Showing posts with label NL. Show all posts
Showing posts with label NL. Show all posts

Male Dancers in Indian Classical Dance - Ganesh Vasudeva - September 2017



Introduction:

A gradual change seems to be happening in Indian Classical Dances over the last few years. More men are taking to Indian Classical Dance.  Dance forms like Kuchipudi strictly were for men since their origins and soon women took over the dance form and now constitute the majority.

Opportunities in general to classical dancers are few and many performers continue their passion without depending on their dance for livelihood. If you want to make a good career however, whether it is a male or female dancers, the going gets pretty tough.

Here we share the views of Bharatanatyam dancer Sri Ganesh Vasudeva who feels that the odds stacked against a male dancers are significant, and that relatively they are far more discouraging too.






Male Dancers in Indian Classical Dance
Sri Ganesh Vasudeva


Today, I came across this analogy: "It’s pretty damn hard to swim the English channel. But it’s a hell of a lot harder to swim the English channel while carrying a big rock. Sure, some people could probably do it, but is it any wonder that so many more make it across without the rock?". 

This is how I feel about male dancers in the Indian classical world. Growing up, we are constantly dissuaded, ridiculed, often bullied, and in general discouraged from dancing while our female counterparts are actively encouraged and celebrated. 

No wonder there are so few of us male dancers that stick to dancing. A male dancer who's dancing at the same level as a female dancer, would have had a very different (and tough/hard) journey to get where he is. 

At the end of the day, we should be judged based on how we dance, but at the same time, don't forget the path we had to take for it.

********

Feedback is welcome. As I am publishing this article, I already came across another professional dancer who feels that these days, male or female, the very gender, doesn't really matter!

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Kappanna Angala - Monthly Benchmark Classical Dance Festival 19 - Nruthya Bhanu - August 2017 - Bengaluru


11th August 2017, Friday
Suma Rajesh & Geetha Sirisha
Festival Director - Guru B Bhanumathi
Bangalore

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Talaash e Haq - A Return to Eternity - Kathak - New Delhi - August 2017


Friday 4th August 2017
India Habitat Centre, New Delhi
jayashreekathak.com


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Rasa Rangini - Debnrutyam Studio - Bengaluru - August 2017


Friday 4th August 2017
Seva Sadan
Bangalore

Debnrutyam Group - Odissi (Debashish Patnaik)
Sambhavi School of Dance - Kuchipudi (Vyjayanthi Kashi & Group)
Sanjali Centre for Odissi Dance - Odissi (Sharmila Mukherjee & Group)
Samskruthi - Bharatanatyam (Satyanarayana Raju & Group)


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Kuchipudi Kadamba - Sri Srinivasa Kalyana - August 2017 - Bengaluru


Monday 7th August 2017
Rayaramatta, Bangalore

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The Earthen Pot - Solo Bharatanatyam - Navia Natarajan - August 2017 - CA


Monday, 14th August 2017
Saratoga Public Library
CA 95070




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Bharatanatyam Competitions, Ranking & Awards..!! - Ganesh Vasudeva Shares His Thoughts - August 2017

Introduction:
There is always a debate about competitions in classical dances. With classical dance forms gaining popularity since the past few years, the need to speak of the competitions is just right. Bharatanatyam dancer Ganesh Vasudeva has some pretty useful and relevant suggestions and alternative. Your comments and feedback are welcome.

Ganesh Vasudeva:
 I see many competitions in SF Bay Area for Bharatanatyam students. These competitions awards 1st, 2nd, .. prizes to participants. This makes me sad. There are many problems within the structure of this competition (like non-dancers judging) and IN the structure itself. To me, structure of these *ranking* competitions themselves is a problem. If a student wins 1st prize does it mean he/she is a good dancer? No - it simply means they danced better (for the lack of better word) than rest that day. 1st prize doesn't mean a student dances well. On the other side of that coin is - If there are 10 very good competitors, does it mean that the person who got 10th place is a bad dancer?

 No! It just means that they didn't as well as the other 9 dancers that day. In the end - this ranking system doesn't say anything about a dancer's dancing. My issue is even bigger than this. Such competitions don't encourage collaboration but competition. What we need is growth based on collaboration. 

 Many education systems (I don't don't mean just dance education) in the world have done away with "ranking" system and instead opt of grading system and also adopt many reforms to encourage collaboration. I hope organizations stop competitions and think about other ways to encourage students. For example, students who participate can be given feedback from senior artists, or organizations can just provide a place to showcase talents of youngsters doing away with judging, .. I think students can be encouraged in many ways. 

  I hope parents stop sending their kids to these competitions, teachers stop sending their students to these competitions. Are there any 'well-thought out ' point of views I am missing? And better alternatives to competitions?



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Series on Guru S.K.Rajaratnam - Nattuvanar Parambarai - Subramany Kavuttuvam - August 2017


Offering to Guru SK Rajaratnam Pillai 
- Bharatanatyam Dancer - Vidhya Subramanian





Guru S.K.Rajaratnam (Vadyar) was one of the last gurus who belonged to the Nattuvanar parambarai. I am very fortunate to have learnt from him and it is a loss to the Bharatanatyam field that he left this world prematurely. He taught the same pieces differently to each of us in our solo classes highlighting our strengths.

I decided to create a select few videos of his pieces, in his choreography, with his voice, a voice that most people came to listen to when attending his students' performances. 

These vintage pieces are hardly performed any longer except occasionally by the next generation that his students have taught to. I felt the need to record them for posterity.

Here is the first of this series, the Subramanya Kavuttuvam. This is a piece I learnt in the 1980s and have performed a zillion times as a teenager. In this video, I have performed this one with a few of my students Vivek Ramanan, Keerthi Venkat and Medha Narwankar. Thank you for the videography by Sri Thina and thank you for the beautiful space Mythili Sankaran.

A sort of passing down of the lineage... Roots

Subramanya Kavuttuvam - 1
Second:

The recording is unfortunately cut and I can't find the original :( but even this little snippet is worth it. Do not miss the AIR style announcement by Vadyar which somehow seems to set the mood for the piece along with the lovely drop of khamboji ragam. With just two ragams khamboji and shanmukhapriya, this composition is another remnant of a dying composition, the shabdam.
https://youtu.be/X68ta6mHdi4
Again thank you for the videography Sri Thina and the beautiful space Mythili Sankaran.
For those who missed the first of this series of recordings to preserve a few pieces from Vadyar's repertoire, here it is (the post pertaining to this video is on my timeline earlier):



 The third video in this series of compositions I learnt from Vadyar (Guru S.K.Rajaratnam) - pushpanjali. I have seen this pushpanjali performed by many of Vazhuvoor Ramiah Pillai's illustrious disciples as well as their students. Each school seems to have their own twists and turns in the music but the choreography has been mostly different. Therefore, I assume this version was choreographed by Vadyar (please correct me if I'm wrong).

 This is a pushpanjali I've performed so many times. That's the beauty of these old compositions - we performed them so often that they're etched in our memory. I don't have to try and remember them or record them.

 I learnt them when there were no cell phones and cameras weren't allowed. We didn't even write them down. Just muscle memory. I teach the same way as do other conscientious teachers. No recording devices, the human being has enough resources to tap into. More importantly, this is what develops a thinking dancer versus a copying dancer, feeling each movement in the mind and body rather than visually imbibing it which creates a copycat version.

 
Along with me in this video are Vivek Ramanan, Keerthi Venkat, and Medha Narwankar.
Thank you again for the space Mythili Sankaran and the videography Sri Thina

Pushpanjali:

********
Here's the 4th video in the Guru SKR series. Alarulu Kuriyaga is a composition of Annamacharya. I love the way vadyar choreographed this to highlight Alamelumanga's grace and beauty. Simple and direct, and there's something to be said for repeating movements so it registers in the spectator's mind. We don't see this much anymore.
This recording is from a performance in Madurai, part of the Iyal Isai Nataka Manram scholarship triad, the other two being Karur and Tiruchi. Also enjoy the AIR style announcement in the beginning in that resonant voice.
https://youtu.be/wsr6hZnGebw
Alarulu Kuriyaga - 4
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Dancing...........And This Study Is Never Ending - Akshay Ayre - August 2017 - Vitamin Art

A : What does your daughter / son do ?
B : She /He is a classical dancer.

A : Oh that's good...She / he does'nt have to study...Just look beautiful & dance!
B : :-) Excuse me. Apart from dancing, she / he studies essence of the following...Mythology, history, stage craft, dramaturgy, geometry, music, yoga, psychology, make up, costume, rhythm, mathematics, literature and many more! and this study is never ending.

A : ( Speechless )
Classical Dance is not just music made visible. Study of SHAASTRA enriches the art & artist.


Pre- Published in July 2017

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