Sunday 28 June 2015

Atmarpanam - Bharatanatyam Presentation - A Report - June 2015 - MD



Puneet and Taniya Panda's "Atmarpanam" dance show - Distinct and Sophisticated Artistry in Bharatanatyam Style

- A report from Vinatha Kumar




Dr. Puneet Panda and Taniya Panda  performed a Bharatanatyam  dance recital under the auspices of The Jayamangala School of Dance Laurel, Md  ( Director  Ms. Shobha Subramanian ) last Sunday. 06-21-2015  at Jewish Community Center, , Rockville  Md .  It was a rare audio and visual treat  for all rasikas as the artists ( Musicians and the Dancing Couple )    belonging  to  the younger generation  performed  with great  energy and  keen enthusiasm. 


Puneet and Tania commenced the evening's dance recital with an Invocatory piece on Lord Nataraja. 



Puneet's portrayal of the King of Dance ,Nataraja in Chidambaram as well as the annihilator of demon Jalandara , was impressive with the Tandava element pre dominating . Puneet's strong arm movements and intense footwork and his majestic stage presence set the tone for this dance . 



 Taniya's lithe and lissome figure with her sparkling doe like eyes and alluring gait as she danced in unison added a special glow to this dance . In this presentation, the couple conducted a Divine Dialogue through dance , never stepping on each other's toes - maintaining an acceptable spatial distance on stage. Also , every time Puneet matted his hair with Ganga flowing from his  matted locks and Tania sitting on stage to catch the gushing water in her hands , it gave me goosebumps - such a strong narrative of Bhagiratha Prayatanam, done effortlessly and convincingly . 

 A simple alarippu which was skillfully woven into the dance by ace choreographer Shiijith Nambiar became a Work of art in the hands of these two seasoned dancers. . Puneet and Tania took turns to do the jathis and adavus sometimes diagonally , sometimes in a linear fashion and at other times in circular pattern . Geometry never looked this interesting . 

 Clean lines and picturesque postures and perfect diamond shaped araimandis - highlighted the Alarippu.. Although the couple performed the same advaus and jathis in the alaruippu sequence , it was remarkable how each one maintained their identity - Puneet was Majestic with his towering stage presence while Taniya was graceful and endearing with her petite and sweet persona. 

Sarasa Sundara - Padavarnam:

Next , the couple performed an elaborate  Padavarnam,  a composition of Swati Tirunal in raagam Nilambari " ‘Sarasara Sundara’" - The couple performed an energetic  jati full of fine nuances .  The couple then proceeded to the Shrine of Padmanabhaswamy where they are wonderstruck at the reclining gigantic image of the Lord visible through three doors . This was Taniya's moment to shine - as a nayika longing for union with her chosen deity on a moonlit  night .Taniya's aarthi to the lord commencing with weaving of garland , grinding the sandalwood paste  and then bathing the idol etc was done with great devotional fervor with her body, mind and soul .   

 In the background was Puneet,   standing at a distance feeling l the vibrations of Taniya's abhisekham, , so much so that when Taniya bathed the idol ,  Puneet was shivering and was seen drying the water on his head, beard and body . In the next scene when Taniya slips into a dream state , Puneet gently lifts her and gudies her to the center of the stage to show her the Reality - very aesthetically done . 

Draupadi Vastrapaharanam:

The best interpretation was the narrative of the Draupadi Cheera haranam where Puneet excelled as Dushasana  with that evil and coveteous expression in his eyes equally matched with intense and passionate body movements where he dragged Draupadi all around the floor in circles . Tania on her part was excellent in her abhinayam as the chaste Draupadi , helplessly pleading with Lord Krshna to come to her rescue . Taniya's every limb spoke of a woman willfully wronged and humiliated . A beautiful narrative and interpretation of this devotional kriti  and a choreographic marvel by Shiijith and Parvathy .   In this dance item, the couple showed their virtuoso in both nritta and natya .  

Magudochi:

This was followed by a solo item by Taniya- " Magudochi" in Sahana , composed by Kshetrayya and choreographed by Tania's Guru Anuradha Jagannathan .  Taniya's portrayal as Nayika leaving her beloved Krishna to join her husband was sensitive and full of viraha bhava - one of intense longing and yearning .   Taniya's strong point is her Nayanabhinyam and angabhinayam where her eyes speak volumes and  her every limb moves . 
Bhajamana Raama: 

Bhajamana Raama:

The next item,   Bhajamana Raama in raagamalika composed by Tulsidas and choreographed by Shri Dhananjayan and performed by Puneet was my favorite .  In this solo item , Puneet stole the show with his mastery over all aspects of Bharatanatyam specially the Natya .   Puneet 's rowing the boat around the stage as Guha was marvelous , reminding us that even Lord Rama needs a devotee to cross the ocean of Samsara.   Puneet excels in bhakti rasa and his sattwika ahinayam is brilliant .  At the end of the dance , Puneet's  devotional surrender to Lord Rama brought memories of Dhananjayan Sir's " VaurgalAmo ayya. " - so realistic  and memorable . 

Thillana: 

The evening concluded with Thillana in Raagam Varamu , composed  by Jayanthi Kumaresh and choreographed by the couple themselves . Once again, the couples' on stage Chemistry was magical as they danced together in total sync and harmony and always in tune with each other .   These lines from Jnanadev's Amritanubhava comes to mind -  Two lutes: one note. Two flowers: one fragrance. Two lamps: one light.  

Support: 
And then the Live Orchestra of young and energetic artists - Rajna Swaminathan- Brilliant on the Mridangam with her mastery over Taalam and Melam and her equally gifted sister Anjna Swaminathan at her melodious best on the violin . Roopa  Mahadevan at the vocals - absolutely mesmerizing with her bhava filled rendition of all songs specially when she cried out for Shri   Padmanabha in high octaves , it was a " wow" moment for me . And then Our Kasi Aysola on the nattuvangam - how versatile can this guy be?  From make up to dancing to nattuvangam , an artist to the fingertips. Thanks to Aishwarya Swaminathan  for helping with the Lights , subtle and soft shades 

Presentation:
Kudos to Jayamangala for hosting this show and encouraging all the younger artists and providing a platform  for  them to show their artistry . 
Pics Credit:  
Meridian Photography

Vinatha Kumar

puneet panda, taniya panda, bharatanatyam, shijith nambiar, (C), atmarpanam, june2015, vinatha kumar, contributor, papers, jewish community center, MD, do not copy, copyrights acknowledged, 

Friday 26 June 2015

Princeton Festival presents it's First Ever Indian Dance and Music Performance - 2015

Princeton Festival presents it's First Ever Indian Dance and Music Performance



JUNE 27, 2015 (Princeton, NJ) – On June 27th, the Princeton Festival will be presenting it's first ever performance of Indian dance in its ten year history. The debut of kathak dance and world drums ensemble Pradhanica is part of the festival's vision to make the month long festival a multi-faceted performing arts experience.

Since 2005, the festival has offered fully-staged operas, musical theater, jazz, chamber music, symphonic concerts, piano, organ and vocal recitals, dance, and more. "This is not just opera and musical theater. It's much more," says Richard Tang Yuk, artistic director of the festival. "This year is our most diverse with artists like Pradhanica as part of this season. As we diversify, we appeal to more people and allow our regular attendees to experiment."

The desire to have the festival reflect the diversity of Princeton is what led Tang Yuk to seek out an Indian ensemble. “It was a matter of great pride to be invited to perform at the festival,” shares Jin Won, the choreographer, principal dancer, and co-creator of Pradhanica. Won, a native of South Korea, lived in India for 15 years studying Indian classlcal music (tabla) and kathak under reputed gurus. Through Pradhanica, she "want(s) to share the beauty of Indian classical arts with those who are not familiar with them, and at the same time present something new for classical dance lovers." 

Pradhanica is a collaboration between Won and rhythm maestro and composer Pandit Divyang Vakil, which explores how rhythm unites dance and music. The ensemble delves deep into the lyrical landscape of rhythm, and how drumming shapes kathak and vice versa. While Pradhanica's performance showcases nriitta, pure dance, and natya, expressive dance – the two components of Indian classical dance, it does it with a modern presentation and instrumentation. In addition to the tabla and sitar, djembe and cajon also make up the instrumentation for dance performance.

“Pradhanica's expertise and vibrant presentation is sure to delight our audience,” adds Yang Tuk. Specially priced student tickets are also available to make it a family event.

The Princeton Festival will be presenting Pradhanica at the McCarter's Berlind Theatre on June 27, 2015 at 8pm. Tickets are $45 Front Orchestra, $30 Rear Orchestra, $15 Students. For more information, visit princetonfestival.org or 609.759.0379. More information on the artists is available at pradhanica.com.



Pictures can be downloaded here.



ADDITIONAL INFORMATION
About Princeton Festival

Since 2005, the Princeton Festival has offered fully-staged operas, musical theater, jazz, chamber music, symphonic concerts, piano, organ and vocal recitals, dance, world music, and a piano competition. We feature nationally-renowned professional artists as well as partner with New Jersey performing arts organizations, garnering glowing reviews from critics of The New York Times, The Philadelphia Inquirer, Opera News, Opera Magazine, and New Jersey press. We are especially proud to have been awarded the coveted Citation of Excellence from the New Jersey State Council on the Arts in 2013.

We also offer a free public lecture series prior to each season and engage students and adults alike through our intergenerational educational programs.

About Pradhanica

Pradhanica is a enthralling dance and world drum ensemble created and composed by renowned Indian rhythm composer Pandit Divyang Vakil, and choreographed by Jin Won.  The graceful and powerful Indian dance form of Kathak comes together with high-energy drumming on the cajon, djembe, and tabla.  A multi-ethnic ensemble brought together by the pervasive power of rhythm.
“The treasure was “Pradhanica.”  Percussion drove this work, which illuminated various Indian rhythms in enticingly offbeat ways…Ms. Won’s musicality transformed her dancing into something primal. The tension between wildness and control was a hallmark of Pradhanica.“ – New York Times

pradhanica, the princeton festival, june2015, 6, 27, (C), do not copy, copyrights acknowledged, taalim

Friday 19 June 2015

The Salzburg Festival 2015 - July 2015


Pic: Alarmel Valli



The Salzburg Festival, 2015

"The Salzburg Festival is going into its 95th season and its magnetic impact is greater than ever. It has often been called the greatest and most important festival in the world. The Festival was founded in 1920 by Hugo von Hofmannsthal, Max Reinhardt and Richard Strauss as a peace project following World War I.

In 2015 the Salzburg Festival once again presents fireworks of artistic illumination: performances by the world’s best conductors, stage directors, singers, musicians, actors and orchestras."

I am honoured to be performing at the Festival on July 25, 20.30 pm
OUVERTURE SPIRITUELLE • HINDUISM IV: BHARATANATYAM
Kollegienkirche


25 July 20.30 PM
More Information:
http://www.salzburgerfestspiele.at/language/en-us/das-programm/konzert/konzert-detail?programid=5271
http://www.salzburgerfestspiele.at/concert/ouverture-spirituelle-2015

the salzburg festival, (C), bharatanatyam, alarmel valli, july2015, 25, priyalasya,

Saturday 13 June 2015

Sakhyam - A Thematic Bharatanatyam Presentation on Friendship

Sakhyam
A Thematic Bharatanatyam Presentation on ‘Friendship’
Proudly presented by 
Smt. Lakshmi Parthasarathy Athreya  &
Smt. Uma Nambudripad Sathyanarayanan
(Disciples of Padmasri Smt. Chitra Visweswaran)





Brahma bandhurithi smaaham baahubhyam parirambhithaha.......Sakhyam.

The tree of Friendship has for its roots, trust; good virtues as shoots and humility as branches. The flower from this tree is extraordinary and the souls that come together in this sacred bond of friendship soar high experiencing succour and solace in each other’s company through the trials of life.

“It is said that 7 steps taken together seals the bond of friendship.” Is it really that simple to find a friend, who will walk with you all the way?



This is the story of two little girls who decide to take those 7 steps together. A journey that helps them discover the true meaning of friendship.

The concept of a friend who reaches out to lend a hand, is akin to the reflexive and almost involuntary reaction of our hands that seek to remedy, to protect, to retrieve, a falling garment from our body  back to its rightful place. 



sakhyam, uma sathya narayanan, (C), bharatanatyam, june2015, contribution, production, note, do not copy, copyrights acknowledged

attendance - The Dance Annual of India 2014-15




attendance is 17 years old. Each issue is akin to a research-oriented book. It is a yearbook that contains news, views, reviews and more: Historical data, useful information, book reviews, even obits. Many senior and serious dance writers contribute to make this yearbook meaningful and memorable. It stays on shelf for long; is sought after in every university library list and a must for Ph.D students.

 Endorsed as role-model journal on dance from India by UNESCO-CID, it has made serious inroads in research and outreach. It retains an old world charm through rare, archival pictures and dovetails with contemporary concerns and contexts. Articles bring alive history and heritage of Indian dance and also its global outreach and impact today.. A wide eclectic range of topics. "A must read... "said India Today. "attendance is compulsory" said the Times of India. Book your copy now, as each year stocks finish quickly. email: khokar1960@gmail.com

Topics in this issue are on the cover itself.

attendance, dance annual, 2014-15, (C), ashish mohan khokar, june2015, do not copy, copyrights acknowledged

attendance & DANCE HISTORY SOCIETY OF INDIA - Subscription

attendance is India's only year-book on dance. It covers a year (1st Jan-31st Dec) in perspective and gives perspectives on issues, events, exhibitions, shows, seminars, books, biographies and obits. Edited, compiled and published by Ashish Mohan Khokar, top writers and critics of dance contribute in-depth articles. Metros are covered, as also major dance centers abroad.

DANCE HISTORY SOCIETY OF INDIA

Join as member by sending email to khokar1960@gmail.com and become member of DHAI and you will get attendance free plus pass to annual convention and nomination for 2 awards being instituted.

Hardbound edition/ Dustjacket/ Art-paper, A4 size, colour, with over 100 archival photos, it is printed by ace art-printers PRINTWAYS and costs less than a price of family-sized pizza* (inclusive of first-rate postage charges). This annual stays on the shelf the whole year round. Buy one to know it firsthand!

"The bible of Indian dance" says India Today; "attendance is compulsory" says The Times of India. You get a copy and decide for yourself !

* (Rs.1000/- only within India and $ 25 int'l)

** Students's discount Rs. 500/-

*** Bulk purchase minimum 5 copies @ 25%


attendance, dance history society of india, ashish mohan khokar, journal, (C), june2015, do not copy, copyrights acknowledged

Friday 12 June 2015

Abhinava Sundara Rasanam -Program Note - Bharatanatyam - June 2015




All are invited for a spectacular & colourful dance showcase ABHINAVA-SUDARA-RASANAM presented by Bhuvana Venkatesh, Artistic Director,  Nrithyanivedhan school of dance, San Jose, June 27,2015 at Shirdi Sai Parivaar in Milpitas, California between 3:00 P.M & 6:00 P.M 

ABHINAVA means New or Nascent , SUNDARA means Beauty , RASANAM means Appreciation.

Appreciating the nascent beauty of the divine art form of Bharathanatyam through the varied eyes of a learner, a dancer , a choreographer , a Guru and mainly you the Rasikas – the onlookers of all ages! Beauty and wonder of the artform at the peripheral level and transcending beyond what one can perceive and understand by just mere appreciation. “Kimartham punah punah? “ – is a Sanskrit term we use for questioning as to “Why Again and Again?” What is it in this great artform that we are delighted in catching a glimpse of the same either by just being an onlooker or feeling one with it Again and Again! Is there newness everytime the art is done, what is this newness bringing into us ? Is it the feeling of the one with the divine or the one with that something which is universal in you and me , the newness of that oneness within all! 

    The director says " In appreciating the ART , we appreciate life as well . In finding the nascent beauty we find that newness in our inner beauty as well! " 

 Guru  Bhuvana Venkatesh , Principal dancer - Harshitha Venkatesh and Students of Nrithyanivedhan School of Dance will be sharing the beauty of the artform with everyone at ABHINAVA-SUNDARA-RASANAM. 

For more information :  www.nrithyanivedhan.com
*from nrithyanivedhan
(C), 27, abhinava sundara rasanam, bharatanatyam, bhuvana venkatesh, ca, june2015, nrithyanivedhan, shirdi sai parivaar, program note, contributor, papers, do not copy, copyrights acknowledged

Tuesday 2 June 2015

Classical Dance and the New Age Classical Dance Productions - June 2015


 Classical dances also evolve over a period and small changes are slowly adopted into the content. The gradual process through which it evolves gets accepted by the connoisseur and public, equally. However, to the process of evolution, to the pace, there is a limitation too... The belief and the expectation from the general public is quite visible. 

Even for an accomplished dancer who travels widely and who gathers the best of the elements found and expected in different parts of the world of a certain perfection and sophistication, when they try to employ such learning into their dance, this the limitation has to be borne in the mind. The unease in the scholarly and the general public is quite easy to perceive, call it resistance or clear disapproval.

I recently received a message (among some more) from an attendee of such a classical dance performance who was very upset about the presentation of a mythology being stretched in the visual narrative. That the same dance production attracted critical evaluation of this evolution when it was presented in India, was safely ignored by the dancer and presented in the same format in the US.

Similar messages with different intensity are quite common to my inbox as also appreciation to the more conservative dancer who carefully builds repertoire of the established traditional. I therefore believe this trend is quite extensive.

The learning to me from this episode is that "not all criticism is to be ignored", don't over-dance and overtake the general public's perception. A subtle reminder to those who over-stretch perhaps..!


papers, contributor, june2015, classical dance, evolution, copyright acknowledged, do not copy, (C), priyalasya,