The Little Theatre will host Storm Before the Calm by Rama Vaidyanathan & Ensemble and Churning- Within and Around by Shama Bhate & Nadroop on April 22nd at 6.30pm…reports Asian Lite News
Mudra is the NCPA’s only thematic dance festival, held each year around International Dance Day. Mudra has previously been curated on topics such as motherhood, colours, bhakti poetry, animal movements, and so on. This year, it delves into a very different theme: churning within and around. History has seen many upheavals, including the Partition, natural disasters, and pandemics.
What exactly is poison? What exactly is amrit? And what have we gained as a result of our efforts? This festival focuses on dance performances that feature these lessons that have made us stronger and wiser over time. Performances, lecture-demonstrations, and more on the Samudra Manthan, as well as recent churnings.
The Little Theatre will host Storm Before the Calm by Rama Vaidyanathan & Ensemble and Churning- Within and Around by Shama Bhate & Nadroop on April 22nd at 6.30pm.
Darshana Jhaveri, Shama Bhate, Sandhya Purecha, and Mandakini Trivedi will give a lecture demonstration on ‘Transformations in Your Form Since Independence’ on April 24th. This will be followed by the launch of Shama Bhate’s book on Mohanrao Kallianpurkar. The event is scheduled for April 24th at 11 a.m. at Little Theatre. Chaya Mukhi, a Mohiniyattam performance by Gopika Varma, Nrityaganga – Innovation birthed from the Churning of Tradition by Sucheta Chapekar, and Kalavardhini Dance Company will take place at 5 p.m. in the evening.
On the final day, April 30th, 2022, Bimbavati Devi and Manipuri Nartanalaya will perform ‘Footprints in Blood,’ followed by Subhajit Khush Das performing ‘Manasa.’ Last but not least, Sreelakshmy Govardhanan will perform Kuchipudi from 6.30pm onwards.
We at Darpana have been experimenting a lot with this. It is a different kind of opportunity if one is open to innovation experimentation…says Mallika.
The National Centre of the Performing Arts (NCPA) reopened for audiences after a prolonged hiatus of nearly one and a half years. With a specially curated line-up for art lovers, a range of events from Theatre to Western Classical and Hindustani Classical Music, Classical Dance and International Music will be showcased at the elegantly designed Tata Theatre.
Yesterday ‘An Evening with Mallika Sarabhai & Rama Vaidyanathan’ had the audience enthralled. Gems of Kuchipudi by Mallika Sarabhai with Darpana Academy of Performing Art was a rare performance which will be etched in the momeries of those present.
Sarabhai learnt Kuchipudi from Guru CR Acharyelu, one of the two original students of the father of solo Kuchipudi, Lakshminarayan Shastri. This style maintains a certain robustness and earthiness that keeps it apart from the style of Kuchipudi that has been greatly influenced by Bharatanatyam, and is the more frequently followed and seen.
We caught up with the danseuse to talk about her love for the artform and her performance. Read Excerpts:
How did you feel about returning to a live audience and being back on the stage after a hiatus of almost 2 years?
Nervous. Tense. Excited. Exhilarated
The pandemic along with depriving artistes of their livelihoods, also created a vacuum of any cultural and social stimulation for people. What are your thoughts on this?
Artists have been neglected in this country since the demise of royalty. While the early government set up the Ministry of Culture and important institutions got a fallback position, artisans and folk and tribal artists have never been sustained in the way they should, in a country whose primary uniqueness is culture. Recent years have shown that those who tow the line get supported. The situation was bad and made more so by the pandemic. Would we have had powers as the governments of Germany and Australia, who gave grants to artists across the board, a long and sustained financial support that is not based on favouritism or political bias is desperately needed. And the business world must step in.
Most say that the Indian education system doesn’t foster and encourage arts and creativity either. Do you agree and in your opinion, what needs to be done to make arts and creativity more inclusive amongst the youth?
International study has underlined the importance of arts education for creativity, cognitive development, and physical and mental health. The famous STEM is now STEAM and includes the arts in their broadest terms. Our education still makes us into exam acing machines not wholesome individuals. We are still making cogs for the industrial age rather than being human beings.
Theatre, shows and plays were aired live on OTT introducing many to the world of live performances, do you feel this was a good move?
Mostly for free. The Delhi sultanate and embassy culture has offered so many free shows for so many years that it is difficult to make audiences pay. OTT can help if we get paid audiences. People locked up in homes will watch whatever. Can we make performance for OTT? How do we rechoreograph for a digital audience? We at Darpana have been experimenting a lot with this. It is a different kind of opportunity if one is open to innovation experimentation.
Do you believe dance helps one connect with their higher self?
Yes, it can be. But it can also become a physical exercise. It depends on each of us.
Mallika Sarabhai
NCPA is doing a lot to put some interesting events back on the itinerary. In your opinion, are institutions like this are the backbone of culture in a society that is primarily driven by digital media?
Live performances are the soul of the arts. The communication between the artist and audience is what forms Rasa. There are no Rasikas without Rasa. We at Natarani are trying to rebuild this too. It is crucial.
Can you talk about your performance?
My guru, CR Acharyelu was the first person not born in Kuchipudi village to be taken to the fold of what was called ‘Bhagvata Mela Natakam’, a parallel universe of dance in the temples performed by the devadasis. Acharyelu’s grandfather used to teach temple dancing to the devadasis. So, he learned both forms. Perhaps he is the only one in that position. I celebrated him and his pieces.
Competing for a reward ofRs five, three and two lakhs, the participatingtribal groups exhibited the best of the culture through dance performances on wedding ceremonies, traditional festivals, and rituals, social dances like harvest dance, among others…reports Asian Lite News.
India’s tribal culture came to life as the second edition of the National Tribal Dance Festival was inaugurated at the Science College Ground, Raipur, by Chhattisgarh Chief Minister Bhupesh Baghel in presence of the Chief Guest Hemant Soren, Jharkhand Chief Minister; Tamradhwaj Sahu, Chhattisgarh Tourism Minister; Amarjeet Bhagat, Chhattisgarh Culture Minister and other dignitaries.
An initiative of the Chhattisgarh Tourism Board under the tourism development plans of the state government, the inaugural day witnessed participation of tribal dance groups from various states and Union Territories of India and international participation from Nigeria, Palestine, Kingdom of Eswatini (Swaziland), Uzbekistan and Mali portraying and celebrating their respective tribal folk culture.
The festival began with a procession of all tribal groups in traditional outfits through the venue. Tribal dance forms from Chhattisgarh, Madhya Pradesh, Andhra Pradesh, Orissa, Tamil Nadu, Telangana, Jharkhand, Gujarat, Assam, Uttarakhand, Himachal Pradesh, Ladakh and Jammu & Kashmir showcased the vibrant and diverse culture of India.
Competing for a reward of Rs five, three and two lakh, the participating tribal groups exhibited the best of the culture through dance performances on wedding ceremonies, traditional festivals, and rituals, social dances like harvest dance, among others.
The dance forms in the wedding ceremony category featured Gour Sing from Chhattisgarh, Karma from Madhya Pradesh, Dhimsa from Andhra Pradesh, Gojari from Jammu & Kashmir, Kadsa from Jharkhand, Guryaballu from Andhra Pradesh, among others.
The dance forms in the category of traditional festivals and rituals featured Karma from Chhattisgarh, Gussadi Dhimsa from Telangana, Urav from Jharkhand, Sidi Goma from Gujarat.
International participation featured dance groups from the Kingdom of Eswatini (Swaziland), Nigeria, Mali, Palestine and Uzbekistan who introduced the audiences to their respective cultures through their high-energy dance forms.
The Tribal conclave, an important component of the festival is a confluence of experts, scholars and practitioners to explore new ideas that can create opportunities for the tribal communities of Chhattisgarh. The first day of the conclave delved into topics from responsible tourism to tribal art and craft, and the market to popularizing local cuisine and wellness.
In the panel discussion ‘Responsible Tourism in the Post-Covid World’, Yashwant Kumar, Managing Director, Chhattisgarh Tourism Board; Jeet Singh Arya, Founder of travel start-up ‘Unexplored Bastar’; Sunny and Deeptie Raj, owners of the eco-resort Bhoramdeo Jungle Retreat and Anjuna Dhir, Executive Director, The Responsible Tourism Society of India, moderated by Yasmin Kidwai, Festival Curator and Event Director highlighted on the need to create valuable experiences for domestic tourists and the importance of making tourism sustainable by involving local communities.
Tribal art and crafts and the market talked about the need for revival and preservation of traditional crafts. Panelists Ayush Shrivastav and Gaurav Kushwaha, Founders of Lokabazar.in Bastar’s first handicraft e-commerce start-up; Rashmi Dhanwani, Founder of Art X Company; Chaitsi Ahuja, Founder of Brown Living and Asif Khan, Founder of Nature Escape, discussed how digital platforms can be combined with traditional crafts to create opportunities for artisans to explore new markets.
Food is an important way of retaining a cultural identity. In the panel ‘Popularizing Local Cuisine’ Manish Mehrotra, the Celebrity Chef of the renowned restaurant Indian Accent; Anoothi Vishal, Culinary Historian, Author, and Curator; Prateek Sadhu, Executive Chef and Co-owner of Mumbai-based restaurant Masque and Raziya Shaikh, Director of Bastar Foods talked about the ways in which local cuisine can be highlighted to enhance the tourist experience. This engaging discussion delved into the avenues that can be created to popularize the cuisine of Chhattisgarh and encourage food entrepreneurs.
Global Village hosts internationally acclaimed Burn The Floor dance production for the first time in MENA region during…reports Asian Lite News
Global Village, the UAE and wider region’s leading multicultural family destination for culture, shopping, and entertainment, has given guests the latest sneak peak of what to expect this coming season with confirmation that internationally-renowned dancing show Burn The Floor is making its way to the park. A jam-packed entertainment calendar is an integral part of the Global Village guest experience. The renowned show will be starring on the Global Village main stage in March 2022 and the talented “Burn The Floor” artists will be appearing for the very first time in the Middle East and North Africa (MENA). The show is the ultimate high-voltage theatrical dance experience exploding with jaw-dropping choreography, heart-pounding music and breath-taking moves.
Burn The Floor Show
SHAUN CORNELL, DIRECTOR OF ENTERTAINMENT, GLOBAL VILLAGE: “We are delighted that Burn The Floor is joining our entertainment line-up for the new season. For 20 years, this production has lit up stages around the world. The show has revolutionised ballroom dancing and thrilled audiences in over 130 cities worldwide. At Global Village, we work hard to bring the world’s biggest shows to people who wouldn’t normally have the chance to see them. Burn The Floor’s debut next spring is a fantastic example of this. We are putting the finishing touches on our extensive entertainment calendar and our guests are promised an unforgettable entertainment experience this Season.”
Shaun Cornell – Entertainment Director at Global Village
Since 1997, Burn The Floor has performed in over 30 countries, breathing new life into traditional dances such as the Viennese Waltz and Foxtrot with groundbreaking moves and choreography. The production has headlined Broadway in New York City and the West End in London, embodying the passion of the Tango and Paso Doble and revels in the sheer energy of the Cha Cha, the Samba, Rumba and Jive. The show has also featured several alumni of various international versions of Dancing with the Stars and So You Think You Can Dance. As such, Burn The Floor’s performance at Global Village is already a “must attend” event for guests and all those with a passion for dance.
HARLEY MEDCALF, FOUNDER AND PRODUCER OF BURN THE FLOOR: “We have performed around the world, twenty seven counties to date, and never in the Middle East! So, we are really challenged and excited with this opportunity. It’s always inspiring for us to visit a new part of the world and bring our unique show to a fresh audience so the entire company is counting the days! Dance is an international language, and our shared belief that creativity and entertainment unites people from across the globe makes Global Village the perfect destination for our Middle East debut. We can’t wait to share the joy of dance, bringing our ground breaking production to Dubai next spring.”
Harley Medcalf – Founder and Producer of Burn The Floor
Burn The Floor will perform on Global Village’s iconic main stage in March 2022. Guests can experience this incredible show with their Global Village entry ticket. This is just one more reason to purchase the Global Village VIP packs, which go on sale September 4th. More updates will follow as Global Village gets ready to launch Season 26 on October 26.
Sufi is not a practice, it is a thought. To blend with Sufi in one colour without any discrimination is a way to connect with the supreme power above…Rani interacts with Siddhi Jain.
Dance is a passion for many. An astute Kathak danseuse of the Lucknow Gharana, Rani Khanam has dared to differ in her dance practice. Integrating Islamic verses and Sufiana Kalam of mystic Sufi poets in her Kathak practice for over 20 years, she has carved a global niche as a pioneering Muslim Kathak classical dancer. She has also used choreographed productions as a medium to raise awareness on causes like HIV/AIDS, rights of women, including Muslim women, and persons with disabilities.
The founder-director of ‘Aamad Kathak Dance Centre’ in east Delhi, Khanam recently performed on the compositions of Bulleh Shah and Hazrat Amir Khusrau. Excerpts from an interview with her on the sidelines:
How did you take to dancing and Kathak?
I have been dancing since childhood. Everything I have done so far is a contribution to this field. In fact, since a very early age, I have seen and understood things through dance’s perspective. I pursued Kathak as it is one of the classical dances of the North and carried on with it since then. For me, Kathak is like a meditation, a sadhana that is there in my everyday practice.
You are a practicing Sufi, how do you incorporate it into your dance practice? Please also tell us about the historical research undertaken by you on the Islamic influence on Kathak.
Sufi is not a practice, it is a thought. To blend with Sufi in one colour without any discrimination is a way to connect with the supreme power above – the almighty. Sufi has a very simple way, let it be through devotion or Sufi, it’s the same thing. Alongside, I have done the research and been working on Islamic verses, Sufiana kalam of renowned poets for the past more than 20 years. I have performed on it at an international level and collaborated with international artists and Sufi dancers.
You have defied many odds during your dance career…
Every artist, every human has odds in their life and it is very natural. But when you are focused on your goals you don’t realize when you have surpassed those odds. Being a Muslim, I had few obstacles as at those times dancing was not pursued openly. But with conviction, power, and passion I was able to overcome all these and till today I am working in society by maintaining all due respect.
How did you keep refining your practice during 2020’s lockdown? What did it mean to you?
For the past year, due to Covid, life has given us time to think positively. Being an optimistic person, I believe that if things go wrong there must be a good reason behind it. It needs us to improve. This was a refinement period for me. I took classes, participated in virtual programmes with the kids and other artists. I have been a part of various online discussions. So, last year I tried to be as constructive as possible.
You performed Holi Khelungi Keh Ke Bismillah’ by Bulleh Shah at Kathak Kendra. Please tell us about it.
Kathak Kendra’s event ‘Swadheenta Ke Rang, Phalgun Ke Sang’ is a very nice concept where they have invited all the Kathak artists along with artists from other art fields on the occasion of Holi. I performed a few Bandish, one of them was of Hazrat Amir Khusrau’s and is based on Raag Basant Bahar Mishr. The second bandish was by Baba Bulleh Shah’s Holi Khelungi Keh Ke Bismillah’. The way I portrayed was the Almighty is the actual painter who has painted the entire world with the colour of love. He combined all the true colours of love and unity and came with a rainbow. All the colours on the earth like sea, leaves are all given by God. I am glad that people admired my performance during the show.
