuswami Dikshitar, his younger brother Balaswami Dikshitar and disciple Vadivelu of the Tanjavur Quartet was the violin. So successfully was this done that today it is hard to imagine Carnatic music sans the violin.

An instrument that appeared on the scene at around the same time as the violin is the clarinet. It was brought to India during the reign of King Sarabhoji II of Tanjavur. The ruler who had voluntarily become a pensioner of the British in 1799 after reigning for a year, devoted himself to the arts. Having had his education under Father Schwartz and later at the St George’s School, Madras, he had a ear for Western classical music and imported several instruments of that genre for daily use by an orchestra in his employment in Tanjavur. Thanks to the monumental work of Dr S Seetha, former Head of the Department of Music, Madras University, compiled in the treatise “Tanjore as a Seat of Music”, we know of Sarabhoji’s correspondence regarding his musical instruments. A letter dated 26/12/1802 and others of the same period from a Silvester De Costa to Sarabhoji state that the palace had four clarinets among other musical instruments. The clarinet was part of the Western music ensemble put together by the king.

 

According to Dr Seetha, it was Mahadeva Nattuvanar* who first used the clarinet for performing Carnatic music. Even during Sarabhoji’s reign it was being used as an accompaniment for the chinna melam (the lesser ensemble) which accompanied the dance performances of the Devadasis. In an era when a prudish Victorian morality was categorising the dancing girl as being the root cause of all social evil, perhaps the clarinet also suffered, for it took the instrument an inordinately long time to be accepted as a Carnatic music instrument. One has to only compare the relative ease with which the violin came to be accepted. Several of the Trinity’s disciples were violinists while not even one attempted the clarinet.

* Mahadeva Nattuvanar, was a descendant of the Ganagamuttu nattuvanar . He was the son of Shivanandam( one of the Tanjore quartet brothers). Mahadevan nattuvanar’s daughter was married to Meenakshisundaram Pillai who came to madras at Rukmini Devi Arundale’s Invitation to teach at Kalakshetra (Sunil Kothari, 2000)

Filed under: Arts, Bharatanatyam, Bharathanatyam, Carnatic Music, Dance, History of Bharathanatyam, India, Performing Arts, South Asian Dance, Tamil, Thanjavur, artists, experiences, learning, students , chinna melam, clarinet, sriram venkatakrishnan

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

Kavuthuvams- a study

In recent years one witnesses on the performing platform the dances belonging to the ancient temple tradition of South India. Navasandhis, Pushpanjalis and Kavuttuvams form an integral part of this group. Though these pieces have been performed for a number of years within the hallowed precincts of temples, it is only recently that they have gained prominence in Bhratanatyam recitals. Of these, the Kavuttuvam presents a fascinating scope for study, both historically and technically. As one delves deeper, the subject becomes even more intriguing.

This article will consolidate some ideas regarding the historical references to kavuthuvam, its position in a Bharathanatyam recitals, the structure, prevalent practices etc..

Kavutuvam- the common thread:

Kavuthuvam is an invocatory item in Bharathanatyam and Kuchipudi recitals. It is a hymn a song of devotion in praise of a deity. It was performed by the devadasis as part of the daily rituals, or on special occasions or during the festivals. Most of the Kavutuvams are dedicated to a particular deity. For eg, the Chidamabara Natesa Kavutuvam by Gangai Muttu Nattuvanar is dedicated to the deity at the Chidamabaram Natarajar temple and similarly Nachiar or Andal Kavutuvam is dedicated to the shrine at Srivilliputthur. Whereas, there is no apparent mention of a particular kshetra or shrine in the Subrahmanya and Ganesha Kavutuhuvams.

 When my students heard it the first time they brightly came up with the idea that rap must have originated from the kavuthuvams. Kavuthuvam have an unique structure – it begins with a rhythmic recitation of sollukattus, followed by lyric recitation in the same santham (rhythmic metre) as the sollus and the later a melodic rendering of the lyrics and ends with a sollukattu. No sancharis or elaboration herev(the choreography sticks to padartham). Sometimes Thattimetti for the lyrics when repeated the second time may be seen.

Musically most Kavuthuvams are composed in Nattai, Gowlai, Arabhi, Varali, Hamsadhwani and Sri Ragam. Gangai Muttu Nattuvanar and the Tanjore Quartet have penned most of the Kavutuvams.

Kavuthuvam- Historical References

“A study of the temple tradition and extant literature sheds light on the fact that the Kavuttuvam of Tamil Nadu has a parallel tradition in the Kavuttuvam of Andhra. The earliest mention of the formal Kavuttuvam in Tamil literature dates back to the work Kulappa Nayakkan Virali Vidu Dhuthu by Supradeepa Kavirayar (about 1725 AD).

            Aadavarai eyyum madhavel kaikkichayum malar evalpol

Thaiyalal pushpanjali cheithal – cheithu pillaiyar

Kavuttuvam kondal ada ilaya nayanar

Kavuttuvam kondu nanninen

The term used here is Kavuttuvam and not any distortion of or derivation from it. The lines suggest that the dancer first struck the basic position of the feet essential for commencing the dance. Whether she chanted the Kavuttuvam in a ritualitis manner and then struck the position of the feet in order to dance or whether she first took the position to dance and then performed the Kavuttuvam is, however, not very clear. ” (2)

Kavuthuvam- Position in the margam

Though Kavutuvams are usually performed in the beginning of a recital today, there are references that show that a Kavutuvam may have been featured towards the end of a recital too. “Serfoji II was the Maratha ruler of Tanjavur from 1798 to 1832. He was a great patron of Bharatanatyam and himself wrote many Nirupanams for dance in the Marathi language but in Karnatic ragas. In his time there were eighteen items in a Bharatanatyam performance and these were

 

1) Jayastuti

2) Sharanu Sharanu

3) Alaru (This was perhaps Alarippu)

4) Sollu

5) Shabdam

6) Varnam

7) Padam

Swarajati

9) Abhinaya Padam

10) Tillana

11) Abhinaya Padam

12) Jakkini Padam

13) Geetham

14) Prabandham

15) Triputa

16) Shloka Varnam

17) Kavuthuvam

18) Mangale

 

Serfoji patronized four brothers called Chinnaiah, Ponnaiah, Sivanandam and Vadivelu who came to be known later on as the Tanjore Quartette. They reduced the eighteen items to eight and introduced the Margam which is now in force.” (1).

Prof. Sudharani Ragupathy in her VCD on Navasandhi Kavuthuvam talks about Kavuthuvam being performed before a Shapdam or instead of one.

Kavuthuvam: Different Views on its emergence…

The most common view that is present among the dance fraternity is that “Kavuthuvam” is a term that is beleieved to have originated from Kavithvam or kavithuavm referring to its poetic excellence. Bhagyalakshmi (2005) says that it may have been derived from the Kavitvam/salamu repertoire of Kathak.

 In an article authored by Smt. Chitra Visweswaran, with Sri. T.S.Parthasarathy’s support, the emergence of  Kavuthuvam is discussed as follows…

“Discussing the word Kavuttuvam, Prof. P. Sambamoorthy suggests the possibility of its being a distortion of Kavithvam (from kAvya, which has much to do with poetry). But the Kavuttuvams available to us are by no means great works of poetry. Nor can they be traced back ritualistically to kavithva and kavya. In his introduction to Jaya Senapati’s Nritta Ratnavali, Dr. V. Raghavan traces the present day shabdam to Kavithvam, which appears to be a more plausible explanation.

On the other hand, while studying the term Kavuttuvam from the ritualistic point of view, it is possible to associate it with temple rituals. The main deity in any temple is called the moolavar or moola bimbam; the deity taken out in procession is known as the utsavar, utsava bimbam or kautuka bimbam. It is known that Kavuttuvams were performed in the temple processions in the presence of the kautuka bimbam. Could the origin of the name of this dance piece be traced to this ritual? It is significant that the ceremony of tying the kappu around the wrists of young couples during the wedding is called kautuka bandham. It is also interesting to note that Kautukamu in Telugu literally means kapu utsava or the celebration of tying the kapu (see Suryaraya Andhra Nighantu – Sangeeta Sabda Chandrika, a dictionary of musical terms in Telugu). It is thus possible that the Kavuttuvam or Kavutam was performed in the presence of the deity, in the nature of tying a kapu to ward off evil.

My observation on the close bond between Kavuttuvam and Kappu is further strengthened by the study of old pieces such as Bhairavakappu in Takkayaga Parani by the famous Tamil poet, Ottakuttan, who belongs to the 12^th century A. D.

BHAIRAVAKAPPU

 Uraka kankanath tharuvana panamani

Ulakatangalum thuyil ezha veyil ezha

Udai thavirthathan thiruvarai udai mani

Ulavi onrodonru alamara vilakiya

Karathalam tharum thamaruka chathipothi

Kazhal punaindha chemparipura oliyodu

Kalakalan kalan kalanena varum oru

Kariya kanjukan kazhalinaik karudhuvam

Many literary and poetic pieces begin with such kappus. The Bhairavakappu has many characteristics found in Kavuttuvams as available to us today. This clearly leads to a discussion of the essential characteristic features of this dance piece that is today performed in the name of Kavuttuvam.

Perhaps, the most comprehensive definition of Kavuttuvam, is in Natyacahrya Vedantam Parvatheesam’s Kuchipudi Natya Darpana in Sanskrit.

Pataksharena samyuktam devata vishayatmakam

Nanartha chitrasamyuktam kitthantam kautam uchyate

[That which has a combination of syllables pertaining to footwork (sollukattu), that which pertains to the deeds of Gods and thus presents pictures of various types and ends with the rhythmic syllable, kittha, is called a Kavuttuvam]

Whether it is done in the Bharatanatyam or Kuchipudi styles, the concept and structure are the same. The most important characteristic feature peculiar only to Kavuttuvams is the close intertwining of sahitya (lyric) and sollukattu (rhythmic syllables), which is non-existent in any other dance number.”(2)

Kavutuvams- The Variety

Two kinds of Kavutuvams are important from the historical point of view:-

• 1. The Panchamurthi Kavutuvams on Lord Vinayaka, Muruga, Sambanadar, Sandeswarar(Chandikeswara), and Nataraja. This was performed on the Thiruvathirai day in the month of Margazhi,when the idol was taken out in procession.
• 2. The Navasandhi Kavutuvams propitaiate the ashtadikpalaks(the guardian of the 8 directions) and Bramha at the centre. These were composed by the Tanjore quartette and performed during the Dwajaroha(Flag hoisting) festival at the Thanjavur Periya Kovil or the Brihadeeshwara temple. The Navansandi Kavutuvams are composed on Bramnha, Indra, Agni, Yama, Niruthi,Varuna, Vayu, Kuberaand Isana. The Navasandhi Kavutuvam, is a vast research topic in itself. All the 9 Kavutuvams talk of the attributes of the particular deity(their mount, their consorts, their kriya (loosely translated as responsibilities etc.),
• This has been researched by prof. Sudharani Raghupathy who is a disciple of Tanjore Kitappa Pillai, a direct descendant of the Tanjore Quartert. This project is now brought out as a Geethanjali VCD titles “Navasandhi Kavuthuvam” brought out by the Super Audio Madras Pvt. Ltd. A video search in the You tube will help you watch a few of these.More about this Cd and Kavuthuvams here
• I intend to write a note on Navasandhi Kavutuvams shortly.

 Priyadarshini Govind in her DVD on Invocatory Items talks of  a few kavuthuvams on nature like the “Vanambadi Kavutuvams” and Kavuthuvams that mention”Nithyasumangali” or “Rudrakanika”, the devadasi.

 The Kuchipudi repertoire includes Kavutuvams, in which the dancers use their feet to create patterns of birds and animals while dancing to special songs. For example, in a Kavutuvam in praise of the Goddess Durga, the dancer creates the image of a lion, the mount of the goddess. In the Mayura Kavutuvam they create an image of the peacock. The Mellatur Bhagavatha Mela  Sampardaya also features its own Kavutuvam.

Popular Kavuthuvams performed today include

• 1. Natesha Kavutuvam-
• 2. Ganapathy Kavutuvam-(In ancient times it is said that training began for the student with this kavutuvam who learnt to perform the steps to the rhythm of the kavutuvam)
• 3. Subramanhya Kavutuvam-
• 4. Srivilliputtur Andal/nachiar Kavutuvam-
• 5. Hari Narayana Kavutuvam-sings  praises of the dasavatar
• 6.  Tiruvallankadu Kaali Kavuthuvam-
• Less common ones.
• 7. Tharugavana Mahalingar Kavutuvam
• 8.Seergazhi Ganasambandar Kavutuvam
• 9.Madurapuri chokkar kavutuvam

Definitely kavutuvams with their divine nature please the traditionalists and their crisp rhythmic construction and its brevity impresses the uninitiated audience too. No wonder the Kavutuvam is making its indent into the margam today. It is said that many kavutuvams are still kept and preserved in their respective temples and are yet to be brought to the performance arena. Research and collaboration with the traditional nattuvanars may discover many of these unseen gems.

Sources:

• 1. BHARATANATYAM IN HISTORY by Sangita Kala Acharya T. S. Parthasarathy,http://www.carnatica.net/special/bharatanatyam-history-tsp.htm
• 2. KAVUTTUVAM Padmashri Chitra Visweswaran & Sangita Kala Acharya T. S. Parthasarathy http://www.carnatica.net/special/kavuttuvam-tsp1.htm
• 3. http://www.narthaki.com/nforum/messages/11225.html
• 4. Bhagyalekshmy, 205, Approach to Bharathanatyam, Third Edition, CBH Publications Nagercoil.
• 5. Kavuthuvam and Mallri, Natya Dwami, Swathi’s Samskrithi Series CDpresented by priyadarshini Govind
• 6. Navasandhi Kavuthuvam in Bharathanatyam , CD produced by Super Audio Madras, directed by Prof. (smt) Sudharani Raghupathy
• 7. My gurus oral teaching and notes ( Smt. Chitra Visweswaran and Smt. Priyadarshini Ramchand)

Filed under: Arts, Bharatanatyam, Bharathanatyam, Carnatic Music, Chitra Visweswaran, Dance, Dance Gurus, Literature, Performing Arts, Sudharani raghupathy, Tamil, Vijayanthimala Bali, books, choreography, learning, students , Kavuthuavam, Navasandhi

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 Suvarana’s Dance Company sparkling production Ujjwala

Ajith Bhaskaran Dass and his group of dancers from the Suvarna Dance Company presented the “Ujjwala- Awakening of the Inner Flame” at Dewan Tuanku Abdul Rahman Auditorium in Malaysia Tourist Centre, KL on Aug 30^th . Ajith has an impressive lineage of Gurus including Smt Bhanaumathi Krishnan, Smt. Shanta Ponnudurai, Ramli Ibrahim, Smt. Shantha Bhaskar, Adyar.K. Lakshmanan, Guru Gajendar Kumar panda,  Sri. Dhananjayan and  Smt. Shantha Dhanajayan. He is the artistic Director of Suvarana Fine Arts ansd has performed extensively all over SE asia, Indai, USA, Canada and Europe. he has worked with several internationally renowned dancers .. Dhananjayans(Sangamitra), Lakshmi Viswanathan( Caturanga and Banyan Tree), Prof. C.V. Chandrasekhar (Pancha Mahabootha) and Padma Subrahmanyam(Ritu Mahatmayam). he has an impressive repertoire of professional productions and artistic collaborations both in Malaysia and abroad. He regulary conducts workshops and lecture demonstrations.

The program was scheduled to begin at 7.30pm but started at 8.00pm. It was a ticketed program and there were people who had brought in the tickets and waiting at the lobby. Quite an encouraging sign for artists in KL isn’t it?

Their brochure describes Ujjwala as “a dance feature which explores the element FIRE in its various representations. This dance work attempts to translate into movement and mood, not only the physical nature of fire but also explores the intrinsic nature of this element through human emotions and psychological states.”

The Program itself was divided into 5 sections

Part 1: Aditya Agni- Eternal Flame

Using verses from the Aditya Hridayam and Agni Suktham this piece was conceived as a salutation to the Surya Bhagawan. The strength of group choreography was utilised here to show the eternal flame…

Part 2: Joothisvaroopini- Cosmic Effulgence

This segment presented a new varnam written by Shri.V. Balakrishnun (Bharathaanjali, Singapore). I was told that this was the first time the varnam was being performed. The piece has been musically composed by Sri T.S. Lazar in Ragamalika( Some very rare ragas like Jothisvaroopini, priyadarshini, Bindumalini there). This varanam depicts the Goddess Shakthi as jwalamalini and Jwalamukhi, the inferno of cosmic energy. (Devi closing Shiva’s eyes, birth of Meenakshi and Muruga and the destruction of Bandasura were some of the episodes covered in this composition).

Though I don’t want to get into reviewing any of the performances I attend, it would be unfair if I didn’t mention that this piece was embellished some very well rehearsed and synchronised movement s (The showing of the Arumugam- almost as synchronized as the a few Chinese group dances that I always thought was almost a miracle). Jathis as in a few present choreographies, had some special “sollus” incorporated into it. I recall these- “Ujjwala” and “Natanam” built into the jathis.  The presentation was at a very brisk pace and the choreography had taken into consideration the demands on physical stamina of the dancers and Ajith definitely deserves a mention for all the homework he has done. Ajith had some quick costume changes here. (Did he manage 3 during the varnam?). Some wonderful Gudhitamettis there. During the tattimettis, I noticed the alternate use of samam and usi eduppus.

There was a 20 minute interval after this and I want to tell you there wasn’t an exodus. Rasikas here don’t seem to mind commuting late. This is my second performance here at KL.  I had watched people leave during Sheejith’s Rama Charitham at Sri Krishna Gana Sabha, Chennai. Just sayingL The loss wasn’t Sheejith’s thoughJ

The Post Interval session presented 3 segments…

Part 3: Kamagni-Burning desire.

 It was as they described it, “a sensuous conversation of love” to Bharathiyar’s “Vennaiadi nee yenakku”. This piece was musically composed by Shri Deepu Nair, Chennai.

Part 4: “Krodha Jwala”- Fire of Fury saw Panchali Sapatham being used to portray the Draupadi vastrabhaharanam and her wrath and fury and her vow to destroy the Kauravas. The piece had the dayakattum playing and Ajith was the Shakuni and Draupadi. Sollukattus were used every time the dice was rolled. There was one Kantam sequence that I immensely enjoyed. This brought back memories of the Panchali Shapadam by Smt. Chitra Visweswaran (Well I am thinking of her all the time so it is bound to happen!:)

Part 5: The finale… “Ujjwala”, the final awakening of the inner light of spirituality used traditional sufi poetry musically composed by Rajesh Vaidya and T.S. lazar.

The Crew:

·         Nattuvangum: Smt. Usha Ramachandran (daughter of Guruvayoor Durai and artistic director of Laasya Fine Arts). Reminds me of Smt. Indira rajan , her Guru (and incidentally one of my Gurus) in her Nattuvangum style.

·         Vocal: Smt. Bhavani Logeswaran

·         Mridangam: Shri.T. Ramanan

·         Violin: Shri.T.S.Lazar

·         Flute: Shri.G. Nataraj

·         Percussionist: Shri Theban Arumugam

·         Guest artistes:

o   Khairul Shahrin from Maya dance Theatre, Singapore. Khairul is trained in quite a few contemporary and modern dance styles apart from Bharathanatyam and Balinese Dance Forms.

o   Meena Kumaree trained in Kalakshetra Style, was the narrator for the Ujjwala.  Did I tell you that the show had a narrator (who didn’t stand behind the scenes).  She introduced the pieces (in English) and with her excellent diction and theatrical skills providing a setting for the upcoming scene.

PS:

Overheard Ajith saying “  While I do focus on the aspect of story telling, I have to convince myself of the story being told”. Also I saw him walk up to the musicians and thank them personally. (when the audience left after the formal curtain call) . Good signs again! Yes yes I di see Mavin Khoo there… I have a few pictures will soon upload them for you..

Filed under: Arts, Bharatanatyam, Bharathanatyam, C.V. Chandrashekhar, Chennai, Dance, Dance Gurus, Institutes, KL, Kalakshetra, Kuala Lumpur, Madras, Malaysia, Male Bharathanatyam dancer, Padma Subrahmanyam, Performing Arts, Rasika, Sheejith Krishna, Singapore, South Asian Dance, Sri Krishna Gana sabha, Suvarna Dance Company, Workshops, artisits, artists, choreograhers, choreography, contemporary, experiences, program, review, students, talent , Ajith Bhaskaran Dass

Rangoli Dance Company presents ” Patanjali: Legends of Yoga and Dance”

Rangoli Dance Company along with guest artists from India presents
Patanjali: Legends of Yoga and Dance

August 9, 2008
MAIN STAGE, Santa Monica College, 1900 Pico Blvd., Santa Monica, CA 90405
Unwritten Rhythms: 7:30 pm
Patanjali Dance Concert: 8:00 pm.

Patanjali, a thematic dance concert, explores the unique and powerful relationship between Yoga and dance. The evening features popular legends related to Patanjali, the cosmic dance of Shiva, and the holy city of Chidambaram in India.

Concept & Choreography – Malathi Iyengar
Music – Rajkumar Bharathi (India)
Lighting Design – Eileen Cooley
Costume Design – Lakshmi Iyengar
Set Design – Suresh Iyengar

Admission: Door $25 / Adv $20 / Student, Senior, and DRC members $15 / Group of 10 or more
- $15 per person
Tickets & Concert Information – 818 788 6860 or malathisiyengar@gmail.com / http://www.rangoli.org

Patanjali: Legends of Yoga and Dance, is part of International “Harmony For Humanity” Concert Network – http://www.danielpearlmusicdays.org

‘Patanjali: Legends of Yoga and Dance is not affiliated with Madison Project and the performance events do not constitute an endorsement by Santa Monica College or the Performing Arts Center.

This project is supported in part by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission.

Watch a trailer of this show..

A Presentation of Rangoli Foundation for Art & Culture
http://www.rangoli.org

Filed under: Arts, Bharatanatyam, Bharathanatyam, Dance, Dance Gurus, Malathi Iyengar, Performing Arts, Rangoli Dance Company, South Asian Dance, USA, artists, choreography, students

A Leave of Absence

Hi Readers…

This is a first “out of track” post in this blog. Well if you did realize that the activity in this blog from my side has gone down a wee bit…. you guessed it right! Sorry for having kept you all in the dark for sooo long. I am moving from Indonesia like a typical nomadic expat. I have lived here for around 11 years now and have a great set of Bharathanatyam students I will have to leave behind. It is emotionally very challenging… I have hardly been myself.

The sheer amount of crap that I did manage to collect (apart from my son’s artwork) was overwhelming especially when it has now come to packing. Well the point is the internet and computer will also go eventually. So I might be a little on and off and please excuse me. Well I intend to return to the circuit by the second week of July… But you never know my only predictable trait being my unpredictability I might hop in at any internet cafe (Warnet for my local readers) and post something. Please keep sending in your comments. I will look into the them as often as I can. If you did come upon something new and think would benefit our BN society at large, post it as a comment I will move it into a new post.

Well here’s some hasya rasa provided by my family and friends who kept me going when I so pathetically told them that I was moving. (Well I didnt say where I was going, did I?- Fine KL , Malaysia it is:)

Ok! Now for the quotable quotes from dear friends, relatives and aquaintances who never fail to make me laugh through my tears..

• ” Is Bandung not in Malaysia? Didnt Indonesia belong to Malaysia .Oh so you were not in Malaysia- I thought you were based in Malaysia all this while”( well excuse me aunty, did you go to Geography class at school?..)
• ” Wow now you get to learn Bahasa Melayu” (Great reason for a change isnt it- anyway Malay isnt very different from Indonesian Thankyou)
• “Now I have reason to fly Malaysian Air” (Welcome to KL on transit)
• “Please don’t forget to buy the green Cap balm from Indonesia one last time”(Adoooo- sayang sekali, love this one)
• “Dont leave the wet grinder behind” (sigh!-I am sure you can guess where this one comes from)
• I always wanted to go to KL (O dear! I don’t even want to know what that means in this context)

Well change is the only permanent thing in life say wise men. Will meet you with more on Bharathanatyam from Malaysia… KL here I come:)

Filed under: Bharatanatyam, Bharathanatyam, Dance, KL, Kuala lumppur, Malaysia, NRI, artists, experiences, learning, students