A New Cultural Platform for All

Sri Sumukhi Rajasekharan Memorial Foundation launched its Special Monthly Programmes as “Kala Poshakam”, on 15th February, 2006, 5.30 pm at Narada Gana Sabha, Mini Hall,
T.T.K. Road, Alwarpet, Chennai – 18. Smt. Leela Shekar – “Chairperson – IDA” inaugurated the programme by lighting the Kuthuvilakku, & Smt. Anitha Guha – Director, Bharathanjali presided over the function. The Doyens appreciated the efforts taken by the Mylapore Trio in perpetuating values & by promoting culture among the younger generation.

“Sathya Kala Poshaka Sundaram” was the title conferred on the Trio by the Bharathanjali Trust recently, for being the youngest promoters of art & culture. According to the Trio “Kala Poshakam” is dedicated for the same cause and it is a platform for children, youth & elders to exhibit their talents not only in Classical Dance, Music & Instrument but also in various other art forms. For the first time in the history of the foundation seniors & elders above the age of 22 are given an opportunity to showcase their talents under the banner of “Kala Poshakam”. Surendranath says that the response has been tremendously good & even artists from other states have registered themselves for the subsequent months.

The Foundation has been identifying and honoring Children & Youth in the Cultural Spectrum and celebrates the Balar Chithirai Kalai Vizha and Margazhi Bala Utsavam and they award titles like Sangeetha Bala Brahamam, Natya Bala Brahamam to deserving children.
Here is what happened at their program this year...

2nd Year - “Visesha Kala Poshakam Utsav

Inauguration - Wednesday - 2 – 1 – 2008

Chief Guest – “Padmashri” Smt. Chitra Visweswaran

“Chidambaram Academy of Performing Arts”.

Time: 5.30pm – “Kutrala Kuravanji” – A Thematic presentation by

Smt. Sasirekha Raammohan, Smt. Radhika Vairavelavan,

Smt. Anjana Anand, Kum. Lavanya,

Kum. Divya & Kum. Nivetha.

Time: 6.30pm – Inauguration

Time: 7.30pm – Special Concert

Bharatanatyam by Kum. V.M. Supriya (Chennai)

Disciple of “Padmashri” Smt. Chitra Visweswaran.

Thursday - 3 – 1 – 2008

Chief Guest – “Kalaimamani” Narthaki Nataraj

“Narthaki Nruthya Kalalaya”.

Time: 5.30pm – “Swati Tirunal Samarpanam” – A Thematic presentation by

Smt. Sujatha Mohan & Smt. Sardha Sethuraman.

Time: 6.00pm – Special Concert

Bharatanatyam by Kum. Nithya S. Ramamurthy (USA)

Disciple of Smt. Sudha Chandrasekhar.

Time: 7.00pm – Special Concert

Bharatanatyam by Kum. J. Janet (Trichy)

Disciple of Smt. Vijaya Mukundan.

Time: 8.00pm – Felicitation Function

Friday - 4 – 1 – 2008

Chief Guest – Smt. Sumathi Sriram

Faculty at “Bharata Kalanjali”.

Time: 5.30pm – Sloka Chanting by Smt. Nalini Ramaprasad & Group

of “Sri Matha Samarpanam”.

Time: 6.00pm – Special Concert

Bharatanatyam by Kum. Malavika Suresh (Botswana)

Disciple of Smt. Hema Rajaraman.

Time: 7.00pm – Special Concert

Bharatanatyam by Kum. Maheetha Bharadwaj (USA)

Disciple of “Padmashri” Adyar K. Lakshman.

Time: 8.00pm – Felicitation Function

Saturday - 5 – 1 – 2008

Chief Guest – “Nrithya Kala Nipuna” Shri. V. Balagurunadhan

Faculty at “Singapore Indian Fine Arts Society”.

Time: 5.00pm – Special Concert

Carnatic Music - Vocal by Chi. A. Arvind (Karaikal)

Disciple of Shri. Thirukannapuram Shankar.

Time: 6.00pm – Special Concert

Bharatanatyam by Kum. K. Niranthary (Chennai)

Disciple of Smt. Vijaya Mukundan.

Time: 7.00pm – Special Concert

Bharatanatyam by Kum. Shraddha Nagaraj (Mumbai)

Disciple of Smt. Lata Rajesh.

Time: 8.00pm – Felicitation Function

Sunday - 6 – 1 – 2008

Chief Guest – Smt. Ambika Buch

Retd. Senior Professor of Dance “Kalakshetra”.

Time: 5.00pm – Special Concert

Keyboard by Kum. Maheetha Bharadwaj (USA)

Disciple of Shri. Vittal Ramamoorthi.

Time: 6.00pm – Special Concert

Bharatanatyam by Kum. Srividvatha Sridhar (New Delhi)

Disciple of Smt. Saroja Vaidyanathan.

Time: 7.00pm – Special Concert

Bharatanatyam by Kum. Pooja Kumar (USA)

Disciple of Shri. A. Lakshman.

Time: 8.00pm – Felicitation Function

Audience to all Mylapore trios programs are welcome in Indian Traditional Attire…

S.Surendranath, S.Amarnath, S.Aparna & Members of the Foundation…

Address for communication:

New No. 5, Old No. 3, 1st Floor, Third Trust Link Street,

Mandavelipakkam, Chennai – 600028. Tamilnadu. India.

Ph.: 9382698811 / 9381038385 / +91-44-24935521

Upcoming Contests and Events

6th Year - MARGAZHI BALA UTSAVAM

Competitions & Participation - Registration from 25th December, 2007 onwards

SRI SUMUKHI RAJASEKHARAN MEMORIAL FOUNDATION

The “ MYLAPORE TRIO ” proudly presents the Mylapore Tradition & Culture.

Calling all Individuals, Groups, Organisations & Institutions to showcase their talents in this festival.

Age Category: (Sub.Jr. / Jr. & Sr. – has been divided as two Categories each, as Section A & Section B)

(Sub.Jr. – UKG, I Std. Sec. – A & II, III Std. Sec. - B), (Jr. – IV, V Std. Sec. – A & VI, VII Std. Sec. – B),

(Sr. – VIII, IX Std. Sec. – A & X, XI Std. Sec. – B), (Sup. Sr. – XII to UG, Sec. – A)

Selection tests only for Bharatanatyam, Keerthanai & Instrument, at the Foundation Premises

on 30th Dec. 2007, & 5th, 6th, 12th, 13th, 14th & 16th Jan. 08 ( Time: 10 a.m. to 1.00 p.m. ) (Choose your Date)

Registration for other Competitions begins from 25th Dec. 2007.

1. COMPETITION :-

a) Solo :- * Keerthanai * Thirupaavai * Thiruvempaavai * Bhajan * Bharatanatyam

* Maa Kolam * Flower Kolam * Junk Art * Mehandi * Hand Writing

Common Topic for the following :– “Pancha Bhoothas”

* Painting (5 elements of Nature) * Eassy Writing (Religious, Scientific, Ecological aspects etc…)

* Oratorical (Uses & Hazards) * Story Telling (Sthala Puranas) * Fancy Dress (History & Mythology)

b) Group :- * Devotional Music (Min. 5 to Max 10 Participants, including Two Instruments)

2. PARTICIPATION :- (Solo / Group) * Slokam * Instrument * Music Cutchery

3. PRIZES :-

* Mementos for all Participants / The best 3 & Consolation prizes with Certificates only for the Winners.

4. SPECIAL PRIZES :-

* Multi Talent / Talent Prize for the best Boy & Girl who bags the maximum number of Prizes

under each Age Category, for this, one must take part in atleast 5 Competitions to win this Special Prize.

5. TITLES & AWARDS – Bushan / Vibushan & Brahmam :- (for Balas, Yuvas & Guru) :-

Talented children & youth will be conferred Titles in the field of Dance, Music & Instumental. *Conditions Apply.

ROLLING TROPHY (Gold Coated “Swarna Kalas”- Temple Golden Kalasam) :-

* Is awarded to the institution whose students get selected for the Final Event (Participation & Competition)

in large numbers. ‘Smt. R. Nagammal “SWARNA KALAS” Rolling Trophy”. *Conditions Apply.

Competition Dates – 19th, 20th, 26th & 27th Jan.’08 at Lady Sivaswamy Girls Hr. Sec. School, Mylapore.

Prize distribution & Award Function on 2nd Feb.’08 – Sri Dakshinamurthy Auditorium, Mylapore.

A Registration Fee of Rs. 50/- is charged per individual, for the Final Event in each category (Solo & Group)

for both Competition & Participation. (Selection Test - No Entry Fee)

Contact:- S. Surendranath, Ph: 9382698811 / 9381038385 / 24935521. Website: www.srimylaporetrio.in

New No.5, Old No.3, (Ist Floor)Third Trust Link Street, Mandavelipakkam, Chennai – 600 028.

(Near HDFC Bank, Santhome High Road) EMail: sri_srmf@yahoo.com , srimylaporetrio@gmail.com

Visit: www.narthaki.com , www.kutcheribuzz.com/ebrochures/sumukhi

P.N: Traditional Attire is mandatory on all days, for all Participants & Others – for Prelims, Finals & Valediction…

Boys: Kurtha, Pyjama, Dhoti, Shirt. (No Shorts, Pants, Jeans, T. Shirt)

Girls: No sleeveless - (Sub.Jr./Jr.) – Paavaadai, Chokka. (Sr./Sup.Sr.) – Paavaadai, Dhaavani, Saree.

Common for all Girls - Hair Style: Single Plait (no lose hair). No Fancy Bindhis.

Pottu – only in Red colour / Min. Size: 8mm Round or Thilakam.

Parents, Relatives, Friends & Rasikas will be entertained only in Traditional Attire – both for Prelims & Finals.

(Women – Only in Saree / Men – Only in Dhoti, Pant, Shirt, Pyjama, Kurtha - No Jeans, T. Shirt)

5th Foundation Anniversary

To commemorate the occasion, Aacharya Awards presented to Stalwarts in Dance & Music.

& Thyagarajar's Pancharatna Kritis are rendered, on 3rd February 2008.

Login to our website to know more about us: www.srimylaporetrio.in
· Visit us at www.narthaki.com / www.kutcheribuzz.com/ebrochures/sumukhi
· Email: sri_srmf@yahoo.com / srimylaporetrio@yahoo.com

Mailing Address:
S. Surendranath, New No. 5, Old No. 3, Third Trust Link Street,
1st Floor, Mandavelipakkam, Chennai – 600028. Tamilnadu. India.
For more Details contact us at 9382698811 / 9381038385 / +91-44-24935521

Hamsadhwani's NRI Dance Festival in Madras

Hamsadhwani’s 13th NRI Music and Dance Festival is rightly dedicated to the memory of R. Ramachandran, the sprightly and cheerful gentleman, the first to think of providing a platform for NRI musicians and dancers.

At the inaugural, veteran dancers Shantha and V.P.Dhananjayan along with their senior student Divya Sivasundar, presented a thematic natya recital titled “Bhakthi Prabhavam.” Simple devotional themes were portrayed simply and sincerely at a simple pace; without any frills or fireworks.

Even the nritta-based “Shakthi Prabhavam, an ode to Mother Nature in her three forms (Parasakthi, Saraswathi and Lakshmi) from Bhaaratiar’s Navaratri Kritis in ragamalika, Aadi talam, was kept simple. The entry had a stunning sequence of sollus based on Panchabhutham, a prelude to the composition. The song itself was slow and serene and was rendered (Sasidharan) in a like manner. Divya’s portrayals reflected this equanimity. While the theermanams were graceful and precise, the araimandi posture was glaring in its absence. The stand-out pieces however, were the two solos — Dhananjayan as Hanuman in “Ananda Raama soundaryam” from Arunachala Kaviraayar’s Ramanatakam (Kedaragowla,Aadi) and Shantha in ‘Karpagavalli nin porpadangal pidithen’ in raagamaalika (Aadi), a composition of Yaazhpaanam Veeramani Iyer from Kalakshetra. With awe and reverence, Hanuman describes every limb of Raama and Dhananjayan’s eyes were full of wonder at the thought of that magnificent sight… Every facial muscle reflected this wonder and one could see the Kathakali training in every expression. Little things like the way he held the ‘adbhutha’ expression until all lights were switched off also added to its veracity. Unexpected and delightful was Shantha’s poignant rendering of the kriti.

There was a quiet dignity in Shantha’s depiction of the ‘Karpagambal’ episode in which Siva turns Parvathi into a peacock. The devotee’s pleas for compassion take on added depth when performed with selflessness and humility. The dancing couple concluded with a well-enacted but light-hearted Radha-Krishna duet in ‘Dhikku teriyaada kaattil’ in raagamaalika, (Aadi), a composition of Bharatiar, tuned and popularised by GNB.

The orchestra comprising R. Karthikeyan (mridangam), S. Sunilkumar (flute), R.Eswar (violin) and Lakshminarayan (tambura) did a fine job of keeping the melody on an even keel.

Source: The Hindu

Dance conference to discuss sensuality in Indian dance

Indian culture has never shunned sexuality as an undesirable facet of life. The myriad art forms of India in general and Bharatanatyam in particular have wholly accepted the sensuous, sensual and the erotic in life without any hint of moral censure. However, there must be clarity as to what is aesthetic in art and what is not.

A performing artiste has to tread carefully between two extremes- be prudent as to not to stray into the prurient or foray into the crass! Either way, she/he may make the audience wince for different reasons.

- Are there are any parameters for sensuality in art forms?
- If yes, what is the level up to which it is permissible?
- Does it depend on the individual dancer / dance style / guru and of course the taste of the audience?

The 3-day Seminar on 'Sensuality in Indian Dance' sets out to find answers to these questions. You have a galaxy of distinguished scholars and dancers sharing their perceptions.

And you can contribute to the event and make it meaningful by mailing your views / comments and even full - length articles to contact@natyadarshan.org.

Who's who?
Organisor : Kartik Fine arts
Chairman : Shri.L.Sabaretnam
President : Shri.A.V.S.Raja
Secretaries' : Shri.R.Rajagopal
Shri.D.S.Ramanujam

Advisors for the Natya Darshan Conference:
Prof.Sudharani Raghupathy
Prof.Chitra Visweswaran


Convenor :
Smt.Priyadarsini Govind


Schedule:

Theme : 'Sensuality in Indian Dance'
	Day 1	22nd Dec, 2007
	10.00 a.m.	The inauguration is by Dr.Mrs.Y.G.Parthasarathy, Chairman, Bharat Kalachar Keynote address - Smt. Kalanidhi Narayanan, Honouring eminent artists Smt. Kalanidhi Narayanan, Shri. Adyar K.Lakshmanan and Smt. Leela Venkatraman
	10.30 a.m.	Lecture demonstration - Smt. Leela Samson
	11.30 a.m.	Lecture demonstration - Shri. T.M.Krishna Moderator: Smt. Ratna Papa Kumar
	Day 2	23rd Dec, 2007
	09.30 a.m.	Lecture demonstration - Chitra Sundaram
	10.30 a.m.	Lecture demonstration - Shri. Sadanam Balakrishnan
	11.30 a.m.	Lecture demonstration - Surupa Sen and Bijayini Satpathy (Nrityagram) Moderator: Smt. Hema Rajagopalan
	Day 3	24th Dec, 2007
	09.00 a.m.	Lecture demonstration - Smt. Vidya Rao
	10.00 a.m.	Lecture demonstration - Dr. Prof. Raghuraman
For more Information: Natyadarshan		Moderato r: Smt. V.R.Devika Valedictory address - Smt. V.R.Devika, Managing Trustee, The Aseema Trust Vote of thanks - Smt. Priyadarsini Govind

Alekhya represented an inward journey.

Review by Rupa Srikanth in The Hindu

Seeking sanctuary, energy embraces me. I want to turn myself inside out to find primal roots. I dig thirsty roots for ancient, absorbing, eager, meditative whispers...” Thus began the dance theatre production, ‘Alekhya: Spilling Ink,’ which visualised ‘an inward and personal journey with no beginning or end.’ It was conceptualised and scripted by the United States-based dancer Vijay Palaparty with the help of theatre artist and literary consultant Jennifer A. Schaupp, co-choreographers Nalini Prakash and Padma S. Raghavan and dancers Ashwini Viswanathan and K.B.Madhusudhanan. Vijay’s intent in Alekhya was ‘to think outside the box’ and this he did by using the spoken word to punctuate and direct the visual representations of the journey.
The prism of the Bharatanatyam margam was the medium, and through this new facets in style and interpretation were explored along the way. Here was a new genre that held promise — promise of greater clarity of thought and greater dramatic impact. But ironically it was the cache of words that proved to be the weakest link. The poetry was too contrived and too wordy and the pace too monotonous to serve as gentle indicators of mood. Powerful words strung together simply overpowered the sentiment lying beneath.

There was also a problem with unexplained metaphors. For example, when the production opens with a passage about the search within, Vijay walks in with a pot but we do not know why. We realise later that it is a metaphorical pot to collect thoughts and energies. A beautiful metaphor wasted. On the other hand, the music, the dance and the lighting were delectable. The vibrant movement choreography whether in the tentative thattadavus at the start of the journey or in the exciting Kuchipudi- Bharatanatyam dialogue in the Atana Jathiswaram or in the contemplative Madurai N. Krishnan Thodi (Adi) tanavarnam, ‘Maye mayan sodariye’ made wonderful use of time, space and group dynamics. The interpretation steered away from mythology, pursuing the path of truth through meditation and prayer.

The Gayathri manthra and other chants and the ‘Letter to God’ within this piece were seamlessly woven into the beautiful tapestry of emotion. The varnam ended as it had begun with the dancers seated in a circle with arms raised in prayer and supplication. It was simple but eloquently contemplative. The accompanying musicians played with expertise and sensitivity. They were: Sasirekha Balasubramaniam (nattuvangam), Bhavani Kishore Kumar (vocal), M. Dhananjayan (mridangam), Kandadevi S. Vijayaraghavan (violin), T. Bhavaniprasad (veena), B. Muthukumar (flute) and K.S.R.Anirudha (special effects). Lighting was by Murugan. The final act was, in a sense, a silent finale packed with meaning. After the rigorous Brindavana Saranga thillana, the pot was brought back on stage, this time filled with a white powder. Each dancer took a handful and sprinkled it on stage. In silence. Literally spilling ink, you think?

How Bharatham danced its way into the Music Academy?

Here is probably one of the most important period of Bhartahnatyam documented in History:-

"All interpretations of the history of Bharatanatyam agree on one thing — the role of the Music Academy in the renaissance of Bharatanatyam, beginning in 1931. The founder secretary E. Krishna Iyer piloted this project with conviction. Not alone, undoubtedly, for, the Academy had genuine thinkers, aesthetes and experts who endorsed classical dance's place on an equal pedestal with music, at a time when the future of the art was rather dim.

Public awareness on the "state of the art" had been kindled by media debates, which published arguments on who should dance, where and when. It was a turbulent period when social reformers demanded the banning of dance in all its traditional venues, including temples.The performance by the Kalyani daughters, Rajalakshmi and Jeevaratnam, in the new habitat, the proscenium of the Music Academy, did not go unnoticed. It was the first step to re-invent a largely unknown tradition. A door was opened to showcase the dance of the Thanjavur Court. And who should take a peek into it, but the fiercely independent Rukmini Devi who saw another pair of dancers from the village of Pandanallur, Sabaranjitham and Nagaratnam, and promptly decided (at the age of 30 ) to learn to dance!

Balasaraswathi, perhaps had the distinct honour of being a dancer associated with the Academy for the longest period, until she was finally crowned `Sangita Kalanidhi' in 1973. The repertoire, largely dictated by the wise gurus, followed the traditional format of alarippu, jathiswaram, sabdam, varnam, padams and tillana. The musicality of dance surprised many viewers. When Jayammal, daughter of Veena Dhanammal, sang a Kshetragna (love-lament) for Balasaraswathi's dance, the pundits who were immersed in the melodies of the Carnatic Trinity of composers, sat up to listen and nod their heads in approval.

That the Academy was quite liberal and open-minded in its approach to staging dance performances in the early years is evident in the fact that when non-hereditary dancers started learning under big gurus, their talent was suitably encouraged, even though they were novices in the field.In the early years, dancers were chosen to perform mostly on the basis of their apprenticeship with one or other famous guru. Names to reckon with were Vazhuvur Ramaiah Pillai, Pandanallur Chockalingam Pillai and others. Many young students danced just once or twice at the Academy, for it was not customary for girls to take up dance as a career, and once they got married, they gave it up altogether.

While many aspects of Natya Sastra were made known to the public in the conference sessions of the Academy during the 1950s and 60s. (Do you wish you were there then?)By the 1960s, Bharatanatyam had become a well-established classical form, while unknown disciplines like Kuchipudi and Odissi were just beginning to be showcased. Perhaps the 1970s and the early 80s saw the largest variety of dancers who made a mark with their individuality in Bharatanatyam.

The beginning of the 21st century augurs well for dance.Generation next has produced a sizable number of impressive dancers who have committed themselves to a full time career in solo dance. The clamour for platforms continues, for the "supply" of Bharatanatyam dancers far outnumbers the "demand." With new themes and original concepts, often, but not always without diluting the strength of classicism, dancers have nurtured their careers rather successfully. Many dancers have handled their role as teachers with aplomb. Without doubt, a legacy discovered less than a 100 years ago deserves to be carefully handled. E. Krishna Iyer may not have dreamt in 1931 that Bharatanatyam will go such a long way in the modern world and become almost synonymous with Indian dance. That alone perhaps, is enough cause for celebration.

Source: Excerpts from (Hindu,Dedc 1,2006)

The Season I remember...

My obsession to Classical dance began when I was in lower Kindergarten (L.K.G) . I learned (is that US English?) Kuchipudi back then.I have been an ardent rasika attending performances ever since. But I distinctly remember attending one such performance by Kum. Swarnamukhi.

That was whenI was in first grade or still earlier. It's such a long time ago, my memory fails. This performance was arranged by the Indian Air Force and my mama (uncle) being a Wing Commander was honored with a great seat. I was tagging along with him. I collected ever so many brochures and got them filed later. I saw her do a lot of Karanas, what to me back then looked like circus. I was so upset that she was dancing all the time and that they wouldn't ask me to.

Then we shifted to Madras, the Mecca of Arts and to me the best place on earth, or atleast is during the season. I was 7-8 years old by then and went to learn Bharathanatyam and Veena at Sri Krishna Gana Sabha. The sabha was very different then- back in 80's. No AC , no architectural ramifications. A big shed with asbestos roof on Giriffith road, opposite Muppathamman Kovil. Both the places are now landmarks of Madras and the road is now called Maharajapuram Santhanam Road, if I am not wrong. But even then the sabha was an important one.

All of us who learnt dance in the tiny dance class attached to Krishna Gana sabha would dash in and out of the auditorium during those days. We would have watched hundreds of programs that way.I still remember watching Padma Subrahmanyam's "Jaya Jaya devi"- I think. I remember watching Vyjayanthimala Bali, Lakshmi Viswanathan and so many more wonderful artists. I never wanted their shows to end.I don't know if they allow that these days. But back then there weren't doors-so.... Imagine 20 kids running into the auditorium and running out of it when the teacher called. I watched Smt.Chitra Visweswaran during the break in my dance class. She wore a yellow costume. I was so mesmerized that I told myself that I would learn from her one day. And eventually my conviction paid. But that happened much later...My many thanks to Sri Krishna Gana sabha for introducing me to the art of being an involved rasika and all the frills that come along with it. I also mean the canteen, not only the canteen.


While still at Krishna Gana Sabha I attented so many concerts in so many other sabhas or auditoriums. My mother was a dance enthusiast herself and would right royally take me all over Madras with my dinner packed carefully in a tiffin box. I remember a friend, "Vella" Priya, (that's how they distinguished Priyas- there were so many of them) and her mom would also be with us in the cycle rickshaw when we went to the show. Eventually I met Priya at Chitra akka's class in my later years (I mean my 20's).

There was one of Ms.Padma's concerts I attended at Vani Mahal and lo there was a power cut Just 15 minutes into the show. She didn't panic or anything. She just said that all of us should join her in a bhajan and pray for the show to continue. Saying so she sang in her sweet voice-something I remember till today.

Going to concerts as a learning experience was one part of it, dressing up for it was another. My Pattu pavadais( silk long skirts) and later the dhavanis(half sarees) and sarees were very carefully chosen. Jasmine, mallipoo was specially ordered.You could find a dance student when you saw one. Their aesthetic ethnic wears and big jimmikis were their torch bearers.

I have watched all of Chitra akka's performances during that time. Mary Magdalene, Panchali Sabhadam, Ramayanam ( this one at Ayodhya Mandapam was so wonderful.) and so many more. Her varnams "Angayar kanni" on Devi and " Srinivasan perumai" are etched in my memory. All our dance class mates would hurriedly say a hi to each other before the show. We never even moved a finger during the shows., let alone talk. When our Gurus did well we shed tears of rasanubhava.

I have watched Anita Menon (Chitra's disciple), so many of Guru S.K.Kameswarans and Smt. Ranganayakai Jayaraman's disciples, a couple of Smt. Krishnakumari Narendran's students too! I never got to watch much of Sudhrani Ragupathy- don't know why??? I missed it actually.

I came back home after these performances and started mine in front of the mirror. If I enjoyed the program I would animatedly describe everything about it to anyone who cared to listen (usually my poor dad) and if I didn't like one I would mimic the dancer all along. There were times I carried a notebook to jot down points for further recall.

Recently I got to watch Shobana at the changed Krishna Gana Sabha doing Shyama with her troupe. I also watched Priyadarshini Govind's solo performance at MCTM auditorium. Would love to watch the Kalakshetra's Dance dramas again. I also yearn to watch Prof. Chandra Sekhar, Mr and Mrs. Dhanajayan, Leela Samson, Rama Vaidyanathan, Anita Ratnam. Would love to attend the morning lec-dems.

But I get to be here at Indonesia, typing away at my computer , wistfully reading the previews and reviews all scattered over the net.

I will let you know more about how it all started in the first place...

Madras Music Season - The Ultimate Celebration of Indian Arts

For the Bharathanatyam student (or a student of any Indian Art form) knowing about the Madras Music Season is essential. Watching them would be a great learning experience for students, and it can also be a spiritual experience for those who understand the spiritual connotations of the art forms. Here is an excerpt from Kutcheribuzz.com about the Season:- "What is the December Season?

The annual festival of classical music and dance which takes place in the South Indian city of Madras has come to be known as the 'December season'. That is because the concerts are held in December and through into January! For the Hindus though it is the Tamil month of Margazhi, a time for devotion - the dawn of the Gods. And the very roots of South Indian classical music is this bhakthi, or devotion, and music has been one of the most important and traditional forms of worship.

The weather is very pleasant at this time of the year, there's a nip in the air, and even a chill around if the monsoon has dragged on into late November. So it is the best time for kutcheris (concerts). The December Music season came into stay when The Music Academy began holding the concerts during its first annual conference in 1929 and then decided that a week long music festival be held to coincide with Christmas week. The logic was sound. The courts were closed during that period and the sahibs were having several rounds of merrymaking. The native society leaders were at a loose end and this gave them something to do. And the city now has a 'Music season'. Why is the festival such a celebrated one? Because it has grown to be the stage where the who's who of South Indian classical music and dance perform. Madras, now called Chennai, is the Mecca of South Indian dance and music, and every artiste feels privileged to perform here during the 'season'. The festival traces its roots to a rather loose origin when an 'All-India music conference' was held as part of a political conference of the Indian National Congress party in 1927. Those were the days when the country was warming up to the idea of independence. That festival with a few concerts was held in the cool December season. And it was held at the Music Academy, which is considered the grand-mom of the music and dance world here. Since then, more and more organisations have hosted their own festivals around that of the Academy. Over the recent years, a lot more sabhas (cultural bodies, and organisers of concerts. The word means a formal gathering of an audience) have come up, and close to 300-plus concerts are now held from mid November to the time of Pongal, which is the local harvest festival. This explosion has also produced its chaff. In fact, Madras is host of many music and dance concerts round the year. For Pongal, during the summer holidays in May-June, for Rama Navami (celebration of the birth of the Hindu god Rama), for Deepavali (the festival of lights celebrated for the victory of good over evil) and so on. The season has also witnessed many changes. Traditional arts like like the Harikatha ( which means the Story of God - a formalised musical telling of devotional mythological and didactic stories) and nadaswaram playing are given little attention and purists are against the space given to instruments like the saxophone, guitar, mandolin and keyboard in classical concerts. Concerts have become shorter ( as against the four hour-long ones of the 60s), people flock to the kutcheris of the 'stars' among the artistes and there is a race among artistes to be on the best stage. Besides the kutcheris, the events at some dozen halls or auditoria are interesting and varied - from intellectual discussions at lec-dems in the mornings and informal face-to-face meetings with artistes to art exhibitions and album launches. The festival also attracts expatriate Indians and scholars from around the world. Sponsorship has waxed and waned for the festival over the years but has come to be a more integral part of the December season. However, sponsorship for dance is an area that needs attention, from dancers themselves, rasikas and arts promoters. Of late, besides the air-conditioned auditoria in the city, alternative venues like the well-known temple premises and heritage bungalows are also being used. Another happening in recent years has been the growth of an 'alternate festival;' called The Other Festival which showcases theatre, drama, dance and music of the avant garde and experimental form exploring ancient and modern themes. The season goes on till mid January when the scene shifts to Tiruvaiyaru to mark the attainment of samadhi of one of the greatest Carnatic composers and one of the trinity of music - Tyagaraja. Despite the chaff and the corns, the Madras festival of music and dance, is the biggest of its kind in India. And it hosts some brilliant artistes. If you are in Chennai in December, the kutcheris here are a must see. I will share with you all reviews, I read, hear and grab out of my inbox from ever so enthusiastic friends all around the world keep mailing to me. So come back at regular intervals and check on who got wooed and who got booed.