Artograph Vol 02 Iss 01 (2020 Jan-Feb) by Artograph

artograph A NEWNMEDIA™ PUBLICATION

2020 JAN - FEB | VOL 02 | ISS 01

A BI-MONTHLY, BILINGUAL E-MAGAZINE FOCUSING ON ARTS | PUBLISHED BY NEWNMEDIA™ FROM KERALA, INDIA | 2020 JAN-FEB VOLUME 02 ISSUE 01 | PAGES: 36 | HTTP://ARTOGRAPH.NEWNMEDIA.IN

Festival

making a difference

The 2020 edition of the ‘Nishagandhi Dance Festival’ had a fresh outlook this year by having more artists within the state and a handful of male dancers.

Standing tall

C.V. Chandrasekhar, the recipient of this year’s coveted Nishagandhi Puraskar, is an exponent par excellence in the field of Bharatanatyam.

Dual power

An interview with the dynamic motherdaughter duo in Kuchipudi, Vyjayanthi Kashi and Prateeksha Kashi.

Beyond what meets the eyes

Kuchipudi danseuse T. Reddi Lakshmi writes about a few of the social stigmas.

CONTENTS

2020 JAN - FEB | VOL 02 | ISS 01

Vol 02 Iss 01

Standing tall 06

വേറിട്ട സമീപനം, മികച്ച അനുഭവം 08

Dual power 10

Shows that matter 14

P. Praveen Kumar

Hareesh N. Nampoothiri Priyanka B.

Hareesh N. Nampoothiri

STAGE

GOPIKA VARMA PRAVEEN KUMAR P. 'Nishagandhi Dance Festival 2020' organized by Dept. of Tourism, GoK.

Festival making a difference 20

The tale of Meluha 25

Giving their best 27

Beyond what meets the eyes 30

Hareesh N. Nampoothiri Priyanka B.

Hareesh N. Nampoothiri T. Reddi Laksmi

TALKING FRAMES

MALAVIKA SHEKHAR A NEWNMEDIA™ PUBLICATION LEAD PHOTOGRAPHY: HAREE FOTOGRAFIE DESIGN & LAYOUT: NEWNMEDIA™

CONTRIBUTORS TEXTS: PRAVEEN KUMAR P., PRIYANKA B., T. REDDI LAKSHMI PHOTOS: NAVTEJ SINGH, PRASANTH KUMAR K.P., PRIYANKA B. SHARED UNDER

CC BY-NC-ND 4.0

ADVT.

THE ORIGINAL RIGHTS OF THE TEXTS AND THE PHOTOGRAPHS RESERVED TO RESPECTIVE OWNERS. THE CC LICENSE IS VALID ONLY FOR THE E-MAGAZINE IN ITS EXACT FORM.

EDITORIAL TEAM CHIEF EDITOR: HAREESH N. NAMPOOTHIRI ASSOCIATE EDITOR: PRIYANKA B. MEMBERS: MEERA SREENARAYANAN, NAVYA VINOD, SETHUNATH U.N., VANI SANKAR DISCLAIMER: THE OPINIONS AND VIEWS EXPRESSED IN THE WRITE-UPS ARE THOSE OF THE RESPECTIVE AUTHORS AND DO NOT NECESSARILY REFLECT THE OFFICIAL POLICY OR POSITION OF THE MAGAZINE.

artograph

03 EDITORIAL

2020 JAN - FEB | VOL 02 | ISS 01

Moving ahead Yes, this is the anniversary issue and the first in the second volume of the magazine. We are bringing in many changes from this issue onwards. There is an increase in the number of pages, and we are moving towards a more spacious layout style. The ‘Talking Frames’ section gets a dedicated spread, and in the rest of the pages, photographs are better displayed. And of course, there are a few more visual changes which are easily recognizable for the regular readers. The website also gets an update with more pages and details. Those who are interested may have a look by visiting the link below. One thing that will motivate us to continue will be constant support from the readers. We are looking forward to hearing your feedback and constructive suggestions. I’m thankful to the dear members of the editorial team for investing their time and energy during the period, making it possible to bring out the magazine. Not to forget the authors and shutterbugs who have contributed their writeups and photographs to be published. Without the kind of cooperation of all involved, this would have been unimaginable.

Originally conceived as a bilingual e-newsletter, in a span of an year, Artograph has become a full-fledged bimonthly e-magazine.

Expecting wholehearted support from everyone in future as well. Sincerely,

Hareesh N. Nampoothiri

Priyanka B. Associate Editor

Meera Sreenarayanan Member

Navya Vinod Member

Sethunath U. Member

Vani Sankar Member

Bivin Lal, Sruthi Mohan Previous Members

WEBSITE artograph.newnmedia.in

FACEBOOK fb.me/artograph.mag

INSTAGRAM instagr.am/artograph.mag

SUBSCRIBE bit.ly/ag_subscribe

FEEDBACK bit.ly/ag_response

E-MAIL artograph.mag@newnmedia.in

artograph

TIMELINE

2020 JAN - FEB | VOL 02 | ISS 01

JAN-FEB: A FRESH START

Artograph was born. Intended as a bi-monthly bilingual e-newsletter focusing on dance, music and arts, in general, the journey commenced with the support of a team of like-minded art enthusiasts who were ready to make voluntary contributions of write-ups and photographs. It wasn't quite easy to start from scratch, and the edition featured minimal content like a cover story, opinions on a few selected programmes, insight and an interview.

JUL-AUG: GAINING MOMENTUM

MAR-APR: GETTING IT RIGHT

The response received from the art circles was hugely stimulating, and with the second issue, Artograph matured into an e-magazine. New sections like the Memoir - commemorating artists recently passed away, Talking Frames - a column for photography enthusiasts and Playlist - suggesting artrelated YouTube videos, and the Reader’s Response were included. Nishagandhi Dance Festival post the great floods of Kerala was the cover story.

The accompanying artists hardly get the attention, and Artograph tried to make a difference by including an interview with Pathiyoor Sankarankutty, a renowned Kathakali singer. The first edition of Kalandhika National Fest and the ‘Nayika’ festival by the Sambhavi School of Dance were featured. A feature on ‘Abhinaya Festival’ at Brisbane and a report on ‘Nrithyathi’, a group production by overseas Mohinaiyattam dancers were also included.

Visibility is the total number of impressions the multiple issues of the magazine received, across different platforms, to date (20th Apr 2020).

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05 TIMELINE

2020 JAN - FEB | VOL 02 | ISS 01

MAY-JUN: ON THE RIGHT PATH

Paying obeisance to the deceased legendary playwright Girish Karnad and introducing Kathak exponent Monisa Nayak, this issue highlighted two innovative productions of the period. ‘Harini’ - the debut thematic Bharatanatyam production of Meera Sreenarayanan and ‘Devabhoomika’ a grand production honouring the resilience of Kerala in combating natural disasters, were featured.

NOV-DEC: WAY TO GO

Artograph completes its first volume. A new column Inspire was introduced and Indu Chinta, became the first to be presented in this section. Among those featured were, dancer Parvathy Chandran and expressionist dancer Patruni Chidananda Sastri, known for his unconventional approach. The cover story on the 2019 edition of Soorya Parampara Dance Festival, reviews on the thematic Mohiniyattam productions at the Soorya Mohiniyattam Festival were the few of the highlights of this issue.

AN YEAR OF THE

MAGAZINE

SEP-OCT: MARCHING AHEAD

Nothing short of a treat for Kathakali enthusiasts, the memoir on departed Kathakali doyen Kottakkal Chandrasekhara Warrier and the cover story on annual ‘Kerala Natyothsavam’ Kathakali festival by Drisyavedi, made the fifth issue of Artograph dedicated to Kathakali. A detailed review on the 2019 edition of the ‘Music & Dance Festival’ by Soorya India and reports of performances by a few promising young artists were featured. TEXT: PRIYANKA B. / GRAPHICS: HAREESH N.

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INSPIRE

2020 JAN - FEB | VOL 02 | ISS 01

Standing

tall PRAVEEN KUMAR P.

or most of us, a new phase in life begins with the arrival of people who become a part of our everyday reality. My journey with renowned Bharatanatyam exponent C.V. Chandrasekhar is one along similar lines. At a time, when my father was ailing, I joined him without realizing he is the one who will be giving me the support and guidance in the years to come.

Besides exploring his artistic skills as a dancer, musician, composer, and choreographer, the Padmabhushan awardee is living his life replete with multi-faceted achievements and magnificent glory. Innovation at it’s best An innovative choreographer to the core, guru Chandrasekhar’s uniqueness lies in bringing the beauty of art through careful nuances. The constant correc-

■ HAREE FOTOGRAFIE

Just like any of his students, my association with guru Chandrasekhar began for the sake of learning dance. But sooner, the acquaintance grew in all senses, and myself became a part of his family. We had many journeys and personal moments together, making me aware of the many facets of guru Chandrasekhar.

C.V. Chandrasekhar, the recipient of this year’s coveted Nishagandhi Puraskar, is an exponent par excellence in the field of Bharatanatyam.

artograph

07 INSPIRE

2020 JAN - FEB | VOL 02 | ISS 01

An innovative choreographer to the core, guru Chandrasekhar’s uniqueness lies in bringing the beauty of art through careful nuances.

C.V. Chandrasekhar receiving the 'Nishagandhi Puraskar' from Pinarayi Vijayan, Chief Minister of Kerala. PHOTO: HAREE FOTOGRAFIE

tions imparted while presenting each composition neither spared him from doing the best nor accepting mediocrity. His exquisite choreographies have always left people spellbound, be it his ‘Kreeda’, ‘Aparajitha’, ‘Panchamahabhootham’ and several others. I had the privilege of learning a varnam composed by him, specially choreographed for me. The varnam “Ennai marandanalo ninaittu ninaittu urugum...” in raga Abhogi and set to Adi tala centers around a hero, who is pining for his love. Conceived around the sringara motif, it is a rare composition in which a male character is in the lead. It has a beautiful storyline, which deals with the yearning of nayaka for his lady, the reminiscences of the time they spent together, and the comparison of her beauty with nature.

As one who enjoyed the whole process of composing and choreographing the piece, I could see many years of his vision coming alive through this. The gratifying feel he had after seeing it on stage made me quite delighted. Beyond dance For his disciples, in both professional and personal fronts, C.V. Chandrasekhar has set the right physical, cultural, and spiritual environment. He elevates people not only in the art front but also as a better human being. His artistic nature reflects in every aspect of his life, dressing, home ambiance, and general behavior in public. These qualities are rare to find, and the ones who are closely associated with him get easily instilled with these virtues. As an artist, Chandrasekhar concentrated not just on Bharatanatyam. His constant

efforts: to watch different artforms, to find time to appreciate the works of youngsters, and to draw inspiration from different genres of music and dance, always placed him at the forefront of the art scenario. I’ve been seeing him in close quarters for quite long, and for him, his motto of life has been - be true to art and oneself. Being his disciple, it gives me immense pleasure to see him bestowed with yet another recognition; the prestigious Nishagandhi Puraskar, instituted by the Dept. of Tourism, Govt. of Kerala. The same evening he was given the award, I had a chance to perform in front of him, and it was truly a special feeling. ● PRAVEEN KUMAR P. is an accomplished Bharatanatyam dancer who runs ‘Chithkala School of Dance’ in Bengaluru. An empaneled artist of the ICCR, an A-grade artist on television, and a versatile choreographer, he has received many accolades, including SNA’s Yuva Puraskar.

artograph

നിശാഗന്ധി നൃത്തോത്സവത്തിൽ ആർ.എൽ. വി. രാമകൃഷ്ണനും സംഘവും അവതരിപ്പിച്ച നൃത്തശില്പത്തിലെ ഒരു രംഗം. PHOTO: HAREE FOTOGRAFIE

OPINION

2020 JAN - FEB | VOL 02 | ISS 01

വേറിട്ട സമീപനം,

മികച്ച അനുഭവം

ര

ണ്ടായിരത്തിയിരുപതിലെ നിശാഗന്ധി നൃത്തോത്സവത്തിന്റെ ഭാഗമായി, സംഘനൃത്തരൂപത്തിൽ അവതരിപ്പിക്കപ്പെട്ട രണ്ടു മ�ോഹിനിയാട്ട കച്ചേരികൾ, ഉള്ളടക്കത്തിൽ സാമ്യത പുലർത്തി. എന്നാൽ, സമീപനത്തിൽ സ്വീകരിച്ച വ്യത്യസ്തതയാൽ രണ്ടനുഭവമാണവ ആസ്വാദകർക്ക് നൽകിയത്.

നിശാഗന്ധി നൃത്തോത്സവത്തിൽ സംഘനൃത്തമായി അവതരിപ്പിക്കപ്പെട്ട രണ്ടു മ�ോഹിനിയാട്ട കച്ചേരികൾ, ഉള്ളടക്കത്തിൽ സാമ്യത പുലർത്തിയപ്പോഴും സമീപനത്തിൽ വ്യത്യസ്തമായി.

ആർ.എൽ.വി. രാമകൃഷ്ണന്റെ നേതൃത്വത്തിലുള്ള സംഘത്തിന്റെ അവതരണം ആരംഭിച്ചത് കാവാലം നാരായണ പണിക്കരുടെ “ആനന്ദ ഗണപതിയേ...” എന്ന ഗണപതി സ്തുതിയ�ോടെയായിരുന്നു. ഏകാംഗനൃത്തമായി ചെയ്ത ഈ ഇനത്തിൽ, ശിവന്റെ താണ്ഡവവും, അദ്രികന്യകയുടെ ലാസ്യവുമ�ൊക്കെ പരാമർശിക്കപ്പെടുമ്പോൾ, നൃത്തത്തിന്റെ സാധ്യതകളുപയ�ോഗിച്ച്, നിലകൾക്ക് അതിന്റേതായ സൗന്ദര്യം വരുത്തി, പക്വമായ അവതരണമായിരുന്നു രാമകൃഷ്ണന്റേത്.

ഭാവയാമി

സ്വാതി തിരുനാളിന്റെ രാഗമാലികയിലുള്ള കീർത്തനമായ “ഭാവ യാമി രഘുരാമം...” മ�ോഹിനിയാട്ടം സംഘനൃത്തരൂപമായി ചിട്ട ചെയ്തതായിരുന്നു പ്രധാനയിനം. രാമായണം മുഴുവനായി ഏതാനും ചരണങ്ങളിൽ ഒതുക്കി പരാമർശിച്ചു പ�ോവുന്ന കൃതിയിലെ കഥാഭാഗങ്ങൾ വിസ്തരിച്ചു ചെയ്യുന്നൊരു രീതി സാമാന്യമായി കണ്ടു വരുന്നതാണ്. ഈയ�ൊരു സമീപനം തന്നെയാണ് ഇവിടെയും അവലംബിച്ചു കണ്ടത്. ഇത് കീർത്തനത്തിന്റെ ഉദ്ദേശത്തെ തന്നെ നിരാകരിക്കുന്നുണ്ട് എന്നത് ഒരു നൃത്തരൂപമാകയാൽ കണ്ടില്ലെന്ന് നടിക്കാം. എന്നാൽ, രാമായണത്തിലെ അറിയാവുന്ന കഥാഭാഗങ്ങൾ അതേപടി നീട്ടിചെയ്തു കാണുന്നതിലെ മടുപ്പ് ഒരു പ്രശ്നമായി അവശേഷിച്ചു.

09 OPINION

2020 JAN - FEB | VOL 02 | ISS 01

കഥയാടുന്നതിനപ്പുറം ഒന്നും ചെയ്യുന്നില്ലെങ്കിൽ, ഇത്തരം അവതരണങ്ങൾ ഒരു പരിധിക്കപ്പുറം മതിപ്പുണ്ടാക്കാൻ സാധ്യത കുറവാണ്.

ആർ.എൽ.വി. രാമകൃഷ്ണന�ൊപ്പം സൗമ്യ സതീഷും പ്രധാന കഥാപാത്രങ്ങളായി മാറിയപ്പോൾ കാലടി സർവകലാശാലയിലെ എം.എ. മ�ോഹിനിയാട്ടം വിദ്യാർത്ഥികളും ഇവർക്കൊപ്പം ചേർന്നു. സംഘനൃത്ത രൂപത്തിലുള്ള അവതരണമായതിനാൽ തന്നെ, ഒന്നോ രണ്ടോ പേർ മികവ് പുലർത്തിയതു ക�ൊണ്ട് കാര്യമില്ലല്ലോ! രാമകൃഷ്ണനും ഒരു പരിധി വരെ സൗമ്യയും അഭിനയഭാഗങ്ങളിൽ തിളങ്ങിയപ്പോൾ, ബാക്കിയുള്ളവർ - വിശേഷിച്ചും ഇത്തരമ�ൊരു നൃത്തോത്സവ വേദിയിലാണ് എന്നതു കൂടി കണക്കിലെടുക്കുമ്പോൾ അത്ര കണ്ട് ശ�ോഭിച്ചില്ലെന്നു പറയാം.

ഒരു പക്ഷെ, ഇടയ്ക്കിടെ വരുന്ന നൃത്തഭാഗങ്ങളിൽ മാത്രം അവരെ ഉൾപ്പെടുത്തി - അതു തന്നെ സംഘനൃത്തം വേണമെന്ന നിർബന്ധമുണ്ടെങ്കിൽ - ചിട്ട ചെയ്തിരുന്നെങ്കിൽ അതായിരുന്നു കൂടുതൽ നന്നാവുക എന്നും ത�ോന്നി. എന്നാൽ തന്നെയും, ചിലയിടങ്ങളിൽ കാഴ്ചയ്ക്ക് കൗതുകകരവുമായിരുന്നു അവതരണം. കഥകളി ഗായകനായ കലാമണ്ഡലം വിഷ്ണുവിന്റെ ആലാപനവും, ഒപ്പം ചേർന്ന കലാമണ്ഡലം

നിശാഗന്ധി നൃത്തോത്സവത്തിന്റെ അവസാനദിനം 'ചിന്താവിഷ്ടയായ സീത' എന്ന കുമാരനാശാൻ കാവ്യത്തിന്റെ മ�ോഹിനിയാട്ട നൃത്താവിഷ്കാരവുമായി സുമിത നായരും സംഘവും. PHOTO: HAREE FOTOGRAFIE

artograph കിരൺ ഗ�ോപിനാഥ് (മൃദംഗം / മദ്ദളം), ശ്യാം കല്യാൺ (വയലിൻ), കലാമണ്ഡലം നിഥിൻ കൃഷ്ണ (ഇടയ്ക്ക) എന്നിവരുടെ മികവും, നർത്തകരെ നന്നായി പിന്തുണച്ചു. രാമകൃഷ്ണനും വിദ്യാർത്ഥികളും ഒരുമിച്ച സ്വാതി തിരുനാളിന്റെ ഭൂപാളം തില്ലാനയായിരുന്നു അവസാനയിനം.

സമീപനത്തിലെ പുതുമ

സമാനമായ ഉള്ളടക്കം തന്നെയായിരുന്നു സുമിത നായരുടെയും സംഘത്തിന്റെയും നൃത്താവതരണത്തിലും ഉണ്ടായിരുന്നത്. കാവാലത്തിന്റെ “ആനന്ദ ഗണപതി...”യിൽ തന്നെ തുടക്കം, അവതരണം സുമിത നായർ ഏകയായി. കുമാരനാശാന്റെ പ്രസിദ്ധ ഖണ്ഡകാവ്യമായ ‘ചിന്താവിഷ്ടയായ സീത’ യുടെ മ�ോഹിനിയാട്ട ആവിഷ്കാരമായിരുന്നു തുടർന്ന്. ഇവിടെയും രാമായണം തന്നെ കഥാതന്തു. എന്നാൽ സമീപനത്തിലും അവതരണ രീതിയിലും വേറിട്ടൊരു ശൈലി സ്വീകരിച്ചത് മെച്ചപ്പെട്ടൊരു പ്രതീതിയുണ്ടാക്കി.

ഒരു കാവ്യത്തെ അതിന്റെ അന്തഃസത്ത ച�ോർന്നു പ�ോവാതെ നൃത്തരൂപത്തിലേക്ക് ക�ൊണ്ടുവരിക അത്ര എളുപ്പമല്ല. സുമിതയും സംഘവും ശ്രമിച്ചു വിജയിച്ചതും അവിടെയാണ്. തിരഞ്ഞെടുത്ത ഖണ്ഡങ്ങളിൽ ചിലത് ശ്ലോകരൂപത്തിൽ കഥാഗതി വ്യക്തമാക്കാനും സന്ദർഭങ്ങളെ ബന്ധിപ്പിക്കാനും, മറ്റു ചിലത് ആവർത്തിച്ചു പാടി അഭിനയത്തിന് ഊന്നൽ നൽകാനും; ഇങ്ങനെ കവിതയെ ശൈലീകൃതമായ നൃത്തരൂപമായി CONTINUED ON PAGE 33 ►

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ART COLLOQUY

2020 JAN - FEB | VOL 02 | ISS 01

â&#x2013; HAREE FOTOGRAFIE

DUAL POWER PRIYANKA B.

ART COLLOQUY 2020 JAN - FEB | VOL 02 | ISS 01

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yjayanthi Kashi and Prateeksha Kashi need no introduction to classical dance lovers. This mother-daughter duo is a dynamic force in Kuchipudi and is one of the best pairs of dancers from India worldwide. While Vyjayanthi talks of the vast plethora of her experience, Prateeksha discusses her aspirations and on balancing both her dancing and acting careers. As this conversation reveals, it’s the bonding that enables them to do wonders on stage.

It is very challenging to be a mother and guru at the same time, as there is every likelihood that your child will take you for granted.

As contemporary as she otherwise is, when it comes to dancing, her thoughts and concepts are traditional.

PRIYANKA B. is a post-graduate in English

literature and an art enthusiast who enjoys photographing classical dance performances. She currently works as Postal Assistant with Department of Posts, India.

Q: While adhering to the basics, the ‘Kashi’ school is unique in many aspects. How did you reach upon this style? Vyjayanthi Kashi: I would say, years of practice and thinking have gone into this. I stopped doing Bharatanatyam when I grew tired of seeing the same margams over and again. Though I was not from the birthplace of Kuchipudi, I learned it extensively, and it revealed different regional styles. In those days, gurus hardly got up to show you dance. Even a slight tint of their movement added a lot of meaning. Observing them, and getting involved with my characters, helped me develop a maturity over time. It is quite natural that after several years of practice, the body of dancers begins to speak the truth. Moreover, my theatre background and the inherent nature of being spontaneous shaped my style. Prateeksha Kashi: To add, she is a traditionalist both professionally and personally. As contemporary as she otherwise is, when it comes to dancing, her thoughts and concepts are traditional. One thing she always makes sure is that she adheres to the roots of the art form, even while improvising. Q: Hailing from a family of great artists, you didn't need to look outside for inspiration. Did dance come to you as an obligation or a destiny? Prateeksha: As a destiny, I guess. My mother tells me, even during her pregnancy, every time she danced to “Aigiri nandini...” I kicked harder. During my school days, I always saw my mother teaching or rehearsing. My father, being a film actor, the discussions we had at home were art-centric. I was very retiring, to begin with, and often cried when called up on stage. But as I grew up, the interest in dance also grew. My parents never forced me to choose a dancing career. Dance as a profession was never a common choice among youngsters. After my engineering, I took up a job because I wanted to experience the corporate culture. But as the opportunities came, I realized, it is the dance for me. Q: Mother turning a mentor and daughter turning a disciple. Is it the guru-shishya or mother-daughter relationship that works during the lessons? Vyjayanthi: It is very challenging to be a mother and a guru at the same time. There is every likelihood that your child take you for granted, and it can seriously affect other students. I remember an instance where we were practising until midnight. Everybody was so tired, but none of the students dared to speak up. Suddenly, Prateeksha suggested that we should stop and she just walked away. That was a very embarrassing moment for me. On the contrary, there have also been instances where she inspired the rest of the students. All disciples are like my own, but their parents’ decisions matter. I’ve got

artograph a better say on Prateeksha, as she’s my daughter. Guru-shishya relationship grows and matures over time. Now we are on a stage where both complement each other. Prateeksha: When we are young, it takes time to see between the mother and the guru. Until then, we always see the mother as a mother and take lenience. Many a time, this can be mistaken for favouritism. When I was young, she was so busy with programs, and I used to miss her very badly. It’s only in the past few years, she is available for me, as I always wanted. Q: Does the fact that your mother is a celebrated dancer create pressure on you? Prateeksha: Not at all. When children inherit their parents’ profession, people tend to make comparisons. Chances were even more in my case, as she has already set a high standard. However, neither my mother pressurized me, nor did I hear any such comments from the audience. Maybe, it is also because I do not overthink about it. Q: Bringing experience and youthfulness together, how do you pick themes for your duet performances? Vyjayanthi: While choosing themes for duets or solos, I make sure that the roles we select fit for our age and our own identities. Though the majority of rasikas favour experience and feel, there is a minority who look for the glamour and glitz. Many great dancers have commented real dance begins when the body dies, which didn’t make sense to me when I was young. Real dance happens when you can forget yourself. Even today, when we see Vyjayanthimala dancing, there is a sense of divinity and complete involvement. Duet or solo, this is what we try to bring out in dance, as a reflection of life. Q: Even after exploring other streams like acting, theatre, etc., dance remains your primary domain. What keeps both of you enchanted with the poetry of movement? Vyjayanthi: I became a dancer out of my parents’ desire. I used to run away from dance, but it held me tightly. Though I was into films, soon I realized it wasn’t meant for me. But I loved the theatre. The happiness and confidence that dance gave me, and my parents’ wish to see me as a dancer, helped me develop, a strong passion for dance. Each day I am growing more fond of it and more deeply into it. Prateeksha: From a very shy kid, I grew up to be a people’s person. I am a little dramatic by nature,

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and I do enjoy acting. Dance has been very kind to me even when I was not taking it seriously. Over the years, it has become my identity. When I plan my future, the first thing that comes to mind is the prospects of a dancing career. There is no point in doing something half-hearted. At times I take a break to find whether I truly miss dancing, and I’m glad that it has always called me back. Q: How did the audience change between mother’s and daughter’s times? Vyayanthi: During my times, there were only very few programs. But these were performed by reputed legendary artists. The audiences were well matured, and attentive though the concerts were long. All these are lacking now. The audience, mostly friends and relatives of artists, clap without any intent. In contrast, the audience abroad is non-judgemental, though it’s unclear how well they perceive our art forms. Those who learn classical art forms are increasing, but the number and the quality of serious audiences are declining. Only when there are good rasikas, performers will get the necessary encouragement to give their best. Q: You have once said; “Brass plate is the symbol of Karma and every dancer is a yogi, not disturbed by any worldly distraction”. Do you think the present-day dancers fall in this? Vyjayanthi: No, there are too many worldly distractions now. When I started my career, becoming famous or being popular wasn’t my intention. But now this has become the priority for any artist. Another factor is the influence of social media. Even senior dancers feel like they will be not in the picture if they are not active online. When I give a five-minute break to my students, the first thing they do is to go and check their mobiles. Making a personal connection has become very difficult, and everything is mechanical. But there are a few who try to overcome these challenges, make a difference, and they are the ones who are sincere to the art. Q: If you compare yourself with Prateeksha, when you were at her age, who’s going to be the winner? Vyjayanthi: I would say Prateeksha. At that time, I had no freedom to choose the things that suited me the most. I was only taught two items, at a point where I could’ve learned many more. Even when I was at the peak of my career, people considered me too young and advised to have more experience.

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Documentation of programs was minimal, and we had very few references. The chances to see others’ performances were also a rarity. This generation has all that, and it’s their advantage. Q: Prateeksha, if you could add a few words on your acting career. Prateeksha: Dancing and acting; both need spontaneity. In the latter, the emotions should be subtle, unlike the former where the audience is at a distance, and we can be louder. I enjoy acting and in this regard, much grateful to the noted film director Vinod Manakara for choosing me in the lead role of his movies. In dancing, the character build-up takes place in a limited time frame. But it is not so in films. You got to remember not just the dialogues, but how you felt in the previous scene. And yes, being a dancer helps a lot in acting and vice versa. Q: Children are a means to realize parent’s unfulfilled dreams; anything you want Prateeksha to achieve for you? Vyjayanthi: Perhaps a doctoral degree. Struggling between my dancing and banking careers, this was something I could not achieve. It will be great if she can pursue this dream of mine, but certainly not for my sake. I firmly believe in destiny. I won’t force her to be the best, but whatever she does, she has to do it to her potential. Q: How do you expect to carry this lineage forward? Prateeksha: One thing is sure, to her level of expertise, I may not reach no matter how hard I try. As a guru, she has left with me something quite strong, which inspires not just myself but many others. As an organizer, teacher, and performer, she has played a pivotal role in popularising Kuchipudi globally. As her successor, I hope to do justice to what she has created already. My competition would be with myself. I don’t believe in stagnation. If you look at my mother’s career, the starting itself is a crescendo. I should be able to add to where she has stopped. Being inspired by her, I want to do something different, and thus the show should go on. ●

A Kuchipudi duet performance by Vyjayanthi Kashi and Prateeksha Kashi during the 2016 edition of the 'Nishagandhi Festival' by Dept. of Tourism, Govt. of Kerala. PHOTO: HAREE FOTOGRAFIE

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SHOWS THAT MATTER HAREESH N. NAMPOOTHIRI

FEATURED

2020 JAN - FEB | VOL 02 | ISS 01

onceived as a banquet of contests, exhibitions, lecture demonstrations along with workshops and group performances by seasoned artists, ‘Dancejathre’ serves to both practitioners and viewers alike. A brainchild of Kuchipudi exponent Vyjayanthi Kashi, the two-day gala was organized by her institute Shambhavi School of Dance in Bengaluru. Doing such a multi-faceted event is no easy task. However, the experience over the years has made the organizers equipped with all that needed to make running the show look easy. Whether it’s the workshops or the performances or the contests, what made it all worth was the genuineness. Rather than having everything for the sake of it, it brought together different sections together to experience it. The festival had something to offer for everyone, no matter whether you are a novice dancer or somebody who has made it a profession or a spectator. Instances from Ramayana The two evenings of the festival had performances by seasoned artists. They were not full-fledged recitals, all were group presentations, and were in the timeframe of 45 to 60 mins. However, none of this seemed a limitation for the dancers, and they all were up to the task of making an impression. The inaugural program was a Bharatanatyam group presentation by Sathyanarayana Raju, Soundarya Srivathsa, and their disciples. The team commenced their recital with a Ganesha sthuthi in raga Gambheera Nattai. The main piece was “Endaro mahanubhavalu...”, a celebrated work of Tyagaraja in praise of Lord Rama. It was rather a simple and straightforward approach, the team came together mostly for the dance sequences, while Sathyanarayana Raju and Soundarya roleplayed recreating some of the instances from the epic Ramayana. What made those portions captivating is the way it was all conceived, and without unnecessarily elaborating or overdoing, they were able to bring out the essence, touching the soul of the characters. One instance was the way Sathyanarayana portrayed Sabari. Also, the way he transformed from the ailing father watching his son leave to the furious demon king fighting Rama in one quick turn was so exhilarating. Soundarya mostly had to complement, and she has done it effectively. They had the accompanying support of D.S. Srivathsa in the vocal, S.V. Balakrishna on the Sathyanarayana Raju and Soundarya Srivathsa during their group presentation along with their disciples. PHOTO: HAREE FOTOGRAFIE

FEATURED 2020 JAN - FEB | VOL 02 | ISS 01

artograph Meera Das and her disciples presenting Odissi group on the opening day of the festival. PHOTO: HAREE FOTOGRAFIE

mridangam, and Karthik Sathavalli on the flute, adding more dynamism to the recital. Focus on dance Odissi group recital by Gunjan Dance Academy, headed by Meera Das, was the second performance of the evening. Sasmita Panda, Priyanka Jena, Bidya Biswajeeta, Swarnamayee Behera, Shibani Parija, and Sweekriti Das joined her on stage, and they all were equally proficient. After starting with a mangalacharan inspired by the ‘Pahandi Bije’ of Lord Jagannath, the team presented two more choreography pieces namely ‘Moods of Rhythm’ and ‘The Rain’. The dance sequences were impressive, and there were elements, like the depiction of the chariot in the first piece, and the peacock dance in the last, which were exciting and entertaining. On the other hand, it

The festival had something in the offer for everyone, no matter whether you are a novice dancer or somebody who has made it a profession or a spectator.

Kathak group recital by Maneesha Sathe and her disciples. PHOTO: HAREE FOTOGRAFIE

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was all dance, and maybe having an item focusing on abhinaya in between would’ve further enhanced the recital. Kathak in style Maneesha Sathe and her team of dancers from Maneesha Nrityalaya - Tejaswini Sathe, Madhuri Apte, Neha Muthiyan, Vallarie Apte, Moushami Jaju, and Vaishnavi Nimbalkar presented Kathak afterward, and even in the limited time, they were able to bring in the variety. Like the Odissi team here also the members were proficient enough to share the stage with their guru, and it certainly uplifted the quality of the performance. The starting dhrupad and the tala compositions set to 14-beat cycles that followed were impressive for its choreography and execution. The storytelling aspect came into light in the saadara piece by the pioneer of Kathak Bindadeen Maharaj, based on the battle between Rama and Ravana, sancharis illustrating stories connected with Shesha the serpent. Drut tritaal presented in jugalbandi pattern was the concluding piece, and they all together

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made it appealing as well. A slice of Kuchipudi The second day saw an overall improvement in lighting and stage setting as well, further enhancing the performances. At first, viewers were treated with a scintillating Kuchipudi by Shambhavi School of Dance, headed by guru Vyjayanthi Kashi. Prateeksha Kashi was in the lead along with Gururaju N., Mahalakshmi B.H., Diksha Shankar, Aishwarya Paramesh, Chaitra K., and Krishna. The highlight of the recital was indeed the choreography of Vyjayanthi Kashi, and it was all a visual treat filled with exciting moments. They began their recital with the Muthuswami Dikshitar composition “Mahaganapathim...” in praise of Lord Ganesha. Some stage props were also in good use to enhance visual aesthetics. Annamacharya’s “Adhivo alladhivo...” in Madhyamavati visually described the adobe of Sree Hari, ornamented by the ten thousand hoods of Sheshanaga. Proving their skills on dancing on the brim of the dance plate, the dancers came well together in

Kuchipudi recital by Shambhavi School of Dance had Prateeksha Kashi in the lead. PHOTO: HAREE FOTOGRAFIE

the tarangam piece “Neelamegha sareera...”. A unique dance number, interpreting the Marathi abhang in praise of Panduranga, aka Vithala, was the concluding piece. An experience to remember It wouldn’t be wrong to say that this edition of Dancejathre will be remembered for ‘Shrimant Yogi’, if nothing else. The thematic dance production was a fitting finale by Vaibhav Arekar and members from Sankhya Dance Company; Eesha Pinglay, Ruta Gokhale, Deepika Potdar, Mrunal Joshi, Sachhidanand Narayankar, Gautam Marathe, Radhika Karandikar, Aditi Paranjpe, and Shruti Ranade. The production traces the life story of Maharaja Shivaji of the Maratha clan. However, rather than telling the story of the warrior king, the associated emotions of different life situations of Shivaji was presented, using a blend of theatrics and dance, well complemented by thoughtful light design and use of props.

FEATURED 2020 JAN - FEB | VOL 02 | ISS 01

artograph The opening scene gave a glimpse of the period when Shivaji was born, a time when the Mughals were in power. How he was influenced by the epics Ramayana and Mahabharata, listening to his mother Jijabai, during his childhood was shown afterward. The rest of the portions showed the rise of Shivaji as the Chathrapathi (emperor), and later gaining the stature of Shrimant Yogi, who had all earthly pleasures yet chose to live the life of a saint. The technique and approach varied from scene to scene without stretching them to more than what was required, and it kept the audience engaged throughout. All the dancers were lively and performed with the much-needed vigor and energy. Their acrobatic skills were also used well in many situations. Vaibhav Arekar, also the director and choreographer, was captivating as he moved from one role to another, mostly presenting the different stages of the title character.

The scenes that required a more sensible approach, like the phase change of a Chathrapathi to a Yogi, were remarkable. The music score, with minimal to no lyrics, by Manoj Desai and Karthik Hebbar, helped in abundance in creating the mood. Light design by Sushant P. Jadhav was truly immersive, with even shadows and darkness put into good use. The effective use of stage space and stage props adding dimensions also deserves mention. The festival took place at different venues on the campus of Ravindra Kalakshetra, in Bengaluru, on the 8th and 9th of Feb, 2020. â&#x2014;? Vaibhav Arekar as Chhatrapati Shivaji in 'Shrimant Yogi' - a group production by Sankhya Dance Company. PHOTO: HAREE FOTOGRAFIE

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STAGE

2020 JAN - FEB | VOL 02 | ISS 01

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STAGE

2020 JAN - FEB | VOL 02 | ISS 01

EXPOSURE: 1/125 | F6.3 | ISO 800 CANON EOS 450D / SIGMA 70 - 300 MM F4-5.6 DG MACRO

FEATURED

GOPIKA VAR MA

ohiniyattam danseuse Gopika Varma during her recital organized as part of the 2008 edition of ‘Beach Fest’ by DTPC, Alappuzha. She is widely appreciated for her insightful works, many of them featured in her ‘Dasyam’ collection. She is a recipient of many awards, including the prestigious Sangeet Natak Akademi Award for Mohiniyattam in 2019. PHOTOS: HAREE FOTOGRAFIE

EXPOSURE: 1/100 | F7.1 | ISO 800 CANON EOS 450D / SIGMA 70 - 300 MM F4-5.6 DG MACRO EXPOSURE: 1/125 | F6.3 | ISO 800 CANON EOS 450D / SIGMA 70 - 300 MM F4-5.6 DG MACRO

THIS SEGMENT FEATURES PHOTOGRAPHS CAPTURED DURING LIVE PERFORMANCES OF DIFFERENT ARTISTS MANY YEARS BACK.

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OPINION

2020 JAN - FEB | VOL 02 | ISS 01

COVER STORY

Festival difference

making a

HAREESH N. NAMPOOTHIRI

The organizers made a difference this year by including more artists within the state and a handful of male dancers. Arun Sankar during his Bharatanatyam recital at the 2020 edition of 'Nishagandhi Dance Festival'. PHOTO: HAREE FOTOGRAFIE

he dance festival of Nishagandhi is one of the premier classical dance events happening annually in Kerala. Starting a week back, it ends on the 26th of Jan. Though recognised as an authentic classical dance fiesta, often it strayed from its actual cause. Yet, for the last couple of years, the adversaries are found to be minimal. This year the organizer, the Dept. of Tourism, Govt. of Kerala, made it even better and addressed a few of the concerns raised in the past. They’ve included many more artists within the state and also had a handful of male dancers. While organizing a dance festival, including celebrities or well-known dancers, is an easy job to get attention. However, providing a stage to genuine artists, even if they are not very well-established, needs more effort. The highlight of this year’s festival was that the organizers followed the latter. Bharatanatyam recital by Bengaluru based dancer Praveen Kumar P. marked the beginning of the week long festival. Elegance being the key Praveen Kumar’s recital was a perfect blend of nritta and natya. He began with one of the choreographies of his guru, C.V. Chandrasekhar. The context being a devotee witnessing the dance of Lord Shiva and sharing the experience “Aadum azhagai paradi...” Praveen’s take alternating between the heroine and the dancing god was captivating. The main piece was “Mathe malayadwaja...”, a well-known composition of Harikesanallur Muthiah Bhagavatar in raga Kamas. The rendering was unique, making it more suitable for a dance piece. An instance was when Praveen described the conflicting facets of the goddess, one the serene Gauri and the other the fierce Durga. As D.S. Srivathsa sang the lines mentioning Shankari and Chamundi, S. Lingaraju on the mridangam and Mahesha Swamy on the flute altered their music accordingly and made it quite striking. D.V. Prasanna Kumar’s nattuvangam added to the amusement.

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OPINION

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Coming to the dancing, Praveen brought in variety in each sequence without overdoing it, and not trying to make it complicated. The Purandara Dasa devarnama “Yashoda ye amma...” in Mayamalavagowla was a joyful song, and Praveen made it equally joyful as he presented the Sree Krishna who insists his mother to carry him. Praveen concluded the recital with a short thillana in raga Simhendramadhyamam, composed by Madurai N. Krishnan. Not quite there Arun Sankar performed in the last slot on the second day. He seemed to be a dancer of potential, but the lack of finesse made his recital here less riveting. His likeness for balanced postures was apparent, and he managed them appreciably. The opening piece was “Nrithyathi nrithyathi...”, a keerthana on Lord Shiva by Swathi Thirunal in raga Sankarabharanam. Arun continued his recital with the varnam “Sree Krishna kama-

lanatho...” in raga Reetigowla, a music composition of Bengaluru T. Srinivas based on ‘Narada Pancaratra’. Following the crowing piece was an ashtapadi from Jayadeva’s ‘Gita Govinda’ in raga Hameer Kalyani. The two items had enough to test the dancer’s calibre to explore the abhinaya aspects. He managed to do it to some extent. However, the kind of grip expected from an artist featured in stages like these was lacking. He had the accompanying support of Sibi Sudarshan in the nattuvangam, Udupi S. Srinath in the vocal, Bombay K.B. Ganesh on the mridangam, and Udupi S. Srijith on the violin. Working it together Kathak being more of a technique-oriented dance form, performing without a live orchestra itself is very limiting. Despite that, the Kathak duet by Rohini S. Prabhath and Naveen R. Hegde had elements in their recital to excite the audience. They started with a Shiva sthuthi and then “Sree Ramachandra kripalu...” lauding Sree Rama and his virtues. Both

of them looked to have a good grip in technique and performed with much involvement. Two items on Krishna followed. In the first, Rohini appeared as Radha who’s not happy with Krishna sporting around the other gopis. While she managed to emote Radha well, it would’ve been better if she could be more vigilant with her eloquence. ‘Krishna Vandana’ by Naveen was based on a Surdas bhajan. The two concluded their recital with a few numbers displaying their technical virtuosity followed by a tarana in rag Misra Bhairavi. Impressing on their own Except for the fact that the two performed together, Aswathy Nair and N. Srikanth Natarajan hardly tried to make their recital a meaningful duet. Other than a few instances, like showing a devotee in the feet of the lord, they performed on their own. However, if one could leave it as their choice, the recital had more to offer. With some fine-tuned dancing and poses depicting Lord Ganesha, the two started

■ HAREE FOTOGRAFIE

Despite not having a live orchestra, Rohini and Naveen managed to excite the audience.

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OPINION

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N. Srikanth Natarajan and Aswathy Nair during their recital on the fifth evening of the festival. PHOTO: HAREE FOTOGRAFIE

A unique attempt The Kuchipudi solo recital by Ananda Shankar Jayant offered something different than what one might expect. Surely it was a bold attempt, by going outside the norm. The recital was in two segments. In the first, Ananda Shankar Jayant brought together a few compositions of Tyagaraja picturing Ramayana. ‘Tyagaraja Ramayana’ sounds grand concept-wise.

well with “Pranavakaram siddhi vinayakam...”, a composition of Oothukkadu Venkata Kavi. The acclaimed varnam in Gambhiranata by legendary M. Balamuralikrishna, “Amma, ananda dayani...” was the main piece. They danced well together and alternatively with the other taking a pause, but never leaving their area of the stage. The tales of the two devotees of the goddess, Kalidasa and Abirami Pattar, were delineated splendidly by Srikanth and Aswathy individually. The dance became brisk as progressed, and the two concluded well. In the latter portion of the recital, Aswathy presented the Jayadeva ashtapadi “Sakhi he keshi...” and Srikanth did the Puranadara Dasa devaranama “Gummana kareyadire...”. Aswathy’s take on Radha was apt. Srikanth excelled playing the infant Krishna, who agrees to his mother a lot many things, for not sending him to the gummana (demon). Playing Krishna’s childhood, often dancers try to have a light approach and end up looking silly. It wasn’t the case here. The final piece was a thillana in raga Amritavarshini, a composition of guru Sadasivam. Excellent music support by Nikhil Raveendran in the nattuvangam, Bijeesh Krishna in the vocal, Kalamandalam Charudutt on the mridangam, and Shyam Kalyan on the violin added to their recital.

However, when performed on stage, it was a different story. Surely, there were instances in which she had made it laudable. But when we consider it in the Kuchipudi aspect, it offered very little in totality. The dance segments hardly felt in gel, especially with jathis introduced breaking the original composition structure. And as the item went on to sixty minutes in one stretch, it became tiring not only to the dancer but also to the viewers. Tyagaraja compositions come with a lot of weight and singing one after the other in quick succession is not an easy task which vocalist Sweta Prasad did fine. Sai Kolanka on the violin was also supportive. The latter segment was ‘Simhanandini’, the highlight being drawing the face of a lion as the dancer dances over the canvas. Ananda Shankar made it a grand show, with some lively dance at the start and of course, with the drawing portion. I.V. Renuka Prasad in the nattuvangam and T.P. Balasubramanian on the mridangam had to work hard to create that impact, and they delivered in plenty.

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Ananda Shankar Jayant shows off the head sketch of a lion, drawn as she danced. Madhavi Chandran and Reshma U. Raj (clockwise), the other two performers in the festival. PHOTOS: HAREE FOTOGRAFIE

artograph Madhavi Chandran’s Mohiniyattam recital featured songs which are penned or adapted to the repertoire in more recent times.

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Splendid display The Kuchipudi recital by Reshma U. Raj on the second-last day was enjoyable in many aspects. Other than the Gopalakrishna Bharathi song on Nandanar, the rest of the items used compositions of Swathi Thirunal. As a dancer at the start of her career, she impressed with crisp footwork. Her flair was evident as she began with “Paripahi ganadhipa...” in praise of Lord Ganesha. Maybe she could improve her fluency and bring a bit more refinement in her dancing so that it could be even more impressive. The dance, as well as abhinaya, excelled in “Pannagendra sayana...”. When it comes to sharing of emotions, she outdid herself while narrating the tale of the Nandanar presented afterwards. Reshma U. Raj concluded her recital with the Bhoopalam thillana composed by Swathi Thirunal followed by the depiction of a sloka on Sree Raghavendra. She had the accompanying support of Kalpana Sreenivas in the nattuvangam, D.S.V. Sastry in the vocal, B. Ganesh Rao on the mridangam, Anirudh Bharadwaj on flute, C.K. Vijayaraghavan on the violin, and N.V.S. Radha on the veena. On a side note, either the dancer could’ve introduced the pieces or left the job to the stage anchor. Bringing in multiJyotsna Jagannathan presenting Bharatanatyam on the final day of the 2020 edition of the 'Nishagandhi Dance Festival'. PHOTO: HAREE FOTOGRAFIE

ple children on stage to do the job wasn’t an apt choice. All in for abhinaya Except for the concluding thillana in Kalyani by Swathi Thirunal, Madhavi Chandran’s Mohiniyattam recital featured songs which are penned or adapted to the repertoire in more recent times. A cholkettu followed by a Ganesha Sthuthi composition of Thulaseevanam was the opening piece. The pivotal item was ‘Mandodari’, a thematic production with the lyrics by Vyloppilli Narayanankutty, set to music by Sreedev Rajagopal. The dancer focuses on Ravana’s wife Mandodari and her reaction to his death in the hands of Rama. She had a good start. The piece heavily relied on abhinaya with minimal dance elements. Madhavi did well in bringing the emotional state of the character. But, as the item progressed, hinting what she has heard, that Sita is Ravana’s daughter, it wasn’t convincing. Also, when we consider it as a replacement for a varnam piece, it had limited scope to make an impression. Madhavi continued with a light song “Nabhi kamala vilola...”, penned by Bichu Thirumala. The conflict between Poonthanam and Melpathur, both devotees of Lord Krishna, was the crux of this piece and Madhavi did it very well. Girija Chandran in the nattuvangam, Sreedev Rajagopal in the vocal, Vypin Satheesh on the mridangam, Easwar Krishna on the violin, V. Sounder Rajan on the veena, and Sajith Pappan on the idakka were the accompanying musicians. Short but scintillating On the concluding day it was Jyotsna JaganCONTINUED ON PAGE 33 ►

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The tale of

MELUHA PRIYANKA B.

he Shiva trilogy series by Indian author Amish Tripathi is well-received among the readers, and ‘The immortals of Meluha’ is the first among them. Drawing inspiration from the same and re-imagining the story from her perspective; Vidya Sreekumar a Bahrain based dancer conceptualized, scripted, choreographed, and directed ‘Meluha - The magical land of peace and love’, a dance drama. The production won the applause of the audience during its staging at the grand finale of the 2019 edition of Soorya Festival. The plot explores the romantic relationship between Shiva and Sati, which leads to their wedding and an abrupt ending, as Sati dies at the hands of evil elements -The Nagas. The beginning The story unfolds in the kingdom of Meluha, ruled by king Daksha and queen Prasuthi. There is also Devayani, the guardian of Meluhan culture and chief advisor to the king. This character matures as the story unfolds and Smitha Vinod who enacted the role breathed life into it through her graceful moves and composed acting. Struck by a dream of the Nagas attacking Meluha, the royal couple meets Devayani who suggests in bringing Shiva, a warrior from North, not only to save the kingdom but also Sati, their daughter. Sati is given a royal entry in the next scene, dancing and playing with her maids. The accompanying dancers, mostly from Bahrain, made the in-between group sequences engaging enough. Malavika Suresh as Nandi, the confidant of Shiva, who watches him closely. PHOTO: PRIYANKA B.

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Nandi, played by Malavika Suresh, is another major character in the production. First seen in the invocatory dance comes, here again, to bring Shiva to Meluha. Shiva, the saviour Shiva gets an introduction with power-packed moves akin to Shiva Tandava. Shiva and his companion Bhadra reaches Meluha, where they are introduced to the kingdom and are given training in warfare by Devayani. She also prepares all the young women of Meluha to combat the enemies. Ashbin Anil who enacted Shiva befitted the role, and his acrobatic moves certainly added charm to the performance. Neethu Janardhanan as Sati complemented him equally well. The two made the ideal Shiva-Sati couple, as pictured in the mythical tales. The Nagas gets introduced in the next scene, and the actors descend from ropes, an act which needs a lot of training. Sati, abducted by Nagas, is later saved by Shiva and they are united in marriage. However, the Nagas strike again, and this time their chief Dharapathi (Jojo Vincent) succeeds in killing Sati. Shiva becomes inconsolable, fights the Nagas, and deserts Meluha. All actors yelling “Sati... Sati...” in these climax moments didn’t seem to work the way they were hoping. The video wall in the back supported the narration throughout adding visual beauty. The Sanksrit songs by L. Sampath Kumar, set to tune by Palakkad K.L. Sreeram, had enough scope for dance. Creative director Achu Arun Raj and choreographer Vidya Sreekumar were up to the task of exploring them. Multiple dance forms were in use, and the characters, though from mythology, were not depicted as superheroes, but as ordinary human beings. Light and sound designed by Vishnu Natakagramam and Kapil Renji Thampan were neat. The show took place at Tagore Theatre, T’puram on the 11th of Jan 2020. ●

Ashbin Anil who enacted Shiva befitted the role, and Neethu Janardhanan as Sati complemented him equally well. The two made the ideal ShivaSati couple, as pictured in the mythical tales.

Ashbin Anil as Shiva and Neethu Janardhanan as Sati in 'Meluha - the magical land of peace and love'. PHOTO: PRIYANKA B.

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Giving their best HAREESH N. NAMPOOTHIRI

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ishagandhi Dance Festival features young classical dance talents in a separate segment. In the past, it was seen that non-deserving artists make their way into the stage, bringing down the merit of the whole festival. However, it wasn’t the case this time. All the dancers in this segment, performed to the best of their abilities, befitting the grandeur of the stage. Making a mark in the allotted half an hour is a tough ask, and hence the choice of items also becomes tricky. While they all seemed to be equally able, how it transcribed into their recitals, mostly depended on this. Kalamandalam Veena Warrier was the first performer in this segment, and she performed on the second day.

Veena Warrier put together a few pieces that are not frequent in Mohiniyattam. Trying different Rather than going for items significant to Mohiniyattam, Veena has put together a few pieces that are not frequent in the repertoire. Because of the very structure of the composition, bringing Muthuswami Dikshitar’s “Rangapura vihara...” into dance is no easy task and even more to do so in Mohiniyattam. Veena’s attempt was noteworthy. Beginning with a hint of Rama’s birth and later eulogizing Rama from the viewpoint of Bharatha; the piece was an enjoyable watch. Given the situation, Bharatha attempting to immolate in fire and Rama’s messenger intervenKalamandalam Veena Warrier during her Mohiniyattam solo recital at the 2020 edition of the 'Nishagandhi Dance Festival'. PHOTO: HAREE FOTOGRAFIE

artograph ing in time would’ve added a bit more drama and made it intense. However, Veena chose not to do it. A mallari in the beginning and a thillana to end formed the rest of the recital. Vidya Pradeep in the nattuvangam, Kalamandalam T.S. Vishnu in the vocal, Kalamandalam Kiran Gopinath on the mridangam, and Sangeeth Mohan on the violin provided ample accompanying support. Vibrant and emotive Mansiya V.P. kept herself and the audience busy with her spontaneity and agility. She started impressively with “Shankara srigiri...” and kept the momentum going till the end. The stances were impressive, and the same is valid for the way she manoeuvred them. “Kala unnai njan...”, a Bharathiar song in raga Chakravaka, was the main piece. The way it conceived was one thing that made it noteworthy. The protagonist here mentions the story of Markandeya, to emphasise why she thinks the god of death as nothing but a blade of grass. And Mansiya certainly looked like she will step on Yama for sure if he ever comes close! Roleplaying as the mother of Markandeya, the danseuse shows how she brought up her son. Knowing that he does not have many years, she urges him to be a devotee of Lord Shiva. While this gives a peculiar angle to the story, Mansiya could’ve made it more emphatic. The chance for her to show the mother’s underlining worry about her son left unexplored. But, once she moved on to the crux of it, where Yama comes to take the life of the young devotee and Shiva saves him, she made it all-absorbing. Kalamandalam Sreerang C.T. on the mridangam and Shyam Kalyan on the violin deserve a special mention for setting the mood right and staying with the dancer during this semi-extempore acting portions. Rajashree Warrier in the nattuvangam, Murali Sangeeth in the vocal formed the rest of the team. End of it, she swiftly continued to Narayana Theertha’s “Madhava mamava...” in soothing raga Neelambari and concluded her recital. Making an impression There was an air of comfort throughout the recital of Arjun S. Kulathingal. Without unnecessarily rushing or overdoing, he has made an impression Mansiya V.P. presenting Bharatanatyam on the 2020 edition of the 'Nishagandhi Dance Festivall'. PHOTO: HAREE FOTOGRAFIE

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Mansiya V.P. narrated the story of Markandeya in a hearttoching passion.

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for himself. The grace of his footwork and the clarity of gestures got the eyes as he started with a sloka followed by jathiswaram in raga Chakravaka. Perfectly complementing was Kalamandalam Vishnu’s singing, and joining him was Sibi Sudarshan in the nattuvangam, Kalamandalam Kiran Gopinath on the mridangam, and Udupi S. Srijith on the violin. “Ananda nadamidum padan...“ describing the joyful dance of Shiva and a thillana were the other two pieces in Arjun’s recital here. Apart from the dance, the two didn’t give much scope to showcase one’s acting skills. Hopefully, Arjun will come up in future with items that will challenge him more in those aspects as well. Intense portrayal Devika Sajeevan also followed a similar style, and the quintessential aspects were taken care off. As she started with the Kali Kauthuvam, Devika seemed a bit constrained in her moves. Also considering its length, it would’ve worked better with added spontaneity.

Arjun S. Kulathingal and Devika Sajeevan were impressive with their well contained approach.

Devika continued with Jayadeva’s ashtapadi “Natha hare...” set in raga Vasanthi. The situation being Sakhi calling out to Sree Krishna and trying to explain how troubled Radha is without seeing him. Devika was exemplary in presenting the pining Radha through the eyes of her sakhi, by narrating a handful of instances. The compelling sakhi, portrayed by the danseuse, surely had enough to make one feel for Radha. Lalgudi G. Jayaraman’s thillana in Mohana Kalyani was the concluding piece. Bhagyalakshmi Guruvayoor pitched in with her soulful singing, and the rest - RLV Hemanth Lakshman in the nattuvangam, Kalamandalam Kiran Gopinath on the mridangam, Palakkad Raghunadhan on flute, and Sreekumar S.A. on the violin - also played along nicely. ●

Arjun S. Kulathingal and Devika Sajeevan during their recitals at the 'Nishagandhi Dance Festival'. PHOTO: HAREE FOTOGRAFIE

Beyond what meets the eyes T. REDDI LAKSHMI

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â&#x2013; NAVTEJ SINGH

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e all are familiar with the adage - a picture is worth a thousand words. In the digital era, we try not to miss any opportunity to capture, store and share our joys with the outside world. The way it works in the field of an artist’s life and career, especially that of a classical performer’s, is an aspect that is less spoken. I am no expert in analyzing and taking a stand for the whole fraternity, but here’s trying to give a shape to some of my thoughts in my own experience. Reaching out There are many reasons for an artist to publish photos or videos of their work on social media. One of them could be to promote their work for more opportunities. Sometimes it might just work or may not, which depends on the visibility and the fan following they have got. However, capturing dance postures in different locations and publishing them online has nothing to do with the level of artistry or command over the dance form one practices. Like how we cannot judge a book by its cover, it is not possible to assess an artist based on the photos they publish. It depends solely on their actual performance, which many a time differ from the images and videos we come across.

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These days, people often take the liberty to dictate how a classical artist should appear even off stage. If any dancer dares to challenge their views, they would be unprofessional and characterless.

Watching performances online can certainly be a great learning experience for beginners. But, they need to be also aware that the online presence alone cannot mark the proficiency of an artist. Society and the rasikas at large should enable real artists to continue their artistic journey without getting influenced by social media trends. Being picture perfect The requisite for being picture-perfect makes artists concerned about their appearances and attire on stage. There is nothing more beautiful than being simplistic and natural. But when it comes to classical dancers, they are not at liberty to decide how they look during a concert. Female dancers, in particular, are required to have heavy outfits to keep the tradition on, though it restricts free and swift movement on stage. Every dance form has its own set of jewellery and a unique way of doing the make-up representing its nativity. At least for a few, reducing make-up or jewellery puts the quality of performance at stake. One might ask if the performer is unsure or ashamed of their skin or body parts, that they have to change everything about it on the stage. It’s for the ease of the audience seated far apart, to understand the gestures and the associated emotions of the performer. Also, it’s about being professional and acceptable to the broad spectrum of audience. While finding a style of their own, regarding their attire, artists often face the question of whether to keep the indigeneity of the art form intact or change it according to one’s requirement. It will be better if it matches one’s personality, and the focus could be on enhancing the unique features of the individual. Despite being so careful, there are times when things may not turn perfect. Unfortunately, the immediate reaction from certain corners is often so insensitive. A humble request to them will be to be a little more sensitive before passing harsh statements and not to judge too quickly as the whole story is never known.

Does sharing a selfie like this make a classical dancer less classic; wonders T. Reddi Lakshmi!

artograph Off the stage These days, people often take the liberty to dictate how a classical artist should appear even off stage. It’s not rare those female dancers who love to keep the hair open and wear cut sleeves, face harassments from some self-proclaimed patrons of art. The orthodox pieces of advice on how an appearance with a big red bindi, closed sleeves, and hair bun would do justice to the status of being a classical artist, are even more embarrassing. If any dancer dares to challenge their views, they would be unprofessional and characterless.

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People make lousy comments on artists, for being liberal, and as they are too narrowminded to accept other’s choices.

People make lousy comments on artists, for being liberal, and as they are too narrow-minded to accept other’s choices. The question is, can we change this attitude of society at large. Before we judge someone for the way they dress, we need to consider how much information do we have to form our opinion. And what’s it that we gain by all these, judging people and passing comments? I hope the change will come, and there will be a day, these social stigmas no longer exist. ● T. REDDI LAKSHMI, an established artist of ICCR, who has performed around the globe, is a recipient of the Indira Priyadarshini Award and Women Achiever Award. Govt. of Delhi has sponsored her to pursue the nuances of Kuchipudi under well-known guru Jayarama Rao.

■ PRASANTH KUMAR K.P.

But then, it is not just about how artists make their appearances in public. There is a lack of freedom to share pictures of their will in social profiles as well. In my own experience, people even called to tell me to take down a few of my photos, which they think contradict my artistic profile. Some even advise to get married since being single makes one look available, and to avoid casual relations.

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FROM PAGE 09 ►

മാറ്റിയതിൽ കാട്ടിയ കൈയ്യടക്കത്തിനാലാണ് ഇത് സാധ്യമായത്. കൂടാതെ, ഇടയ്ക്ക് നൃത്തത്തെയും സന്ദർഭങ്ങളെയും പ�ൊലിപ്പിക്കാനുതകുന്ന വണ്ണം വാദ്യോപകരണ സംഗീതത്തെ മാത്രമായി ഉപയ�ോഗിച്ചതും നന്നായി.

“ഒരു നിശ്ചയമില്ലയ�ൊന്നിനും...” എന്ന മട്ടിൽ ഉടജാന്തവാടിയിൽ അതിചിന്ത വഹിച്ചിരിക്കുന്ന, മുൻപ് സ്വയമുടൽ വിടാത്തതിനാൽ ലവകുശന്മാരുടെ വളർച്ച കാണാനായെന്നതിൽ സന്തോഷിക്കുന്ന, പൂർവ്വകാലത്ത് രാവണന്റെ കൈയ്യിലകപ്പെടുന്ന, അഗ്നിയിൽ സംശുദ്ധയെന്ന് തെളിഞ്ഞിട്ടും ആര�ോപണങ്ങളെ ഭയന്ന് രാമനാൽ കാട്ടിലുപേക്ഷിക്കപ്പെടുന്ന, ഒടുവിൽ ഭൂമിയുടെ മടിത്തട്ടിൽ തന്നെ തന്റെ ജന്മം അവസാനിപ്പിക്കുന്ന പല ജീവിതാവസ്ഥകളിൽ, പല മന�ോവിചാരങ്ങളിലുഴറുന്ന സീതയെ സുമിത നായർ ഭംഗിയാക്കി. സുമിതയുടെ ഒപ്പം അരങ്ങിൽ ചേർന്ന കലാമണ്ഡലം ജ്യോതി മന�ോജ്, കലാമണ്ഡലം അഞ്ജന നരേന്ദ്രൻ, കലാമണ്ഡലം വേണി ഷൈജു, കലാമണ്ഡലം അഭിരാമി, കലാമണ്ഡലം രജനി പ്രവീൺ, ദൃശ്യ അനിൽ എന്നിവരും പക്വമായി തന്നെ പ്രവർത്തിച്ചു. ഇവരാരും തുടക്കക്കാരല്ല എന്നതിനാൽ തന്നെ, കഥാഭാഗങ്ങളുടെ അവതരണങ്ങൾ ഒറ്റയാൾ പ്രകടനമാവാതെ, അർഹമായ പ്രാതിനിധ്യത്തോടെ കൂട്ടായ മികവിലേക്കെത്തി. നൃത്തഭാഗങ്ങളിലും ഇവർ മികച്ചു നിന്നു.

വേദിയുടെ അനുയ�ോജ്യമായ വിനിയ�ോഗം, ചിലയിടങ്ങളിൽ തിരശീലയുടെ ഉപയ�ോഗം, മിതത്വം പാലിച്ചു ചെയ്ത പ്രകാശ ക്രമീകരണങ്ങൾ, ഇവയ�ൊക്കെ അവതരണത്തിന്റെ മാറ്റേറ്റിയ ഘടകങ്ങളാണ്. ലവകുശന്മാരുടെ കഥാഭാഗം, ചിത്രകൂടത്തിൽ കഴിയവെ ജയന്തൻ കാക്കയായി വന്ന് സീതയെ ശല്യപ്പെടുത്തിയ കഥ, എന്നിങ്ങനെ നൃത്താവതരണങ്ങളിൽ അധികം കാണാത്ത ചില ഭാഗങ്ങൾ ഉൾപ്പെടുത്തിയതും; ലക്ഷ്മണന�ോടുള്ള കലഹം, സീതാപഹരണം, അഗ്നിപ്രവേശം തുടങ്ങിയ ഭാഗങ്ങൾ വലിച്ചു നീട്ടാതെ ചെയ്തതും അവതരണത്തെ ശ്രദ്ധേയമാക്കി. കഥയ്ക്കപ്പുറം, സീതയിലേക്കും സീതയുടെ മന�ോനിലകളിലേക്കും കൃത്യമായി ആസ്വാദകരെ എത്തിക്കാനും ഈയ�ൊരു സമീപനത്തിലൂടെ കഴിഞ്ഞു. തത്സമയ സംഗീതം ഒഴിവാക്കി റിക്കാർഡ് ചെയ്തത് ഉപയ�ോഗിക്കേണ്ടതായ സാഹചര്യം ഈ നൃത്തശില്പത്തിൽ ഉണ്ടായിരുന്നതായി ത�ോന്നിയില്ല. റിക്കാർഡ് ആണെന്നതിനാൽ, കുറച്ചു കൂടി ശ്രദ്ധയ�ോടെ സംഗീത സംവിധാനം സാധ്യമായിരുന്നു താനും. ഇങ്ങിനെയല്ലാതെ, സംഗീതവിഭാഗവും വേദിയിൽ സന്നിഹിതരായിരുന്നെങ്കിൽ കൂടുതൽ മെച്ചപ്പെട്ടൊരു അനുഭവമായി മാറാനായിരുന്നു സാധ്യതയും.

ജനുവരി 20 മുതൽ 26 വരെ തിരുവനന്തപുരത്തു നടന്ന നൃത്തോത്സവത്തിൽ, യഥാക്രമം നാലാം ദിനവും അവസാന ദിനവുമാണ് ഈ രണ്ട് മ�ോഹിനിയാട്ടം അവതരണങ്ങൾ നടന്നത്. ●

FROM PAGE 24 ►

As a noted dancer invited to the festival, Jyotsna Jagannathan should’ve given enough time to present her recital in full.

nathan who was featured in the last slot. As a noted Bharatanatyam dancer, invited to the festival from Bengaluru, she should’ve given enough time to present her recital in full. The organizers seemed to be not bothered about cutting short her minutes, to allocate time for a group presentation by youngsters from the city! Even then, Jyotsna made the full use of the allotted less than an hour. Inspired by the grand procession of the devotee, she started with a rejuvenated Mallari piece. Lalgudi’s Charukesi varnam “Innum en manam...” is very delightful and Jyotsna’s take was equally profound. She was very involved in the presentation of the heroine and the neat display of stylized dance segments in between made it even more appealing. Equally contributing was accompanying support of Sudarshini Iyer in the nattuvangam, Binu Venugopal in the vocal, Ramesh Babu on the mridangam, and Udupi S. Srijith on the violin. A Surdas poem set to music by Jamuna Krishnan was the concluding piece. Little Krishna insists on having the moon as his toy, and Yashoda tries to convince him that it is a wish she can’t fulfil. Jyotsna role-played the mother and the son convincingly and made it a delightful watch. ●

artograph

TALKING FRAMES 2020 JAN - FEB | VOL 02 | ISS 01

artograph

35 TALKING FRAMES 2020 JAN - FEB | VOL 02 | ISS 01

The frame, synonymous with the dress pattern reveals the linear, geometric quality of the clothes worn. I went with a black and white theme as I believe that it's the most emphatic color palette that brings out the nuances in contrast. (Client: Wrong Theory) EXPOSURE: 1/350 | F2.8 | ISO 160 FUJIFILM X-T3 / XF 50-140MM F2.8 R LM OIS WR

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MALAVIKA S HEK H AR

The designs are immensely inspired by nature, the subtleties and strength of it - an imperative factor that determines the mood and lighting of this image. The hard shadows complement the softness of the light and the delicate design of the necklace. (Client: Manifest Design) EXPOSURE: 1/400 | F4.0 | ISO 80 FUJIFILM X-T3 / XF 18-55MM F2.8-4 R LM OIS

alavika Shekhar is a Delhi and Goa-based commercial photographer specializing in fashion, interior architecture, and portraiture. Having completed a bachelorâ&#x20AC;&#x2122;s in Architecture in the year 2017, she chose to do a one-year photography program at The One School Goa. Since her graduation in the year 2019, she has been working as a full-time photographer, focusing on areas that effectively combine her skills with passion. How did you initiate into photography? I was interested in photography right from my childhood. During my teenage, I photographed everything around me with a point and shoot camera. I switched over to DSLR after clearing the graduate program. Attending photo walks helped me realize my flair for fashion and portrait photography. Soon I found myself conducting shoots along with fellow artists, and without even realizing, photography became a significant part of my life. About your area of interest in photography... I specialize in fashion and portrait photography. While the former emanates dynamism and creativity, the emotive capability of the human faces inspired me to choose the latter. Besides, the degree in architecture helped me concentrate on interior and architecture photography, which is nothing but an art of appreciating the living spaces around us. Share the details of your gear in use. At present, Iâ&#x20AC;&#x2122;m using the Fujifilm XT3 camera supported by lenses 18-55mm, 10-24mm, and 50-140mm. Web: http://www.malavikashekhar.com/

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GENERAL

2020 JAN - FEB | VOL 02 | ISS 01

Playlist

Readers’ Response Shiva Tandava ft. Sneha Devanandan 06:29 | 2020 Feb 28 Dancer Sneha Devanandan explores the power of the cosmic dance of Lord Shiva using the Swathi Thirunal composition “Sankara srigiri...”.

Watch it here: bit.ly/ag-sd-tandava

Sarpatatwam (The Serpent Wisdom) ft. Methil Devika 27:50 | 2020 Feb 27 Sarpatatwam by Methil Devika is a dancer’s portrayal of serpent allure and have been voted into the contention list of the Oscar Academy Award, 2019.

Watch it here: bit.ly/ag-sarpatatwam

Shivatandava Stotram ft. Sneha Yarabati 03:21 | 2020 Feb 21 Danseuse Sneha Yarabati explores the iconographical attributes of Lord Shiva, as he dances the tandava, using the Shiva Tandava Stotram.

Watch it here: bit.ly/ag-sy-tandava

Event Highlights: Moksha ft. Sneha Ajith 10:37 | 2020 Feb 04 Highlights of ‘Moksha’ - a Mohiniyattam thematic production, premiered in the ‘Mohiniyattam Festival’ segment of the 111-day long annual Soorya Festival.

A medium to celebrate art I have been following Autograph since last few editions. It brings us a group of diverse work of art by renowned artist around the world into one catalogue. An outstanding initiative to celebrate art and make it reachable to the public, giving equal opportunity to young and upcoming artists. I wish a great success for all the future initiatives. Patruni Chidananda Sastry Artist (Hyderabad)

Watch it here: bit.ly/nm-hl-moksha

Event Highlights: Sabarigireeshan ft. Rashmi Menon 11:13 | 2020 Feb 02 Highlights of ‘Sabarigireeshan’ - a Mohiniyattam thematic production, premiered in the ‘Mohiniyattam Festival’ segment of the 111-day long annual Soorya Festival.

ADVT.

Watch it here: bit.ly/nm-hl-sabarigireeshan

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