Adi Yogi - An Indian classical dance presentation

Guest Writer: Pandita Uma Dogra (Kathak Guru)

FRIDAY, 1 JULY 2011

Through Dance only I can connect with my True Self

“Being three dimensional, dance is perhaps the only art, which has the capacity to incorporate the essential elements of all the other sister arts and to become a complete, integrated and a unified experience.”

Learning classical dance is like learning a language. You not only hone yourself with the theoretical aspects but also have to master the equally important practical side. To truly master a language, you need to devote all your energies to it and make it an integral part of your life. The same goes for Indian classical dance. Some people think that learning for years is enough to say that: “I am a classical dancer”. But it takes more than just a handful of lessons to teach an art that dates back to hundreds of years.

Unlike other dances, Indian classical dance is governed by rules and regulations, which a practitioner abides by because they help him to understand and perform the art better. It’s this pre-existing structure which sets Indian classical dance apart from folk dance. The lexicon of Indian classical dance is rooted in sage Bharat’s Natyashastra, a historical text which dates back to 5,000 years, which has listed various guidelines when to perform.

But change, a constant feature in our life, is inevitable. Even the ancient performing art of dance cannot escape it. From costume and music to physical vocabulary, performers across generations have brought flourishes which have modified the existing repertoire. One can say that the social, the political and the economic factors of different periods have played an instrumental role in the kind of changes dance has seen. For instance, during the Mughal rule, a faction of kathak dancers did take their art to courts, and Bharatanatyam and Odissi saw their foundation in the temples, where women and girls performed these dances only for the Gods. During the British raj, dancing was banned in the temples with the Devdasi Prohibition Act of 1934. As a result, dancers had no alternative but to bring their art out in the open so that they could survive.

Even today, classical dance is considered a specialized art; it always catered to a niche audience, who were presumed to have an understanding of and eloquent taste in art forms. That’s why many dances received patronage from kings and rulers across country. The transition of dance from the private to the public domain has helped dance come a long way.

Change shouldn’t always be viewed with skepticism. The greatness of a dancer lies in his/her ability to add new elements in the existing vocabulary. You can’t just accept what’s given to you on the platter; you have to bring your ideas which help you to communicate better with the viewers who are constantly evolving. If you’re a good artist, you know that you have to adapt yourself to the changing times. While he may like to mould new compositions, he can do so only when he has aced the basics. Much like our life, which has border lines that guide us to become better individuals, even Indian classical dance has some which cannot be broken.

A wide range of changes in turn have widened the repertoire of dance and given audiences an opportunity to enjoy diverse styles. One of the biggest examples of change is the amount of choreographic work we see today. Initially, dancers performed the age-old compositions but today they are not afraid to take on different themes. This was not even considered 60 years ago, when all dance styles began to gain recognition as a separate entity. The contribution of dancers such as the Maharaj brothers , Rukmini Devi Arundale, Guru Kelucharan Mohapatra,Guru Balasaraswati, Smt. Yamini Krishnamurthy,Smt. Sitara Devi, Pt. Durgalal and Dr. Kanak Rele has been enormous in making these dances credible. They have striven to pursue dance in an era when it was considered unacceptable and rarely encouraged. Their efforts have single-handedly popularized the dances and made them respectable arts forms.

In our fascination with everything western, Indian classical dance is also a great way to stay grounded to our rich, variant culture. Simultaneously, since Indian classical dance is so rooted in tradition it helps you to respect your culture, enhances your spiritual growth, brings a whole new grace to your personality and enables you to express yourself better. That moment when I am on stage with the musicians, it gives me tremendous happiness. I am at peace when I dance.

However, many people believe that classical dances have an effeminate nature. I choose to disagree. Most of the legendary teachers have all been male including mine (Pt Durga Lal) and without them the dance would have never reached to the women. Guru Kelucharan Mohapatra gave Odissi a new spurt of life, Birju Maharaj and my Guru Durgalal ji have given Kathak international recognition with his pyro-techniques. Manipuri  has a male-friendly repertoire which has various physically-demanding and acrobatic compositions and almost all the stalwarts of Kathakali have been males. This narrow-minded perception lies in the eye of the beholder - for classical dance is for everybody.

Despite the progress dance has made, the true glory of dance is withering as we become more concerned with external factors such as costume, light and sound. In the scuttle to make everything appear snazzy, the purity and essence of dance is losing ground. The internal expressions i.e. what comes from within is lacking in dancers altogether. It’s almost become a mechanized process. Now more effort is made to ensure that you look better on stage than to work on your dance. The visual is the norm of the day. It is here where classical dance is suffering.

Dance was once a means to connect with God. It was an offering to God in temples; the performers selected for this purpose were lucky to reach out to him. The present day demands more emphasis on all factors which were once secondary. The sacred nature of the performing art has taken a backseat and that’s one of the reasons why many people are not even attracted to it as they once were.

As we continue to battle against social evils, save the earth from environmental disasters and join hands to make this world a better and safer place to live, it’s equally important that we protect Indian classical dance from extinction. The responsibility lies not only in the hands of the gurus but also the parents who need to extend their full support when their kids choose to become classical dancers. We need to awaken our senses to guarantee that we don’t lose this beautiful art which our ancestors have passed on to us. We need to value it and continue its legacy. After all, the show must go on.

Ballet Afsaneh - Afghani Dance

Today's video features Ballet Afsaneh performs Afghan dance at Festival of the Silk Road - 2009.

Check Out this Event in Bay Area ,CA

http://www.yuvabharati.org/home/index.php

General admission tickets are $10 each. 

Sunanda Nair

Sunanda Nair, is a name to reckon with in the field of Indian classical dance. She is an internationally recognized dancer in Mohini Attam, Bharata Natyam and Kathakali and is the disciple of the noted Mohiniattam exponent Padmashree Dr.(Smt)Kanak Rele. She has prepared for her vocation both as a professional dancer and a teacher of dance, through rich and multifaceted experiences in higher academics, stage performances, classroom instruction and choreography.

Sunanda Nair has been a part of many very reputed national and international festivals, and has won high acclaim from critics and connoisseurs of dance for her impressive dancing skills and recently had the privilege of dancing at the world famous Carnegie Hall , New York. She is trained in Bharata Natyam under distinguished gurus, Kalaimamani Kadirvelu, Kalaimamani Mahalingam Pillai, Guru T.V.Sounderajan, Shri Deepak Majumdar, Smt.Tejiswini Rao and lately “The Dhananjayans“, and Guru C.V Chandrashekhar, Chennai. She had her initial training in Kathakali under Kalamandalam Krishnankutty Warrier.

Sunanda, is an empanelled artiste of the Cultural wing of the Govt of India, Indian Council for Cultural Relations and an outstanding artiste of Indian National television.

Sunanda is also the recipient of innumerable awards the "Singar Mani", "Natya Mayuri", "Kalsagar" , "Abhinaya Shiromani" to name a few.

Arun Gopinath : Vocal

Arun started his basic lessons in music from Shri. Sreedharan Namboodiri at a very young age. He continued his education in music from Bhagavathar Shri. Parameswaran Nair for 10 years. Then he attained further education in music from Bhagavathar Shri. Parameswaran Menon for 3 years. Presently he continues his music lessons from Mr. V.R. Dileep Kumar, and has obtained Ganabhushanam in Violin from Chembai Music College. He passed his M.A. in Music with 2nd rank from Kannur University and has performed for more than 500 reputed stages for Classical Concerts and Abhinaya Sangeetha for Bharathanatyam and Mohiniyattam.

Kiran Gopinath : Mridangam

Kiran started his Basic lessons in Mridangam from his Father, Shri.Kalamandalam Gopinathan at the age of 9. Then he started his Academic education in Mridangam from Kerala Kalamandalam and B.A. and M A in Mridangam with (1st Rank) from Chembai Music Collage, and R.L.V. Music Collage,Tripunithura .Apart from Mridangam he is an exponent in other rhythm instruments like, Edakka, Maddalam, Tabla, Ghatom, Ghanjira ,etc. He has performed more than 500 reputed stages for Classical Concerts and accompanying for Classical dance forms.

Mohan Rangan Govindraj : Flute

Mohan Govindaraj is a well known musician who was inspired to learn playing the flute from his father Sri H. D. Govindaraj. At an early age, in 1979, he started his flute career under the tutelage of Vidwan S.A. Sashidhar at Vijaya College of Music, Bangalore. He continued his advanced music education under the guidance of Late Sangeetha Kalarathna Prof. H.V. Krishnamurthy.

Ethnic Dance Festival 2011

Here is a glimpse of the Ethnic Dance Festival i attended in San Fransisco. This video was taken by my sister as we were watching the impromptu dance session by the participating groups in the foyer. The most exciting thing about the festival for me was the flawless way in which these dance group took the audience around the world, each telling a story about the culture and traditions and history of their country and region. The fact that they had live music along with the dance rather then recorded as i have seen in many festivals, made a huge difference in creating the appropriate ambience for the audience. Also  the encore performance by all the groups together was not only well choreographed but also gave out the message that no matter which country or ethnicity we belong to, music and dance transcends all the barrier and makes all of us world citizens.

Dasavatar-Winners of India's Got Talent [DUS AVTAAR]

Loved this modern take on traditional story telling style of Indian dance forms. The story told here is that of Dasavatar or the ten reincarnations of lord Vishnu. 

Vikas Yendluri - "Didi"

It is always refreshing to come across young talent in the field of Indian Classical music and dance. Today we feature Shri Vikas Yendluri, a young and upcoming artist from Northern California. Vikas has been a disciple of renowned tabla master, Ustad Arshad Syed for the last fourteen years. Vikas is currently a sophomore at Stanford. I had an opportunity to see him play live and was astonished at his riyaz and tayari. Definitely an artist to watch out in the future. Its the young generation like Vikas that carry, on their capable shoulders this long and ancient tradition, giving it a modern perspective and global appeal. Do you know any such young talents let us know and we will feature them on Kathakars.

Kathak and Flamenco- fusion

I came across this video on YouTube and had to share it with my readers. What is Unique about this video is that both the dancers have maintained the authenticity of their respective dance styles. They have managed to beautifully bring this both distinct styles of dancing together. The julgalbandhi piece in the end is amazing.The styles compliment each other well. Love to see more of such work.

worldofdance.tumblr.com

Hi everyone checkout my new blog worldofdance.tumblr.com

Mahesh Kale - Deva Gharache - Natyageet

Shri Mahesh Kale is a young and very talented Hindustani Classical Singer. I personally had the fortune of hearing him sing live. He introduced me to the wonderful world of Marathi Natyasangeet. He i currently based in Sunnyvale , Northen California. For more information on this artist you visit his website www.maheshkale.com

Ananda Shankar Jayant fights cancer with dance | Video on TED.com

Ananda Shankar Jayant fights cancer with dance | Video on TED.com

kathak

The style of dance performed in this Video is Kathak an Indian Classical Dance Style. The dance originated from Kathakars or Storytellers. This dance style has had along journey from temples of northern India to the Royal Courts to its present form. This dance form has evolved and reinvented itself with changing times. I like the use of formations in this choregraphed piece. Also the use of lighting which gives it a dramatic effect.

Bharat Ratna M.S. Subbulakshmi

The next artist featured in this series on women pioneers in the field of dance and music is late Smt M.S. Subbulakshmi. Born on 16th September 1916 M.S.Subbulakshmiji was a renowned Carnatic vocalist. She received training in carnatic music from great gurus like Semmangudi Srinivasa Iyer. She also went on to train in Hindustani music under Pt Narayanrao Vyas. She performed in different Indian languages like Hindi, Bengali, Gujarati, Marathi, Tamil, Malayalam, Telugu, Sanskrit and Kannada. She was the first musician to be awarded the Bharat Ratna, India's highest civilian honor. She was also the first musician to receive the Ramon Magsaysay Award, Asia's highest civilian award.

Padma Vibhushan Smt Balasaraswati

 

The first artist featured today in this series of 'Inspirational Women in Field of Dance and Music' is Late Smt  Balasaraswati. The reason i wanted to feature her  was because though not having the good fortune of seeing her perform,i have always been told about her inspiring dance and abhinaya by my guru Smt Uma Dogra. I did try to look up on web for videos of her dance however was unsuccessful in finding any. However if any of my readers do come across a good quality video, please share it with all of us.

About the Artist: Balasaraswatiji was a celebrated Bharatnatyam artist,  whose rendering of the  style of dance made it famous not only in India but also in many parts of the world.Balasaraswatiji came from traditional lineage of dancers and musicians from Thanjavur in Tamil Nadu,India. She began her training at a young age of four under KK Kandappan Pillai. She was the first performer of her traditional style outside of South India, performing first in Calcutta in 1934. Balasaraswatiji has been awarded with "The President's Award" from Sangeet Natak Academy,Padma Vibhushan from Government of India and Sangeet Kalanidhi by Madras Music Academy.She was the only non-western dancer included in a compilation of the Dance Heritage Coalition, "America's Irreplaceable Dance Treasures: The First 100.

To know more about the life and work of this great artist you can also visit www.balasaraswati.com

International Women's Day

We at Kathakars would like to wish all the ladies around the world Happy Women's Day. While i was  browsing around i came across this music video by Shakti Album for Women's Empowerment by Gurumaa Ashram.  It shows how multi tasked the modern woman has become yet she has her traditional responsibility. Having had the opportunity to interact with women from all walks of life and from all over the world here at Stanford, i have realised no matter which part of world we women come from there is a common thread of compassion that binds us all together. We are daughters, sisters,friends,wife,grandmothers,girlfriends playing multiple roles at the same time in our life.

  This Sanskrit Sholka describes the roles a woman has to play as a wife;

Karyeshu Dasi, Karaneshu Manthri;

Bhojeshu Mata, Shayaneshu Rambha;

Roopeshu lakshmi, Kshamayeshu Dharitri;

Satkarma Nari, Kuladharma Patni.

 The gist of this sholka is that  married woman plays different roles in her husbands life. She is the caretaker,adviser,nymph,she brings prosperity in his life, she feeds him like a mother and is all forgiving. I guess that's why the woman is called the better half. Today's woman is all the above and much more. She is achieving her goals and dreams. On  the occasion of International Women's Day we will be featuring women who have been pioneers and inspirations in the field of dance and music. So stay tuned for the next blog tomorrow. Till then A big shout out to Women Empowerment all over the world. 

http://www.facebook.com/video/video.php?v=145483918832127

Thiruvathira - Folk dance of Kerala

In this video of the day , we see the ladies celebrating the Thiruvathira festival in Kerala. This festival falls in the Malayalum month of Dhanu (December-January). Tradition has it that Thiruvathira festival is celebrated in commemoration of the death of Kamadeva, the mythological God of love. According to another version Thiruvathira is the birth day of Lord Siva.Thiruvathira is a day of fasting and the women don not eat rice on this day, but only take preparations of chama (panicum milicceum) or wheat. Other items of their food include plantain fruits, tender coconuts, etc. They also chew betel and redden their lips. At night the women keep vigil for Siva and perform Thiruvathira kali or Kaikottikali. They stand in a circle around lighted brass lamp, and dance each step at the rhythm of the songs they sing, clapping their hands. Grace and simplicity of the dance movements is what caught makes this dance so beautiful. This video again stresses how dance and music are integral part of worship in India.

Mahashivaratri Dance Celebration in Palo Alto

Hi everyone, Do check out this amazing  dance celebration in Palo  Alto on the occasion of Mahashivratri. Am going to be there for sure ,hope to see all of you there too.

Singkil

The Video of the day showcases the very popular dance of the Maranao people of Lake Lanao. This dance is performed during celebrations and festivities. Singkil takes its name from the Darangen epic story.Its known as the courtship dance.The performers gracefully step in and out of the bamboo poles arranged in the criss cross fashion. We can see the skill of the dancer in this video as she tries to navigate through the bamboo poles while gracefully dancing with the fans in her hand. What i noticed here is that the dancers are creating their own beat and music with the help of the bamboo poles and the tickling of the bells worn by the principal dancer. I was amazed by the perfect co-ordination between the bamboo pole holders, for it may look an easy job to do but without perfect synchronization between them it would not be possible to create the perfect best on which this dance is based.

Hindustani Vocal Concert with Discourse-Demo on Jaipur Gharana.

Pt. Arun Dravid is a highly accomplished vocalist of the Jaipur- Atrauli gharana. His early training was under the tutelage of late Ustad Abdul Majid Khan Sahib, a direct disciple of late Ustad Alladiya Khan, the doyen of Jaipur Gharana. Arunji's advanced training was under Padmavibhushan Ganasaraswati Smt. Kishori Amonkar, with occasional guidance from Kishoriji's mother and Guru, late Padmabhushan Smt. Mogubai Kurdikar.Arunji has performed in concerts under the auspices of many prestigious music conferences in Mumbai, Pune and other cities in India. He has also presented almost 50 concerts all over the U.S. over the past eight years, while continuing concert engagements in India during his frequent visits.

Time and Date: Sunday 20th Feb 2011,4pm

Venue:Ektaa Center, 2691 Richter Ave. Ste 104, Irvine CA 92606 Tickets: Advance Purchase $12 and $8 (Seniors). Children under 12 are free. At the Door: $15 and $10 (Seniors) FOR TICKETS http://www.eventbrite.com/event/1231478385 CALL: (949) 300-8912 or EMAIL: info@ektaacenter.org