How Bharatanatyam travelled to the Jap Coast of North America

If ‘Pravaha’ was a case research in a B-school, it might increase a toast to the 4cs – Communication, Collaboration, Tradition, and Conversations. Pravaha, A Sanskrit phrase, Pravaha means ‘flow’, the four-hour competition curated by New Jersey-based Bharatanatyam artiste Ramya Ramnarayan, it was held not too long ago on the Stability 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 practically three a long time.

‘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 convey down the partitions and break down the obstacles to create an area the place artistes can bond and brainstorm.

Trying again

‘Pravaha’ introduced collectively practitioners, lecturers, writers, researchers, and rasikas to share their joys and journeys in studying, educating, and performing. There was a free move 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 brief however insightful tales.

Taking the gathering down reminiscence lane, Hema narrated the way it all started her studio condominium in Chicago. “I knew I wanted to dance. It was difficult but I kept at it. What is important is to always keep up your spirit,” she mentioned.

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 “heart in the art” and “For me, it was all that mattered.”

The following technology

The second phase, aptly titled ‘Parampara’, showcased a younger technology of artistes comparable to Kavitha Thirumalai, Yamini Saripalli, Barkha Patel, Kasi Aysola and Sophia Salingaros. This part was about how they’ve imbibed the artwork and are deciphering the normal nuances with a up to date sensibility. Kavita Thirumalai’s providing — Muthuswamy Dikshitar’s Anandamruthakarshini — was an ode to the custom. “Over the years, these timeless choreographies have allowed me to pause, reflect and understand their essence and infuse my own energy into them and find joy in my dance.”

Yamini Saripalli offered a conventional 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 young person and the way, by advantage of partaking with it over time, the work has acquired a brand new that means for her. “It has let me travel to a higher artistic realm.”

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

Discovering oneself by means of dance

New York-based dancer Sophia Salingaros offered ‘Sambho Mahadeva’, a Tyagaraja composition, combining power and style in equal measure. Publish-performance, she talked about how she transitioned from being a pupil of ballet to a pupil of Bharatanatyam. “To ensure my dance is as authentic as possible, I travelled to India and spent time living and observing life there.”

Kasi Aysola’s conventional Satyabhama Pravesa Daruvu, from the normal dance drama Bhamakalapam, choreographed by Vempatti Chinna Satyam, dropped at the fore Kasi’s fixed effort to offer vent to his creativeness. “It is the beauty of the Kuchipudi structure that continues to keep me inspired.”

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

Important dialogue

The fourth phase, 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, centered 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 house the importance of dance past the stage.

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