An unhappy experience

In the recent times I have noticed that people behave in the most unbelievable and unfathomable manner. These experiences leave us some times bitter some times hurt some times with feeling of being cheated. How can one trust when people are just not trust worthy?

While life introduces you to various events that work to enrich our experiences, many a time they result in taking a toll on ones trust and faith factor. Amongst the numerous such experiences in my life, a recent one has left me numb totally. My philanthropic activities of promoting and propagating Dance art received wide appreciation from friends, connoisseurs and art lovers. One of my appreciators Lata Bhandary who has a keen interest in arts telephonically introduced me to a new comer to the world of arts. He along with A curator came to meet me and told me about a very ambitious art gallery project. The space was ready for inauguration and was truly a beautiful and had great potential. 

He invited me to work with him and create activities at the gallery, since I was already doing so much work I thought it might be nice to get involved and create events in the cute and small auditorium housed inside the gallery. Oct 2, we organised an event as a joint collaboration bearing the costs on a 50:50 deal. The organisation was in a win win situation, I would bring in all the senior artists in Bangalore and I would also bear 50% of the costs. The event was a super success, we immediately planned November too. 

I invested my personal relationships and got gurus to take classes in kuchipudi Bharata natyam Odissi and Kathak, we also announced music classes…….and within a period of just 40 days so much had got going………..

And then suddenly, the cookie crumbled………a financial crisis crops up……..there is no money to pay salaries……..all activity to be suspended by the end of the month………

how should one feel? When some one says he is in a financial crisis I felt sorry for the project……..sorry for the people who planned the project…….Ok, so I understand return a token amount given to me for the work and support I 

He sacks all the staff working in the organisation……. At a stroke four young professionals are jobless! He actually took the token amount back…..probably needed it!

How do you trust people who are inconsistent? They continue to parade and will continue to use and throw people! Now he has forged a new alliance! How long before another such episode takes place? So was that crisis a farce and totally untrue?

I realise that once again I failed to judge correctly. For me it’s no loss, this year it will be close to 35 years working in the area of fine arts. This is an experience I chose to share with out taking names as it’s not my intention to malign anyone, just to warn every one to be careful when you are approached, careful when you help or support people…….not all deserve it or are worth it!!!

Old wine in fresh, new flavors.

Colours of Krishna by the extremely well turned out danseuse Vani Ganapathy was an amalgamation of popular performed compositions describing the leelas of the most loved deity in Indian Dance – Krishna. 

This performance was presented by the Brahma Gana Sabha at the Shivagami Pettachi Hall on Jan.5, 2014. It is very heartening to see the senior dancer present an evening concentrating on the Abhinaya aspect with minimalistic Nritta through the invocatory piece and the Thillana including a short Jugalbandi “gatt”.

 The expressionistic evening began with “Bala Krishna “through the lyrics of the famous Vishamakara kanna, in which Vani portrayed the naughty pranks of Krishna. Ranging from the butter stealing to tying the gopikas plaits to the bed post to hiding their clothes to harassing them on the streets all of them were highly entertaining, specially the prank in which he asks the young girl in the neighbourhood to sing the mukhari raga and when she pleads inability he pinches her hard to make her wail in pain, this is the raga I wanted to hear he laughs. It’s compositions like these that visually paint animated pictures of naughty Krishna. Vani’s delineation of all this was appreciated by the audiences who were in splits at the humour in the piece.

 Shringara Krishna ” was presented through the lyrics of Melattur Kashinathayya’s indendu vachithivira alladani illu ee vidhi kaadu po po ra. The javali brings out a khandita nayika who is initially angry at Krishna for straying to another woman’s house eventually asking him return the next day too. Vani presented a very aesthetic and mature version of the intimate times spent between the nayika and Krishna.

 It was the Rakshaka Krishna  in the meera bhajan Tum bin more kaun khabar le that Vani had the audiences in tears. The episode of draupadi being disrobed was dramatic which is the hall mark of the Rajarajeshwari Bharatanatya Kala Mandir style.

The thillana followed by Sakha Krishna depicted through the Bhagvad Geeta episode. Vani did complete justice to the histrionics required to depict the philosophical exchange between Arjuna and Krishna.

 

Vani chose to wear a costume that included the pastel shades of the peacock feather that represent Krishna and I must say that the young dance community can take a lesson or two with regard to costumes and specially  make up from Vani Ganapathy. She has in the past done a course with the make up genius Mike Westmore. All in all Vani is without doubt one of the most aesthetically turned out artists amongst many. While she has impressed audiences with her dance these aspects have contributed a great deal to her success.

Vani was accompanied by Pulikeshi – Nattuvangam,  Balasubramanya Sharma – vocal, Lingaraju – mridangam and Mahesh Swamy – Flute.

 

Diksha – a tribute to Muthuswamy Dikshitar

September 27, 2013 at the Bangalore Gayana Samaja at 6:30 pm

Diksha – a tribute to Muthuswamy Dikshitar

It gives us great pleasure to announce the annual programme of the  Sri. G. Seshappa & Smt. Sundaramma Charitable Trust ® for the year 2013. The theme for this year is compositions of the great Saint poet and one of the intrinsic composers of the Musical Trinity “MUTHUSWAMY DIKSHITAR”. DIKSHA – a tribute to Muthuswamy Dikshitar will feature some of his popular and celebrated kritis like: Akhilandeshwari, Kanchadalayadakshi, Srirangapura Vihara, Sadachaleshwaram, a very special composition which includes 14 ragas – Chaturdasha Bhuvana Roopa Raga Maalika – “Sri Viswanatham Bhajeham”, Shakti Sahitha Ganapathim composed using the ‘Western Notes’ or ‘Nottuswaram’ in raagam Shankarabharanam etc.

The dancers for the evening’s presentation include some of the well-known and senior performers like Poornima Ashok, Sathyanarayana Raju, Soundarya Srivatsa, young performers like Parshwanath Upadhye, Preethi Sundarajan, Mithun Shyam, Anil Iyer and Madhuchandra, Rasika Ensemble: Shivaranjani, Divyaranjini, Bhavani Kulkarni and Chaturgamini Group: Anju Nair, Pruthvi Sharma, Gowri Shankar, Aditi Sadashiva.

 

The compositions for the male dancers Mithun Shyam, Anil Iyer and Madhuchandra and the Rasika Ensemble are choreographed by Bangalore’s most respected Guru Kiran Subrahmanyam. The rest of the dancers have choreographed their own numbers. The event will be held on Friday, 27^th September 2013 at 6:30 pm at the Bangalore Gayana Samaja Auditorium, KR Road, Bangalore 560 004. 

Muthuswamy Dikshitar:

 

Muthuswami Dikshitar ,(March 24, 1775 – October 21, 1835)

 is a South Indian poet and composer and is one of the Musical Trinity of Carnatic music. His compositions, of which around 500 are commonly known, are noted for their contemplative nature and for capturing the essence of the raga forms through the vainika (veena) style that emphasises gamakas. They are typically in a slower speed (chowka kala). He is also known by his signature name of Guruguha. His compositions are widely sung and played in classical concerts of Carnatic music.

The musical trinity consists of Dikshitar, Thyagaraja (1767–1847), and Syama Sastri (1762–1827)  although, unlike the Telugu compositions of the others, his compositions are predominantly in Sanskrit. He also had composed some of his Kritis in Manipravalam.

Muthuswami Dikshitar was born in Thiruvarur (of Thiruvarur district in what is now the state of Tamil Nadu) to a Tamil Iyer Brahmin couple Ramaswami Dikshitar and Subbamma, as the eldest son. According to the account of Subbarama Dikshitar, Muttuswami Dikshitar was born in the Manmatha year, in the month of Tamil Panguni (Chaitra Maasa) under the asterism-nakshatra Krittikaa. He was named after the temple deity, Muttukumaraswamy; legend has it that he was born after his parents prayed for a child in the Vaitheeswaran Temple. He had two younger brothers Baluswami, Chinnaswami and a sister Balambal.

In keeping with the Brahminic educational tradition, Muthuswami learnt the Sanskrit language,Vedas, and other important religious texts. He obtained his preliminary musical education from his father.

While he was still in his teens, his father sent him on a pilgrimage with a wandering monk named Chidambaranatha Yogi to gain musical and philosophical knowledge. Over the course of this pilgrimage, he visited many places in North India and acquired a broad outlook that is reflected in many of his compositions. During their stay in Kashi (Varanasi), his guru Chidambaranatha Yogi, presented Dikshitar with a unique Veena and died shortly thereafter. The samādhi of Chidambaranatha Yogi can still be seen in Sri Chakra Lingeshwar temple at the Hanuman Ghat area in Varanasi.

According to legend, his guru asked Muthuswami to visit Thiruttani (a temple town near Chennai). There, while he was immersed in deep meditation, an old man appeared and asked him to open his mouth. He dropped sugar candy into his mouth and disappeared. As he opened his mouth, he had a vision of the deity Muruga and Dikshitar burst forth into his first composition “Shri Nathadi Guruguho” in the raga Mayamalavagowla.

This song addressed the Lord (and/or the guru) in the first declension in Sanskrit. Dikshitar later composed kritis in all the eight declensions on the Lord. These are mostly with epithets (descriptive terms) glorifying the guru and have very few references to Lord Muruga or specifically to the deity in the Saguna form, as at Thiruthani.

He then went on a pilgrimage visiting and composing at the temples at Kanchi, Tiruvannamalai,Chidambaram, Tirupathi and 

Kalahasthi, before returning to Thiruvarur.

Muthuswami Dikshitar attained mastery over the Veena, and the influence of Veena playing is evident in his compositions, particularly the gamakas. In his kriti Balagopala, he introduces himself as a vaiNika gAyaka, “a player of the veeNA”. He experimented with the violin, and among his disciples, Vadivelu of the Thanjavur Quartet, and his brother Baluswami Dikshitar pioneered the use of violin in Carnatic music, now an integral part of most Carnatic ensembles.

On his return to Thiruvarur, he composed on every deity in the Thiruvarur temple complex including Thyagaraja (an amsha of Lord Shiva), the presiding deity, Nilotpalambal, His consort, and the Goddess Kamalambal an independent deity of high tantric significance in the same temple complex. This is when he composed the famous Kamalamba Navavarana cycle, filled with exemplary sahityas which proved to be the showcase of his compositions. These navavaranams were in all the eight declensions of the Sanskrit language and are sung as a highlight of Guruguha Jayanti celebrated every year. He continued to display his prowess by composing the Navagraha Kritis in praise of the nine planets. The sahitya of the songs reflect a profound knowledge of the Mantra and Jyotisha shastras. The Nilotpalamba Kritis is another classic set of compositions which revived dying ragas like Narayanagaula, Purvagaula, and Chayagaula

Muttuswami Dikshitar was approached by four dance masters from Thanjavur: Sivanandam, Ponnayya, Chinnayya and Vadivelu. They expressed their desire to learn music from him and entreated him to accompany them to Thanjavur. There, Dikshitar imparted to them the 72 mela tradition handed down by Venkata Vaidyanatha Dikshitar. The students showed their gratitude by composing a set of nine songs called Navaratna Mala glorifying their guru. These four disciples became what is known as the Tanjore Quartette and are revered as the prime composers of music for Bharata Natyam. Among his students, Ponnayya (Also called Ponnayya Pillai) and Chinnayya (Also called Chinnayya Pillai) also served as court artists of Sri Swati Tirunal of Thiruvananthapuram (Trivandram – Kerala). Sri Ponnayya served as the principal of Annamalai University as well and trained many students in music there.

At a young age, Dikshitar was also exposed to the music of the Western bands at Fort St. George. At a later stage, Dikshitar composed some forty songs to several (mostly western folk) tunes loosely adapted to ragas such as ShankarabharaNa. This corpus is now known as nottusvara sAhitya (etym. nottusvara = “notes” swara). The influence of Celtic and Baroque styles in these compositions is quite evident (e.g., Sakthi Sahitha Ganapatim, to the tune of voulez-vous dancer, Varashiva Balam). There is an erroneous belief that these were composed at the behest of CP Brown, the Collector of Cuddapah. This is not possible as the two could have never met. Muttuswami Diskhitar had left Madras by 1799. Brown came to Madras only in 1817, learnt Telugu in 1820 and moved over to Cuddapah the same year.

On Deepavali day, in 1835, Dikshithar performed puja as usual and asked his students to sing the song “Meenakshi Me Mudam” in the raga purvikalyani.

As his students sang the lines “Meena lochani pasha mochani” he raised his hands and saying “Shive Pahi” and left his mortal coil.

His Samadhi is at Ettayapuram ( Mahakavi Bharathi’s Birth Place), between Koilpatti (14 km) and Tuticorin.

Muthuswami Dikshitar died on 21 October 1835. Dikshitar had a daughter but it was the descendants of his brother Baluswami who have preserved his musical legacy, and his compositions have been popularized due to the efforts of people like Subbarama Dikshitar and Ambi Dikshitar.

Baluswami Dikshitar, the sixth descendant in the line, a well-known vainika by his own right, resided in Trichy and then moved to Chennai in 1957. He died in November 1985. He has two sons and two daughters. The eldest son, Muthuswamy, the seventh descendent in the line, retired as a top executive in the State Bank of India group of banks and then was the Managing Director and CEO of a private sector bank. The younger son runs his own small-scale industry near Madurai. Both daughters are married and well settled in Chennai.

The Raja Rajeswari, Vallabha Ganapathi, Sree Chakra, Banalingam, Saligramam and other idols, given to Shri Muthuswamy Dikshithar by his guru Chidambaranatha Yogi is in the family with the eldest son Muthuswamy along with the veena (with the upturned Yaali Mukha) with the Sanskrit inscription “Sri Ram” said to have been given to Dikshitar by Goddess Sarasvati, when he bathed in the river Ganges, as indication of his having attained Mantra Siddhi.

His total compositions are about 450 to 500, most of which are very widely sung by musicians today in Carnatic music concerts. Most of his compositions are in Sanskrit and in the Krithi form, i.e., poetry set to music. Muthuswami Dikshitar traveled to many holy shrines throughout his life, and composed krithis on the deities and temples he visited. Dikshitar is considered to have composed on the widest range of deities for any composer

Each of his compositions is unique and brilliantly crafted. The compositions are known for the depth and soulfulness of the melody — his visions of some of the ragas are still the final word on their structure. His Sanskrit lyrics are in praise of the temple deity, but Muthuswami introduces the Advaita thought seamlessly into his songs, resolving the inherent relationship between Advaita philosophy and polytheistic worship. His songs also contain much information about the history of the temple, and its background, thus preserving many customs followed in these old shrines.

Muttuswami also undertook the project of composing in all the 72 Melakartha ragas, (in his Asampurna Mela scheme) thereby providing a musical example for many rare and lost ragas. Also, he was the pioneer in composing samashti charanam krithis (songs in which the main stanza or pallavi is followed by only one stanza, unlike the conventional two). Dikshitar was a master of tala and is the only composer to have kritis in all the seven basic talas Sapta Suladi Talas of the Carnatic scheme. Dikshitar shows his skill in Sanskrit by composing in all the eight declensions.

For richness of raga bhava, sublimity of their philosophic contents and for the grandeur of the sahitya, the songs of Dikshitar stand unsurpassed.

 

Master in Arts – Now its not master in ARTS!!!! OR IS IT????

Today I happened to chance upon a book written by Tulasi Badirnath, a dancer and student of well known dancer and guru Dhananjayan. The book chronicles his journey in dance. I was glancing through the pages when I chanced upon a chapter that had the name of one of the young dancers of Bangalore – Charles Ma and the chapter is no:19. In the very open lines Charles Ma says “categorically” “There are no good gurus in Bangalore” ???????? I was amazed at the nonchalance with which this rather young dancer who is as I would describe crawling in to the world of dance could make such bomb blasting statements. Charles has had a very disjointed and confused learning stint. He began with one teacher then moved on to Poornima Ashok then scampered to Padmaja Suresh then? went back to Poornima Ashok and then also went to Priyadarshini Govind????????? He has been meeting other gurus and teachers during this time too.

In the nearly 5 page chapter I have a couple of objections.
1. The fact that he thinks there are no Gurus in Bangalore
2. The fact that those that exist know nothing or less
3. The fact that Bharata Natyam is monopolized by Tamil Brahmins if that was the case then many would not be performing and teaching now
4. The fact that 96% of the male dancers are GAY, EFFEMINATE, OR HIDDEN GAY.
5. The fact that the guru he is referring to in the “one lakh” arangetram episode does not have a sense of tala and blotched his arangetram.

Other than this I object to the fact that not once has he mentioned that any guru in Bangalore has ever taught him any thing worthwhile. He learnt from Poornima Ashok who toiled to make him perform what ever he is doing today, yet not a word about her in praise. The style she teaches is the Kalakshetra style and in a hoarding that Charles has put up near his house for his classes he says “vazhvoor” style???????

What gives him the right and freedom to say what he likes in a derogatory tone about gurus and other male dancers. In my long career spanning nearly 4 decades I have worked with so many male dancers, NOT ONE EVEN ONE OF THEM HAS EVER HAD THE TEMERITY TO EVER SPEAK ABOUT THEIR COLLEAGUES SENIOR OR JUNIOR IN SUCH TERMS”.
He has been supported by so many gurus performers organisers etc to make a mark in Bangalore. This interview of his is totally reckless, presumptuous, brash and impudent.

He owes a public apology to Bangalore Gurus/Performers/Organisers and colleagues. If he has such a problem with the cities gurus he may as well move to the city of Chennai where he thinks are the right gurus who will give him the right kind of training.

While we grow in the world of dance the most primal thing we are taught is the shloka “Gurur Brahma Gurur Vishnu Gurur Devo Maheshwaraha, Gurur Sakshath para brahma, Tasmai sri guruve namaha” unfortunately Charles seems to have forgotten this??

Generally its not in good taste to say things like “ older women were after me!!!!” I did drugs, smoking, drinking etc. How did he say these things in an interview that too getting published in a book, am extremely shocked with his trueness!!!!!!

And finally a last word about the author, she could have easily checked with the gurus before she printed such information in a book. May be she thought it made interesting reading since it was rather gossipy.

For the young dance practitioners of today, pray seal your lips and bring in dedication, devotion, guru bhakti, and loads of humility in your self. Always be aware of the reality that there is much much more to achieve and there is a long way to go. This is a lesson for each one of you, if you want to survive in the world of arts its very important to follow these disciplines.

A divine performance with inexplicable energy

 

Characterisation at its very best.

It was indeed an inexplicable experience to watch the ever so perfect senior and popular Male dancer Sathyanarayana Raju at a performance that was the closing program at Rajarajeshwari Nagar Rama Navami celebrations.

He began with Jaya Janaki Ramana and from the very beginning itself Sathyanarayana Raju set the tone with a divinity and dignity. I have seen him perform the Varnam Sri Krishna Kamala natho many times but today was a totally different experience altogether. The first tri-kala jathi and the ensuing jathis exhibited his prowess in nritta. A connoisseurs ultimate dream is see a dancer perform in perfect Arai mandi, stances and postures perfect to the ‘t’ and jathis performed with such exuberance that makes you sit at the edge of your seat. Sathya’s performance today was like a dream come true for me. Whether it was the jathis or the Abhinaya and sanchari Abhinaya sathya excelled. His delineation of Poothana vadham was unimaginable. The characterisation of Poothana, her beautification process exhibited a wonderful sense of humour that left the audiences in splits. He concluded the Varnam with the Arjuna / Krishna Bhagvad Geeta episode that was a fantastic visual display of histrionics yet keeping the subtle style of the Pandanallur school of Bharata Natyam taught to him by Guru Narmada undiluted.

The next was a composition of Purandaradasa in praise of Hanuman. Sathya brought to life the devoutness of this great rama bhakta. The very appropriate characterisation of anjaneya, his innocence and sincere dedication to The Lord came across adeptly in Sathyas performance. The high light of the piece was the ability of sathya to remain in character through the composition. The ‘hanuman posture with bent knees and the jumpy stride” remained intact and sathya demonstrated this with conviction. An very interesting inclusion of special lyrics ” yethake samshaya Sita ” made the story telling more meaningful and interesting.

Sathya’s maturity as a dancer has reached an optimal level. It’s a shining example for students of dance to watch and imbibe from his performance.

His accompanists Deepti Srinath on vocal, Shakuntala Raghavendra on nattuvangam, Lingaraju on mridangam and Venugopal on flute contributed hugely to the success of Sathyas recital.

 I would have missed a truly wonderful performance if I had not gone, I am glad I did and experienced this totally divine performance.

Project – Superstar

Project – SUPERSTAR

ADOPT A DANCER – MAKE A SUPER STAR

Inspired by my friend Abhijit Pradhan who started his own venture of executive coaching as – recognizing the superstar in you and creating or making superstars I decided to work on the similar concept in the field that I am extremely passionate about – DANCE.

The cause of propagating and perpetuating the dance art has remained in the areas of organising performances, festivals and teaching. The guru-shishya parampara has become irrelevant and the concept of teaching has changed drastically. The percentage of young and talented to take up performing as a profession is close to .0001% . The mindset of the parents who are not agreeable to their children taking dancing as a profession is one of the main reasons. To aid this, the child has to prepare for another profession and still learn the art form as a co-curricular activity.
To support the talent financially is one part of the problem or requirement the main issue is bringing the talent in touch or contact with the right kind of mentor/teacher, where the talent receives all round training. The focus is not on imparting knowledge but on preparing and honing them to become professional dancers. Most of today’s professional dancers learnt on the way and had to stumble upon solutions and methods to make their presentations professional.
Project – SUPERSTAR will address the process of creating professional dancers.
The entire process will last for one year following which the scholar will be on a one year contract with the mentoring organisation where they will be presented in various festivals and programs setting their career in motion.
The process:
1. Identifying gurus
2. Auditions for scholars
3. Bring the teacher and scholar in touch
4. Creating a plan of action
5. The training process
6. Funding

1. IDENTIFYING THE GURUS: Each guru will work with two scholars for the duration of 12 months. The training will begin with two months of practicing and working on the foundations – adavus, jathis etc. The next 6-8 months will include learning of set of 4-5 items from the Margam format. The concluding two months will be spent in understanding performance requirements, music and musicians, aesthetics, stage, lights, make up, costume etc.

2. AUDITIONS: There will be a stringent audition process by a core group of gurus and mentors. The scholars will be taken through a selection process of theory and practical tests. The scholar will have to possess complete dedication and passion to make it on the concert stage as a performer of calibre.

3. GURU – SHISHYA: Identifying individual gurus for relevant shishyas along with additional mentoring in allied subjects and issues will be an important task. Bearing in mind that we will not tamper with their basic style as much as possible, yet using corrective methods to enhance their dance, the shishya will be assigned to the team of gurus.

4. ACTION PLAN: The year- long training will be carefully thought of and will give the shishya the opportunity to prepare thoroughly to enter the professional arena of dance. The entire duration will be two years where in the first year the shishya trains and prepares and the second year we present them across the country at appropriate platforms showcasing their talent and prowess. A consolidated plan including the main dance training, theoretical knowledge, musical knowledge and approach towards dance, make up/costume/jewellery, stage/lights/sound/decor, compering and presentation, PR and publicity, Dance etiquette and social connecting etc. The shishya will be under contract that will entail them to be loyal towards the project and will be signed only after ascertaining the level of talent, passion and dedication they have towards dance ensuring that deserving candidates do not miss the opportunity.

5. TRAINING PROCESS: The team of gurus will include practising Gurus who will take turns in amalgamating and imparting required training to the group of shishyas. They will not only train but work in tandem to evaluate the progress, areas of intense training if required, supporting the shishyas in every way to build confidence and bring in them the required skills and strengths. The shishyas will be exposed to all the aspects – music/musicians – vocal/instrumental/percussion, stage – decor/lights/sound, make-up/costume, others like compering/planning etc.

6. FUNDING: Inevitably every projects success and ability to run depends on the financial aspect. Each shishya will require:
a. Remuneration to Gurus for the training , time and energy
b. Transport allowance
c. Stipend or learning incentive

This endeavor will see the light of day if each of the shishyas has a god-father/mother who adopts them and contributes to make these talented dancers professional performers. They will be making a huge and significant gesture in supporting this venture. We have been talking about creating the next generation of super stars but have never put a concentrated effort towards the making interns of training or supporting the shishyas and gurus. They have a great deal of limitations and in the process some where they fall out. We have failed to take it up with a vengeance. The need of the hour is to create the next Padma Subramanium, Birju Maharaj, Yamini Krishnamurthy, Sonal Mansingh etc. With the support of this project the guru and shishya will be left to do what they do best – train and learn!!!!

PLEASE APPLY FOR AUDITIONS . MAIL YOUR BIODATA ALONG WITH ALL THE DETAILS (GURU/YEARS OF TRAINING/ PERFOMING/ETC) TO makeasuperstar2013@gmail.com
The project auditions will be held on May 18 & 19, 2013 at:
Kalasindhu Academy for Dance and Related Arts
#12, 1st East Main Road
ITI layout, Near Vidyapeetha Circle
Banashankari – 2nd Stage
Bangalore – 560070, Karnataka, India

The candidates will have to perform a varnam for the audition (recorded music is acceptable.)

RULES:
1. PLEASE NOTE THAT SELECTION CRITERIA FOR AUDITIONS AND THE PROJECT IS LEFT TO THE DISCRETION
OF THE CORE GROUP
2. EQUAL OPPORTUNITY WILL BE GIVEN TO MALE AND FEMALE DANCERS
3. THE CANDIDATE MUST BE AN INDIAN NATIONAL AND WITHIN THE JURISDICTION OF BANGALORE FOR ANY LEGAL PURPOSE
4. CANDIDATES WILL HAVE A MINIMUM OF 10 YEARS TRAINING IN THE DANCE STYLE
5. THE CANDIDATE WILL BE NOT LESS THAN 21 YEARS OF AGE
6. ON SELECTION IT WILL BE MANDATORY TO FINISH THE PROJECT AND THEY CANNOT DROP OUT WITH OUT A VALID REASON IN CONJUNCTION WITH THE CORE GROUP. In case of dropping out the candidate will have to reimburse the project fee to the project as a penalty.
7. THE PROJECT WILL ONLY OFFER TRAINING AND WILL NOT BE RESPONSIBLE FOR THEIR BOARDING AND LODGING ETC
8. THE CANDIDATES WILL MAINTAIN APPROPRIATE BEHAVIOUR NOT INDULGING IN SMOKING/DRINKING ALCOHOL OR ACTIVITIES UNACCEPTABLE TO THE CORE GROUP
9. THE CANDIDATE WILL PROCURE A NO OBJECTION CERTIFICATE FROM THEIR RESPECTIVE GURU
10. THE CANDIDATE WILL NOT ATTEND ANY OTHER WORKSHOPS OR TRAIN UNDER ANY OTHER GURU DURING THE TENURE OF THE PROJECT.
11. THE CANDIDATES WILL FOLLOW ALL THE CRITERIA AND REGULATIONS PRESCRIBED POST THEIR SELECTION AND SIGN A SIMPLE CONTRACT ENSURING THEIR FINISHING THE PROJECT AND PERFORMING FOR THE PROJECT IN THE ENSUING YEAR.

CORE GROUP:
Led by:
USHA RK
GURUS:
POORNIMA ASHOK
POORNIMA GURURAJ
SATHYANARAYANA RAJU

Artistic Sanction – can performing in chennai do it for you?

Every time I visit Chennai during the “Season” I am astonished and stunned at many things. Whether it is the substandard arrangements on stage, or the no-arrangements whatsoever for the artists who are performing, or the attitude of the non-present secretaries and office bearers, or the depleting audiences, or the dusty empty chairs, or the feverish – young up and coming musicians and dancers, the list is breathtaking to me.

Every year I make it a point to spend at least a few days during this much hyped season. I attend a couple of concerts where young performers are “given a chance” the 12:00 noon or after noon slots. Here is a live delineation of one such concert I attended this year.

The noon 12 o clock concert was just about ending, the young girl who sat on the stage was singing a tukda, her accompanying violinist and mridangist were adeptly playing with her, an average performance, this could easily have been much better since the three of them were quite talented in bits and pieces then what was the problem? They were scared probably, may be de- motivated? There were around 15 members in the audience, some family members of the performer and a few music lovers. If a classical carnatic concert of an up & coming singer who has taken the risk of choosing this as a career has 15 persons in the auditorium, what are the thoughts that go on in the mind of the singer. What is my future? Did i do the right thing to take this up as a profession? When will I be known? When will I get some recognition? How can I get better audiences? Etc etc.

I was pained at this apathy, I have been an impresario/organiser for nearly 30 years and in these years promoted not only the “Star Performers” of the country but also many many young talents who today have become stars in their own right. But I must say the state of audiences has changed. A large part of the work I did was in Bangalore and other cities like Calcutta, Delhi and Bombay/Poona. One did get full houses even for young artists. But Chennai is an altogether different cup of coffee!!!!!

The Prime ambition of most artists from other parts of India is performing in Chennai, whether its music or dance. It is the dream of every carnatic musician and Bharata Natyam dancer to get a couple of shows in Chennai during the season, the thought or idea being – if you perform in Chennai you get the social or rather artistic sanction of being a performer, this is some recognition that they seek.

For dancers too the story is the same, but a bit worse in some cases where they have to pay the organisers to perform. A dancer’s expenses are huge, costume and jewellery is expensive, musicians are also a huge expense, rehearsal charges for musicians and their transport etc, make up and other paraphernalia, lights (most of the time they need extra lights), the lights man, Travel and Stay etc etc ………So one pays the organiser for the “Chance” and spends all this from ones pocket to put up a performance……….

Some dancers do get paid or sponsored where most of the time they manage to get the sponsor through their good offices or contacts. But again the costs don’t break even. I have yet to find a young performer who can tell me that they are earning and making money. Unless you are a top performer like malavika or priyadarshini or senior artists, organisers do not pay sufficiently. But that is not the point of discussion, my issues are :

1. Treatment of the artist
2. Standard of organising
3. Payment conditions
4. Audiences

While the secretaries or representatives of the sabha are not even present to receive let alone welcome the artist, the artists have to find their way in to the hall, check the green room which is most of the times in very bad condition, unclean, no dustbins, A/C’s don’t operate, toilets are pathetic to say the least, not even drinking water is available. So the artists carry their water, control the need to use the toilet and get set with their make up etc. In a while the organiser comes in and says they can start the program. There are no niceties like namaskaram, how are you etc. The artist has to deal with the sound and light person and give them her own instructions. Most times they make do with what ever is available and spend for the extra arrangements. Infact the staff have such an attitude that they normally make it clear – make do with what we are giving you! Just recently a sound guy refused to give me a podium just because he had to lift it from the wings and keep it on the stage, he was upset and told me it is not possible, only after I told him that I would find it difficult and said I would not announc,e let the program go with out announcements he very reluctantly lifted the podium. I have never faced this in Bangalore or Bombay or Calcutta or Delhi. Is it not our prerogative to announce the way we want?? Some of the dancers who in their own city get huge audiences are sad to see a paltry 20 or 30 members in the audience during their looked forward to programs. Is it about Dance or only your favourite dancer. If audiences do not witness new performers how can we nurture them, allow them to grow, appreciate them or give them feedback on what they can do to enhance or better their art. Every performer works so hard to give their best but if they are not even given a chance of being seen it can be extremely frustrating and upsetting.

I know many dancers and musicians will relate to what I am sharing.

While I do not want to get in to “small level thoughts” my only worry is towards the larger picture.

It is not an easy task but all of us associated with the arts must work starting at an individual level to working together in unison.

Though, thankfully we are not facing this crisis in the city of Bangalore. Every senior dancer has not only appreciators but also fans in the form of students of dance. It is heartening that at any performance of a Star, one can easily find if not less at least 60 dancers. Were we not told that one must not just practice and train but also see performances to enhance ones learning? This is not only about those who are training in dance, but also about developing and increasing the tribe of connoisseurs/audiences/appreciators of the arts.

After three decades of being an events consultant I dare say that Chennai organisers need lessons in humility, the attitude has to be of support to promote and propagate the ART rather than that of giving “a Chance”, taking good care of the artists, making them feel comfortable, etc. If all the artists had learnt a lesson or two from the great Kishori Amonkar, they would know how to react to the pathetic behaviour of some organisers in the mecca of arts.

I would like to make it amply clear that these are ONLY MY PERSONAL VIEWS AND EXPERIENCES and if you do not agree to them I am okay with it.

2012 a recap with gratitude

 

 

December 31, 2012

My dear friend,

Today the year draws to a close…….a new year begins …….time to reflect on the highs and lows of 2012 and allow introspection to better the happenings of 2013.

For me 2012 was full of dance and dancers, it is the blessing of the lord that I was the chosen one. I am overwhelmed with joy that I could present some very creative and challenging  performances by some of Bangalore’s best dancers. My vow for 2012 was to contribute atleast 3 lakhs for the arts from my earnings……….I am happy I did much more………..

The year unfolded with the “priceless treasures – JEWELS EXOTICA” with Vani Ganapathy and some of Bangalores women celebs including Dr. Suma Sudhindra, Jija Harisingh, Gitanjali Kirloskar, Kavitha Lankesh etc….Nath and Rajesh what a classy and fab event we all put together. Thanks Vani for the once in a life time opportunity.

The Tamarind Tree and Basava – Venkatram Reddy became a second home, various exhibitions at Basava uniquely designed gave me the “highs” !

March was Margam…..a way ahead……..

The three day festival presented traditional varnams that had not been seen in some time. Thank you dancers for doing your very best. Poornima & Satya my gratitude to hold my hand and make this a success. Chowdiah Memorial Hall – for giving me the audi FOCJ

Suguna – your visit for “Margam- dance festival” was such a joy and every moment was spent with a smile on our faces…..got to do it in 2013 tooo some time. Resolution : make time for me!!

Hues & Emotions at the Tamarind Tree was a path breaking event. Navarasa through music for the first ever time and contemporary paintings of these nine emotions based on ragas that were complimentary to the emotion or rasa! Phew!! The musicians were my dear friends Suma Sudhndra, Praveen Godkhindi, Manasi Prasad and Dhananjay Hegde they were accompanied by Shivu – the magic percussionist, kiran godkhindi and others and the paintings were by my long standing friend and artist Sudesh Mahan. What an event!!!!

April ensconced my birthday and dancer friends celebrated it completely extempore style Vani, poornima, sai and suparna, Karthik etc. Satya thank you dude enjoyed every minute of it.

June brought in rains in Bangalore – Varsha Ritu!!! We celebrated it at Tamarind Tree. Dance and music spread the divine season……cool breezes…….light drizzles……..the creepers dancing in the moonlight…….Poetic and romantic. Artists included Dr. Vaishali Srinivas, Praveen Godkhindi, Nadam ensemble and Satyanarayana Raju.

21^st July was yet another unique “Maheshwar ki katha” at Basava ‘s exhibition of maheshwari saris…….satya wove the story of maheshwar and how the saris began to be woven there……appreciation and accolades galore!!

July was spent planning and negotiating for a truly thought provoking seminar “KALA VIMARSHANA” almost all the thinking musicians and dancers, critics, writers and organisers of arts were participating. A couple of hiccups…..some not so happy arguements ……leading to my health getting disturbed………..on the eve of the seminar I was down with severe stomach pain, I felt and knew I would have to be hospitalised, at around 6 am I pleaded with Suma (who was involved in planning and advising me from the start on this subject) to take it up and conduct the event in my absence she held fort and did a magnificent joy. Just like they say “The show must go on” I remembered Raj Kapoor ji who went to delhi to accept his Dada Saheb Phalke award and then was wheeled to the hospital where he bid us good bye. I insisted on going to the venue making the opening speech, handing it over to Lakshmi Viswanathan and then left the venue vomiting and in complete pain. July 31 was an eventful day!!!!

August 2 I got operated for a band that constricted my intestine. Aug 3 got discharged.

August 4, was one my life time dreams – presenting an evening of Thyagaraja Keertanas through dance. The program was a super duper success and saw unprecedented crowds at the Gayana Samaja………….stars performed Manju Bhargavi, Satya, Subhashini, Soundarya, Murali mohan, Smita, Rasika ensemble, Mithun, Srinivasan, Radhika etcccccc. Yenta Muddu yenta Sogasu………jagadananda karaka……..endaro mahanubhavulu……

August 21^st saw the emergence a young girl gang “chaturgamini” four dancers anju, aditi, pruthvi and gowri did a great job, i enjoyed working with them and compering for them too.

August 25 Suma received the Veena Seshanna award at Raj Bhavan, a proud moment and congrats to her for a single minded focus on her art.

September began with compering for my dearest designer d……..Deepti Sudhindra at CMH. Was a different presentation and the start of Bangalore International Arts Festival………Cheers to one of bangalore’s best festivals of arts.

Workshop by Lakshmi Viswanathan just for 2 days but full of entertainment and knowledge. Theruvil varaano…..a padam that is always one of my favourite.

My biggest and bestest gift came in October…….my first award or rather title for all that I have contributed to the world of arts from 1979 till date………..Samanvay Kalasri loved the moment was on the same stage as Prof. Nagamani Srinath and that was truly uplifting for me. Veenaaaaaammmmmaaaa thank you for this moment and am indebted to you forever. Tumne woh diya jo kisine na diya……….

Chief VN Subbarao left us. Will always remember and thank you for all the lessons in journalism, guidance and teachings. Chief you were great.

November – Music festival at Chowdiah Memorial hall, compering does give me a”high” preparing about the artists and singing their praises comes so naturally to me….Thank god for this blessing and attribute.

It was family time in December – met my cousins at Chennai and a happy moment when i held my IPAD 4 its such an awesome gadget………

Today is Dec 31, will spend tonite by myself at home. Need the time to thank each one of you who has touched my life through the year.

I have to thank the almighty for giving me this lease of life, the vocation that is my passion, for giving me all these people.

I need to thank those who stand by me : Kanchana, Rk, Venkat, Vani………..

I need to thank those who believed in me and gave me opportunities that me proud………

I need to express my gratitude to alllll the artists who held my hand in creating these mind blowing and path breaking events……….

Please continue to be by my side always……….the manner in which I pay respects to the hospitals………I do not want to lose this opportunity to say a big “THANK YOU”

Kaun jaane “kal ho na ho”

Love always

Usha Rk

An evening of nostalgia and Exquisite dance

An evening of nostalgia and Exquisite dance – Usha Rk

The concluding sessions of the Ananya Nritya Neeranjana Dance Festival  2012 featured Odissi by Vandana Supriya and Bharata Natyam by Sathyanarayana Raju also the recipient of the “ANANYA PURASKARA’ for 2012.

Vandana Supriya an alumni of Nrityagram reminded me of her guru and my very dear friend Protima Gauri. While I was the Honorary Secretary of Nrityagram Vandana must have been a small child, infact I could not recollect this young girl, she reminded me and there was this surge of joy and pride that she has emerged from that dream of Protima’s. Vandana presented four items beginning with an invocation to Lord Rama describing his valour, his dignity and attributes. Guru Kelu babu as we fondly addressed him was a genius and his choreography exhibited awe inspiring visual beauty totally evident in the items that Vandana performed.

The Vasanta pallavi too was a synthesis of grace and movement, extremely supine yet firm in the postures leading to a comfortable pace. The inclusion of postures strung through the melodic body movement was a joy to watch.

The classical style of Odissi as created by the visionary Kelu babu combined staccato beats and lyrical movements which resulted in a melodic body language that is adorned with the “S” like beautiful movements.

Vandana presented an interesting Krishna Radha compostion that was vibrant. This was composed by Sarita Misra were adeptly.

Most Odissi recitals conclude with the Moksha paying obeisance to the Mother Goddess, vandana depicted the various roopas of the goddess.

The performance left me reminiscing about my days at Nrityagram with Protima. Vandana Supriya probably needs more opportunities that will bring her on the national stage.

A dancer with humility in his armour:

Ananya Bengaluru presented the “Ananya Puraskara” to Dancer & Guru Sathyanarayana Raju. The luminaries on the stage included Dr. Choodamani Nandagopal, Minal Prabhu, Lata Pada , Dr. Satyavati and Dr. Maya Rao who came to bless her disciple.

Sathya has had the good fortune of training under some very conscientious gurus like Late Smt. Narmada, Dr. Maya Rao and Bhanumathi. His initial training was under Subhadra Prabhu. It is his single minded devotion and hard core practise that has rewarded him with these accolades and awards. Sincerity towards the art form, gratitude to the Guru, a sense of loyalty to the form and guru and above all HUMILITY are the ingredients that can help you reach the top. Through this journey of climbing there will be times of despair but focus on the aim and goal will make you rise and move on. Sathya has many a time shared his moments of despair and how he gathered himself to rise and fly again.

Success always adorns those who approach it with gentleness and humility and this I found in Sathyanarayana Raju. His dancing too reveals this divine side of his especially when he portrays episodes from mythology.

The luminaries present spoke of the wonderful experiences they had in their collaborations with Sathya.

The award ceremony was followed by his solo recital. Short yet an unabridged version of the pandanallur bani resplendent with the unique upper body fluidity, ample of muzhu-mandi adavus, the vaiyara nadais and the optimising the full stage with speedy movements and walks in the second half of the varnam and the thillana Sathya certainly made his gurus proud.

The ashtaragamalika varnam Sami nine korinanu ra in roopaka talam is a challenge for any dancer more so for a male dancer since it is a predominantly a nayika bhava varnam. Sathya executed the jathi patters with firmness keeping the original choreography intact. It was the traditionalistic approach and the simplicity of the patterns that impressed.  Though, it was the delineation of the shringara between the nayika and Lord Brihadeshwara that was the highlight of the Varnam. Subtle sanchari that was exquisitely dignified not only in the facial expression but in the body language too raised the execution of the varnam to a different level. In entirety the varnam was a joy to watch.

The heart wrenching pathos of Saint poet Ramadasu in the keertana Ye tiruga nannu daya chuchedavo brought a tear to many an audience. It is uncommon for a Bharata Natyam repertoire to include a Ramadasu krithi which are found usually sung on the Carnatic Kucheri platform. The choreography was adept and appropriate selecting two very moving episodes from the life of Rama, the feelings of the boatman Guha and darshan to the ultimate devotee Sabari. Bhakti is a rasa which if performed with complete surrender can touch the audience.

The evening concluded with a thillana in ratipatipriya raga embellished with the beautiful meyyi adavus, the flowery circular movements and the melodic sahitya in praise of Krishna.

Reinstate – Leela Samson at Kalakshetra

Current News: A signature campaign led by Anita Ratnam to reinstate Leela Samson is moving furiously and over 1000 dancers have cast their support. We need more to join , its not about ourselves or any person, Please think beyond all this and raise your hands to get this dynamic lady to come back to the Institution. Each one of us must spread the word for support through face book , twitter, blogs etc.

Lets do it!

Usha Rk

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I was shocked, surprised and felt rather disgusted in phases when I saw the tweet from Anita Ratnam saying Leela Samson quits Kalakshetra. We have so often  known of Institutions that were started by stalwarts with passion and then after that personality was not there the running of the institution its priorities etc changed and the institution never regained its lost glory. The one example in my life time of an institution that saw various ups and downs and then the reins came in to the hands of an able administrator, a knowledgeable dancer and performer, a cultural ambassador and a disciplinarian all rolled in to one is  Leela Samson at Kalakshetra. The grand institution grew in leaps and bounds, turned a new leaf, flowered and shone like bright stars.

And today, we hear the extremely disturbing news that she quits Kalakshetra.

I am passionate about DANCE and Institutions of DANCE. I am worried and pray that the Ministry of Culture does not succumb to some irrelevant political appointment. I hope they find an appropriate person who certainly has learned dance understands the challenges of the medium, the route of its growth, the strings that need to be pulled at times of need and has all the abilities mentioned above and the world at Kalakshetra continues to remain the same!!!

Usha Rk