How Bharatanatyam travelled to the Japanese Coast of North America

If ‘Pravaha’ was a case research in a B-school, it might elevate a toast to the 4cs – Communication, Collaboration, Tradition, and Conversations. Pravaha, A Sanskrit phrase, Pravaha means ‘circulation’, the four-hour competition curated by New Jersey-based Bharatanatyam artiste Ramya Ramnarayan, it was held just lately on the Steadiness Arts Centre in New York. It stemmed from Ramya’s want to allow sustained and significant change of concepts and ideas, course of and efficiency amongst members of a group that’s devoted to the reason for the Indian classical performing arts on this a part of the world, the place she has spent almost three many years.

‘Pravaha’ additionally marked the launch of ABHAI’s (Affiliation of Bharatanatyam Artistes of India) chapter within the East Coast (North America), a momentous event for this Chennai-based organisation, which is at present helmed by senior Bharatanatyam artiste Roja Kannan. Within the period of globalisation, this step augurs nicely for the dance kind’s future. It’s tie we deliver down the partitions and break down the boundaries to create an area the place artistes can bond and brainstorm.

Wanting again

‘Pravaha’ introduced collectively practitioners, lecturers, writers, researchers, and rasikas to share their joys and journeys in studying, instructing, and performing. There was a free circulation of ideas and expressions.

Chicago-based Bharatanatyam artiste Hema Rajagopalan and New York-based artiste and tutorial Maya Kulkarni set the tone for the competition with their quick however insightful tales.

Taking the gathering down reminiscence lane, Hema narrated the way it all started her studio residence in Chicago. “I knew I needed to bounce. It was tough however I saved at it. What’s essential is to all the time sustain your spirit,” she stated.

Maya Kulkarni shared how she got here with Shilpa Natana, a classical dance efficiency fashion. Somebody who mentors dancers from throughout genres, Maya reiterated the significance of discovering the “coronary heart within the artwork” and “For me, it was all that mattered.”

The subsequent technology

The second section, aptly titled ‘Parampara’, showcased a younger technology of artistes corresponding to Kavitha Thirumalai, Yamini Saripalli, Barkha Patel, Kasi Aysola and Sophia Salingaros. This part was about how they’ve imbibed the artwork and are decoding the normal nuances with a up to date sensibility. Kavita Thirumalai’s providing — Muthuswamy Dikshitar’s Anandamruthakarshini — was an ode to the custom. “Over time, these timeless choreographies have allowed me to pause, replicate and perceive their essence and infuse my very own power into them and discover pleasure in my dance.”

Yamini Saripalli offered a standard Manduka sabdam that units the scene for the well-known Gajendra Moksham story, choreographed by maestro Vempatti Chinna Satyam. Yamini spoke about how she learnt this piece as a youngster and the way, by advantage of participating with it over time, the work has acquired a brand new which means for her. “It has let me journey to the next creative realm.”

Subsequent got here Tirvat, a Kathak bandish composed by Rajeev Ok Mahavir and commissioned by Barkha Dance Firm. Performer Barkha Patel generously drew us into her world as she explores actions.

Discovering oneself via dance

New York-based dancer Sophia Salingaros offered ‘Sambho Mahadeva’, a Tyagaraja composition, combining power and charm in equal measure. Put up-performance, she talked about how she transitioned from being a pupil of ballet to a pupil of Bharatanatyam. “To make sure my dance is as genuine as doable, I travelled to India and hung out dwelling and observing life there.”

Kasi Aysola’s conventional Satyabhama Pravesa Daruvu, from the normal dance drama Bhamakalapam, choreographed by Vempatti Chinna Satyam, delivered to the fore Kasi’s fixed effort to present vent to his creativeness. “It’s the fantastic thing about the Kuchipudi construction that continues to maintain me impressed.”

The third section of the afternoon featured Roja Kannan and Priya Murle (vice-president ABHAI) the place they showcased their journey as artistes, mates and collaborators via solo and duet performances. Referring to the opening ABHAI’s new chapter, Roja stated, “It’s dream come true.”

Important dialogue

The fourth section, a panel dialogue that includes Malini Srinivasan, Sonali Skandan, Bharathi Penneswaran, Sahi Sambamorthi, Chitra Ramaswamy, Deepa Mahadevan, who put on a number of hats as dancers, lecturers, researchers and curators, targeted on pedagogy, sustaining creativity, making dance accessible, constructing an viewers base for Bharatanatyam and above all, the necessity for extra such boards for dialogue. Moderated by New York-based dancer Srinidhi Raghavan, it drove residence the importance of taking a look at dance past the stage.

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