Navarasa- Expressions of Life :: Program Note - March 2015

NAVARASA – Expressions of Life
By
Ananda Shankar Jayant
And the
Shankarananda Kalakshetra ensemble
On 5th March 2015 , 7 pm
Ravindra Bharathi, Hyderabad

Nationally awarded dancer, choreographer Ananda Shankar Jayant , celebrated as one of India’s most eminent and leading classical dancers, choreographers and dance scholars, presents her signature choreography Navarasa - Expressions of Life, at the 3 day Dance festival of the PS Telugu University

In this scintillating work ;Dr. Jayant moving away from myth and lyric, uses abstraction as a way to explore human experience and emotion , and strings together in an eclectic manner, the nine emotions of life through the mnemonics of music, body kinetics and pure dance . This critically acclaimed work , invites the audience to draw on the memory of their own personal emotions of everyday life . Winning standing ovations across the world at major festivals , Navarasa comes once again to Hyderabad

Performed by 9 dancers, this 40 minute production has received rave reviews from critics is
not to be missed.

Press Reviews
Ananda's treatment of the nine moods was unique
- Ranee Kumar, Hindu
Pulsating presentation of Navarasa..
- Shyamahari Chakra in Narthanam
A thoughtfully crafted production.
- Leela Venkataraman, Sruti

Shankarananda Kalakshetra
C-52, Road No.10, Film Nagar, Jubilee Hills, Hyderabad - 500033, India
E-mail: anandasj@rediffmail.com, URL: www.anandashankarjayant.com



(C), ananda shankar jayant, navarasa, ps telugu university, program note, mar2015, 5, priyalasya, papers, do not copy, copyrights acknowledged

North meets South - Kathak and Bharatanatyam - Jugalbandi - February 2015

North Meets South..Kathak and Bharatnatyam Jugalbandi

Presented by Jyotsna Shourie Dance society.

Sunday 15th February 2015

Chinmaya Auditorium,Lodhi Road

Program Note and Pics from the performance::

The idea was to showcase both the styles of dance. Some as danced together in the ardhanareeshwara piece and in the tilanna and then the individual solo items. Nandita did arjuna's dilemma as he prepares for the Kurekshetra war in the bharatanatyam style and Rashmi did the Khandita nayika or angry woman deceived by her lover.

Rashmi Uppal, our Kathak exponent for the evening has been dancing for over 15 years. She started training under the guidance of Smt Bharti Gupta, disciple of Shambhu Maharaj and later with the renowned Kathak artiste, Aditi Mangaldas. Rashmi has performed extensively in India and abroad where she has been appreciated for her skill and expertise in this art form.

Nandita Kalaan Mehra, an exponent in the Bharatanatayam style has been dancing from a very young age and is a disciple of Jyotsna Shourie. She too has performed extensively both nationally and internationally, and has been hailed by the press as a graceful and compelling dancer.

Performance commences with Ardhanareeshwara, set to Ragamalika and Adhi Talam. According to the Skanda Purana, Parvati requested Lord Shiva to allow her to reside within him, embracing limb to limb. Thus the iconography of Ardhanareeshwara, or half male and half female arose. Though separated by an intervening axis they are constantly drawn to each other and fuse, though they display contrasting attributes.

Lord Shiva’s body is described as white as camphor, from the ash of the funeral pyres, while Parvati’s body has a golden glow. Her bountiful hair is neatly braided, while his, fly like sparks of lightening. Her gentle feet are adorned with soft sounding anklets, while his are covered with deadly snakes. Her eyes are as soft as the blue lotus, while his are like the petals of the lotus that grows in muddy waters. Parvati, the Mother, displays feminine grace or lasya, while Shiva the Father, is the embodiment of power and vigor with his tandav dance.

The music for Ardhanareeshwara has been composed by Sudha Raghuman and choreography is by Jyotsna Shourie

2. The next item is a solo presentation by Rashmi Uppal based on the Khandita Nayika, one of the Ashta Nayikas , the 8 types of women described in dance treatise, Natyashastra. It is an extract from a larger production SVABHAV- expressions in love. Hurt and enraged, the nayika, rebukes her lover for his infidelity.

Choreography, Rashmi Uppal, mentored by Aditi Mangaldas. This item is set to Taal Dhamaar

3. As Arjuna arrives at the battlefield of Kurukshetra , with Krishna as his charioteer, he is at once distraught at seeing Bhishma Pitama, Dronacharya and all his relatives arrayed in battle before him. What possible pleasure can be derived by killing our own people? he pleads with Krishna

Krishna offers judicious advice. As a Kshatriya it is Arjuna’s moral duty to fight a righteous war. All mortals born in this world eventually face death, for nothing is permanent, with the exception of the Soul. Fire cannot burn the soul, water cannot wet it and air cannot dry it. Despite Krishna’s cajoling, Arjuna’s dilemma continues. It is only when Krishna assumes the Vishwa Roopam , the gigantic form to encompass the 3 worlds, that Arjuna relents and surrenders. Krishna is no mere mortal but the Lord Vishnu himself whom he must obey. With renewed vigor Arjuna picks up his bow and prepares for battle.

Nandita presents Arjuna’s Dilemma.

Music Composition Sudha Raghuraman, Choreography Jyotsna Shourie

4. The final item in this evening’s program. The Tilanna wherein all members of the group, dancers and musicians combine to reach an exciting crescendo

The artists accompanying them today are well respected in their individual capacity and include

* Sudha Raghuraman Music Composition and Vocals,

* Jyotsna Shourie, Choreography and Nattuvangam

* R Kesavan Mridangam

* G .Raghuraman Flute.

The accompanying artists for Kathak include.

* Yogesh Gangani on the Tabla,

* Mahaveer Gangani on the Phakawaj

* Sami Ullah Khan vocals and harmonium

* And on the Lights we have Govind Yadav.

Pics Credit- Rakesh Sahai

north meets south, kathak, bharatanatyam, feb2015, 15, jyotsna shourie, program notes, priyalasya, contributor, 15, rakesh sahai

Murchhana - The Spirit of Sangeet - In Kuchipudi - 2015

 Kuchipudi Production Murchhana:

Music is at the heart of dance. They merge together and present unison of purpose. Inspiration to showcase the synergy and then to invoke creativity to portray the various merger of the weaving is what makes Murchhana, indeed the very essence of Life.  

Amrita Lahiri performed Murchhana- the Spirit of Sangeet in Kalakshetra Foundation on 7th February 2015. 

Murchhana was conceptualized by renowned dancer Sharmia Biswas (founder Odissi Vision and Movement Center, Kolkata). She is a senior disciple of the legendary Guru, Kelucharan Mohapatra

Here is what she says about her concept, Murchhana- the Spirit of Sangeet, in her words:

The story of Murchhana I had started almost twenty years back. It had several versions, each approaching the story from different angle.

The Murchhana which I created for Amrita is a solo version. The story remains the same....as the basic framework is from Indian mythology. The style of presentation and music have been deliberately done with strong Kuchipudi accent.

Amrita adds- 

Conceptualised by Sharmila Biswas, Murchhana is based on stories from the oral tradition of the khol players of rural Orissa. These stories have roots in the Puraanas but have evolved into many branches, being told over generations.

The khol players of Orissa interpret sangeet as a combination of the three- nritya, geeta, vadya- plus a fourth element- the life- which is interpreted as Murchhana.

The story begins with a dialogue between the singer and dancer comparing the physical body to sangeet. Just as a physical body is lifeless without its soul, in that same way, sangeet comes alive with Murchhana- its soul. The singer asks what is the use of physical expertise without spirit? And what is this spirit? What is it that makes sangeet worthwhile and takes it towards Moksha? It is.......... Murchhana

The credits for the support: Mentor- Sharmila Biswas, Nattuvangam- Guru Jaikishore Mosalikanti, Vocal and music composition- Sudha Raghuraman, Mridangam- Shri Haribabu, 
Violin- Shri Easwar Ramakrishnan.

murchhana, amrita lahiri, (C), do not copy, copyrights acknowledged, feb2015, 7, sharmila biswas, odissi vision and movement center, chennai, production, do not copy, copyrights acknowledged, 

Report- Kalakshetra Foundation Jatayu Moksham - February 2015

7th February 2015

Kalakshetra Foundation

Jatayu Moksham

Balgangdhara Rang Mandir

Pune

- A Report from Sri Pandithar Sivakumar Perumal

Kalakshetra foundation Chennai’s first performance at Pune takes off supremely with Jatayu Moksham. Held at the Balgandharv Rang Mandir on the evening of Saturday, 7th February 2015. The dance drama choreographed by legendary doyen of Bharatanatyam Smt. Rukhminidevi Arundale in 1965.

Simply beautiful is just a term to describe how it was, but you may not just call it so. Pure, perfect full of precision. I think such productions are so minutely analysed before it is staged, that is the hallmark of Kalakshetra, which stands for quality.

The simple set, the costume selection, which has always been talked about of being Kalakshetra style of costume. The dancers who have put in so much hard word is evident from their performance itself. The abhinaya of the artists, their “aramandi”, their “angashuddhi” are few of the criteria which showcases the class of an artist, full marks to them on these aspects. For all those in rasikas aspiring to be an artist these are classic examples of how it should be done.

 The dance drama is filled with very interesting episodes like when Rama and Lakshmana attempt to catch the golden deer maaricha, well conceived and well presented too, the nimble footwork and the beauty of gentle dance using the entire stage. The instance where dialogue between Surpanakha, Rama and Lakshmana showcased intense reactions from the artists, speaking to a rakshashee, while Sita and Ravana disguised as sage had its moments too, the choreographers eye to detail comes forte yet again, the expressions of the artists are wonderful. The disappearing of ravana as a demon king and replaced by ravana the sage was magnificent. The fight sequence too were very well executed, what a mastery these artists have gained

 Well supported by the vocal and the musicians, the dance drama was the finest to be staged yet, and this being the very first occasion of the institution of dance. The audience applauded the performance with thundering standing ovation to the entire team. On this occasion the current director of Kalakshetra Ms. Priyadarshini Govind was the guest of honour, and such performance by her institute will be another proud moment for her. Meghana Sabade’s, Nrityayatri institution was instrumental in bringing the production to Pune. Thankful of Nrityayatri and looking forward to more.

Pandithar Sivakumar Perumal
spandithar@yahoo.com

kalakshetra, jatayu moksham, feb2015,contributor, report, 7, sivakumar perumal, (C), priyalasya, papers, do not copy, copyrights acknowledged

Program Notes- Kuchipudi - Kumbakonam - February 2015

Performing in Kumbakonam Nrityanjali on the occasion of Maha Sivaratri is an offering to the Lord of Dance Himself. Please find attached the program note from Srividya.

Srividya Angara Sinha performs in the hallowed grounds of the Adi Kumbheswara temple of Kumbhakonam on the auspicious occasion of MahA SivarAtri.

Her repertoire for the evening comprises Jathiswaram, in the rAgam AthAna, and tAlam Adi. The item was composed and choreographed by the late guru and legend- Padmavibhushan Sri Vempati Chinna Satyam and is testament to the strength of both physique and technique in a Kuchipudi dancer. The item highlights Nritta, embracing it to the fullest. And the exhilaration born of it, according to Srividya, is a truly liberating experience.

The concluding piece is CandrasEkharam sadA bhajEham, a kriti in the mArgahindOla rAga, and Adi tAla. Composed by Sri Muttuswami DIkshitAr, one-third of the sacred classical carnatic trinity, the kriti glorifies Lord Siva as Candrasekhara … the one bearing the crescent moon on His head.

The choreography begins with “AtmAtvam…GirijAmati:” a sloka set to the Sindhubhairavi rAga, and taken from the Siva mAnasa pUja stotra, where the dancer offers herself, mind, body and spirit to the Lord. Twin streams of pure movement and expression move purposefully through the plains of this composition, giving shape to an original choreography, a humble effort by the dancer to pay her respects to the great God Siva – the primal source of energy in the universe.

program notes, srividya angara, kumbakonam,feb2015,(C),priyalasya,natyanjali, 17,preview,do not copy, copyrights acknowledged

Bharatanatyam Performance Report - Bhavana Gowri - February 2015

Bhavana Gowri P -Bharatanatyam Performance

 Bharata Nritya Utsav -1st February 2015

Bhavana commenced her concert with a Mallari in naatai followed by Shiva stuti- bho shambho. The third piece  performed was a murugan varnam - aadum mayilmel in shudha dhanyasi, a varnam (in her words) "which is extremely dear to me as I performed it on my arangetram". The varnam was followed by Varugala mo- a nandanaar kriti in maanji which is a challenging padam but well performed.  She concluded the concert with balamuralikrishnas  kadanakuthuhala thillana followed by an abhang - brindavani venu in bhimplas in praise of lord krishna a visual and musical delight for the audience.

Orchestra: 
Nattuvangam - Guru Smt. Rajeswari sainath
Vocal- Gomathy Nayagam
Mridangam- Nagai Narayanan
Flute- Shruti Sagar
Violin- Ananthakrishnan...


Invitation:

Bhavana gowri
Student of Smt. Rajeswari Sainath.


bhavana gowri, bharatanatyam, bharata nritya utsav,feb2015,(C),report,priyalasya, do not copy, copyrights acknowledged 

Bharatanatyam Performance - Upadhye Duet- A Synopsis- Bangalore - February 2015

Bharatanatyam Performance- Duet:

Parshwanath and Shruti Upadhye:

Synopsis: 8 February 2015

Shruti and Parshwanath presenting duet Bharathanatyam recital 8th of February 2015 at Unnati centre ,Ganesha temple road,NGEF layout,SadanandaNagar (Near Bayappanahalli metro Railway station) Bangalore at 6 pm

Performance at Unnati Centre Bangalore.Rudra Namavali choreographed by Guru Shri Kiran Subramanyam Pic courtesy : Shri Sunil Gupta

1.PUSHPANJALI

The dancers open this performance with a Pushpaanjali, which literally means an offering of flowers. This is a traditional opening number, in which the dancers set the mood and the momentum for a colourful performance. The item ends with a verse in description of Lord Shiva, the God of Dance, in Indian Mythology. The various weapons and adornments of Lord Shiva are elaborately described, as he is seated with his consort, Goddess Parvati. Lord Shiva is worshipped as the greatest power in the Universe.

Pushpaanjali in Raga Kadyothkanthi and Adi Tala, a composition of Sri B.R.Sheshadri, set to music by Sri Thirumalai Srinivas. Pushpanjali will be followed by Rudram Namavali in Raga Revathi, choreographed by Sri Kiran Subramanyam.

2. PRABHO GANAPATHE

A Ganapati Stuti is a customary number in a Bharatanatyam recital. The elephant headed god is praised for his virtues and beseeched for his grace. However, this composition, Prabho Ganapate, is treated differently. The dancers speak to Ganapati with affinity and affection as they would do to a friend. They wonder why everyone fusses about searching for Ganapathi everywhere outside, when all they have to do is to find him within themselves.

They tease the lord about his appearance while simultaneously reposing faith in him as the only saviour.

Prabho Ganapathe in Raga Thillang and Adi Tala, Choreographed by Sri. Kiran Subramanyam.

3. NANNU PALIMPA

The next number in this evening’s recital is a Thyagaraja composition- Nannu Paalimpa. Thyagaraja compositions are the jewels in the crown of Carnatic music. Not only are they musical marvels, but they are so steeped in Bhakti that they elaborate extensively on the ethos of Hindu philosophy. Hence, it is also a great challenge to adapt a Thyagaraja composition for dance- which means the dramatic content that dance requires has to be added without disturbing the Bhakti quotient of the lyrics.

The poet says in this composition- O lotus eyed Rama and Sita’s Lord, have you come walking all the way to protect me?

The number has been choreographed keeping in mind it’s subtle and abstract qualities and blends Bhakti with drama. Theermanams and Sanchari sequences have been judiciously interwoven into the compositions, to enhance and embellish the beauty of the lyrics.

Nannu Paalimpa in Raga Mohana, Adi Tala- choreographed by Kiran Subramanyam.

4. We continue the recital with an energetic and vibrant song describing the cosmic dance of Lord Shiva. Lord Shiva whose body is smeared with ashes and whose neck is adorned with a garland of skulls dances along with all his Ganas by his side. As the bells on His feet ring with the rhythm of the music, the Devas and Rishis assemble to witness this divine spectacle.

Shankara Srigiri in Raga Hamsanandi, Adi Tala, a composition of Swati Tirunal, choreographed by Sri. Kiran Subramanyam

5. Shringara, the sentiment of love is called the Rasaraja or the king of emotions. No Bharatanatyam recital is complete without a piece on Sringara.

'Kandanaal Mudalai' describes how a young maiden is smitten by love after her first meeting with Lord Subramanya. She describes to her friend, the beautiful garden, where she first set her eyes on Muruga and tells her about the beautiful moments she spent with him. She tells her sakhi "I have fallen in love with him at first sight. Do you know who he is? He is the son of the great Lord Shiva".

Kandanaal Mudalai in Ragam Madhuvanthi set to Adi Talam,a composition of Sri.N.S.Chidambaram, choreographed by Smt. Sandhya Kiran.

6.The recital comes to a breathtaking climax with a Thillana. The Thillana symbolizes the joy of dance on one hand; while on the other, it is studded with intricate verses of rhythm and demands great technical competence from the dancers performing it.

This Thillana has been composed and choreographed by Kiran Subramanyam with an unorthodox approach and abounds in rhythmic complications.

Thillana in Raga Rasikapriya composed and choreographed by Kiran Subramanyam, set to music by noted flautist Sri. Mahesh Swamy.

parshwanath upadhye, shruti upadhye, (C),papers, contributor, bharatanatyam, duet, feb2015,8,bangalore,synopsis,do not copy, copyrights acknowledged

Nritya Sangamam - Program Report- February 2015 - Hyderabad

NRITYA SANGAMAM 

(The North and South Classical Dance Performance)

Program Report

5th February 2015

SRI TYAGARAYA GANA SABHA

Hyderabad

"Program-  conducted by Indian council for cultural relations and Sri Gnana Saraswathi Music and Dance Academy Vidyanagar, Hyderabad.

Kathak Dance Performance by ICCR empanelled artist Mr Sourav Roy from Kolkata, and Kuchipudi dance performance by disciples of Smt Vani Ramana

The program started with lighting of lamp at 6.10 pm with the program organizers     Smt Vani Ramana (Academy Director) and Smt Umadevi (ICCR officer) and the Kathak Master Mr Anjibabu  and Ardhanareeshwara Venkat.

Sourav roy started the performance-

 ARDHANARISWARA STOTRA  -

Ardhanariswara is a composite form of Shiva and Parvati. Ardhanariswara is depicted as half male and half female, split down the middle, represents the synthesis of masculine and feminine energies of universe. One half shines with golden yellow champa flower and other half shines in bright white of karpura. One side of the head is adorned with a beautiful braided decoration and other  sports an unkempt jata mukuta. This  stotra is writen by  Adi Shankaracharya , set to Raag Bhatiar , Taal Jhaptaal.

TEEN TAAL-

 Taalanga is next in Tala Teen Taal,16 beat time cycle explore through traditional Thaats or musical frameworks,bols and foot work in vilambit laya. This is followed by drut laya of TeenTaal,the dancer depict through foot work and traditional compositions like tora, parmelu and paran.                        

GAAT NIKAS-        

A beautiful  part of Kathak, showing abstract visually beautiful gaits or scene from daily life, like Sadi gat, Bansuri ki gat, Talwar ki gat, and Mayur ki gat.

               .

BHAJAN-

This is a MEERA BHAJAN “ HARI TUM HARO JANKE PIR”.. where Meera describes how The Lord Krishna protects his fond..here she describes three stories..1st one is“DRAUPADICHIRHARAN”  from MAHABHARAT, 2nd one is story of” PRAHLAD AND NARASINGHAVATAR “   from  “AGNIPURAN”  and 3rd one is “GAJRAJMOKHSHA” . this  item is set to Raag- Bhatiar, Taal- Rupak, and Teen taal.

TARANA-

A rendation of joy in speed,beauty,grace and rhythm,in Raag Malkauns set to Teentaal.

                   

Ater the wonderful performance of sourav roy, the organizers felicitated the artistes with a flower bouquet, shawl, memento.

2nd part performance of SGS academy students, desciples of Smt Vani Ramana, performed Kuchipudi dance items

1 BRAHMANJALI :praising the god Nataraja, and welcoming the audiance- performed by Kum:AMULYA REDDY

set by ragamalika and adi talam

2. SARASWATHI STUTI(vandeham sharadaam) : praising of goddes saraswathi-

performed by Kum RADHIKA

 kalyani raagam, misra chapu talam

3. NARAYANATEERTA TARANGAM(BALA GOPALA): praising  and showing the Lord Krishna's chilhood and footwork on the plate. performed by Smt Pragnya

bhairavi -Misra chapu

4. DASHAVATARA SHABDAM: the ten incarnations of Lord Vishnu was performed by Kum Amulya- The item is in Mohan Raagam, Misrachapu Talam

5. ANNAMACHARYA KEERTANA(VACHHENU ALAMELU MANGA) : showing the style of goddes alamelumanga performed by Smt PARVEEN. Hindola Raagam, Adi Taalam

6. MANDUKASHABDAM : is a tradition shabdam of kuchipudi, which also depicts the gajendra moksha story was performed by Radhika and Pragnya- Mohana Raagam, Misrachapu Talam

7. JATHISWARAM: depicts the nrutta(foot work of dance), with jathis and swaram. performed by Amulya,Pragnya , and Radhika- Atana Raag, Adi Taal

contributor, kuchipudi, nritya sangamam, papers, vani ramana, (C), sri tyagaraja sabha, hyderabad, feb2015,5,report, do not copy, copyrights acknowledged