artograph

A NEWNMEDIA™ PUBLICATION

2019 MAR - APR | VOL 01 | ISS 02

A BI-MONTHLY, BILINGUAL E-MAGAZINE FOCUSING ON ARTS | PUBLISHED BY NEWNMEDIA™ FROM KERALA, INDIA | 2019 MAR - APR VOLUME 01 ISSUE 02 | PAGES: 24 | HTTP://ARTOGRAPH.NEWNMEDIA.IN

P10
Evening
delights at
Nishagandhi
Dance lovers in the capital city
of T’puram got to see a few of
delightful performances at the
annual Nishagandhi Festival.

P08
The essence of P03
Ramayana Defying the odds
The dance-drama ‘Rahasya’ has brought Chavara Parukutty, who passed away at
three dance forms together, in an attempt age 76, was among the earliest entrants of
to uncover the soul of the great epic. woman artistes into Kathakali.

P18 P06
Magic of Festivity and
matchsticks beyond
Bivin Lal - a magician, a photographer and Conceived as a multilayered dance event,
a matchstick artist all in one, is now the the 2019 edition of ‘Dancejathre’ served
first-ever to create a matchstick video with as a platform to celebrate the diversity of
exact motion. different dance forms.
 2019 MAR - APR | VOL 01 | ISS 02
EDITORIAL | 02

As the season gets over

As the season of dance and music comes to a closure, now is the
time for everyone to evaluate and reinvent themselves.

The final proof of greatness lies in being able

to endure criticism without resentment.
COVER - Elbert Hubbard
NEENA PRASAD
DURING HER MOHINIYATTAM PERFORMANCE
AT NISHAGANDHI DANCE FESTIVAL 2019.

CONTRIBUTORS
O ne more season of dance and music gets over with a lot of delightful
events and performances. Not just for the performers, but for the entire
art fraternity, it is now the time to recollect and reflect on the experience that
TEXTS they gathered during the period. This second issue of Artograph features
LATA SURENDRA | PRATEEKSHA KASHI reports and appreciations of some of the events that took place in the final
PRIYANKA B. | RACHANA NARAYANANKUTTY
lap of the season.
SETHUNATH U.N. | SREEDEVI N. NAMPOOTHIRY
SREEKANTH J. KARTHA | SREEVALSAN THIYYADI
The lead story of the current issue gives an overview of this year’s ‘Nisha-
PHOTOS gandhi Dance Festival’ - the flagship annual event organized by the Dept.
AKHIL SUKHIYAN | ANJALI REDDY
PRIYANKA B. | PERFECT SNAP | SREERAJ T.
of Tourism, Govt. of Kerala. Because of last year’s flood, the department
was forced to organize the event solely relying on sponsorships, without
EDITORIAL TEAM the usual funding from the government. It was indeed visible in the overall
CHIEF EDITOR conduct of the program, and the most noticeable change was omitting the
HAREESH N. NAMPOOTHIRI
‘Kathakali Festival’. It used to be an adjunct event falling on the same dates.
MEMBERS Kathakali being a significant classical dance form, the organizers could have
BIVIN LAL | MEERA SREENARAYANAN
NAVYA VINOD | SETHUNATH U.N. considered making it a part of the main festival, rather than entirely dropping
SRUTHI MOHAN it. Maybe it could have been the opening program or the finale - on the
LEAD PHOTOGRAPHY Nishagandhi main stage itself.
HAREE FOTOGRAFIE
http://fb.me/haree.fotografie Just like the department came up with a dedicated festival for music, it is
DESIGN & LAYOUT also worth considering to have an event for Kathakali, as a separate program,
NEWNMEDIA™
http://fb.me/newnmedia
preferably in a proper venue in another month. The present practice of orga-
nizing it, in the narrow hall of Kanakakkunnu Palace, as a parallel event,
doesn’t give the prominence the art form truly deserves.
We are indeed glad that the first issue of Artograph has been received well
by the art community. Many have come forward giving suggestions and also
showing interest to contribute to the magazine. Some of those suggestions
are reflected in this issue, while a few others are kept pending for the time
being. The magazine is a solely voluntary publication, and there are a few
practical constraints to be addressed before we could prioritize and include
more columns and content. However, we do look for more thoughts and
FACEBOOK PAGE opinions from the readers. Please use the links below to subscribe and share
fb.me/artograph.official your feedback.
Wishing you all a happy reading. ●

Hareesh N. Nampoothiri
SHARED UNDER
SUBSCRIBE FEEDBACK CONTACT
CC BY-NC-ND 4.0 LICENSE
bit.ly/ag_subscribe bit.ly/ag_response artograph@newnmedia.in
WEBSITE
THE ORIGINAL RIGHTS OF THE TEXTS AND THE artograph.newnmedia.in
PHOTOGRAPHS RESERVED TO RESPECTIVE OWNERS.
THE CREATIVE COMMONS LICENSE IS VALID ONLY FOR
THE E-MAGAZINE IN ITS EXACT FORM. DISCLAIMER
THE OPINIONS AND VIEWS EXPRESSED IN THIS MAGAZINE ARE THOSE OF THE RESPECTIVE AUTHORS AND
DO NOT NECESSARILY REFLECT THE OFFICIAL POLICY OR POSITION OF THE MAGAZINE.
A NEWNMEDIA™ PUBLICATION
 2019 MAR - APR | VOL 01 | ISS 02
03 | MEMOIR
■ HAREE FOTOGRAFIE
F or all her diminutive looks, Chavara Parukutty used to
scale the heights of histrionics to convey the depths
of a feeling that can largely be categorised as horror.
That was when she acted as Malayathi in Nizhalkuthu, a
Kathakali play popular in her native southern Kerala.
When a lowly and docile Malayathi, seen in clothes and
looks that tend to be realistic in utter contrast to the
most of the other stylised characters in the classical
dance-drama, realises that her husband has resorted to
heinous ways to make fortunes, the woman goes furious.
In an apparent trance, she chases her little son and tears
him to death.
The way, Parukutty depicted it had a special element
of power. That was possible because she was herself a
woman. Kathakali, for long, a male preserve has seldom
got a chance to brighten up choreography or emotions
of its female characters by a woman artist. Parukutty,
who died on the 7th of February at age 76, was among
the earliest entrants of woman artistes into the four-cen-
tury-year-old art.
With her dainty form, it’s only natural that Parukutty spe-
cialised in female roles. But it was never that she did
characters that demanded frenzied histrionics bordering
on overacting even by the standards of Kathakali, where
exaggeration is often the norm. She, contrastingly, did
roles that needed portrayal of motherliness (Kunti in
’Karnasapatham’), lust (Devayani), love (Damayanti),
treachery (Pootana in disguise) and minor altercations
(Rugmini in ’Kuchelavrutham’).
A native of a village in downstate Kollam, Parukutty,
predictably, faced two potential hurdles in her profes-
sional profile; she weathered them both. One owing to
her personal grit, the other due to her artistic merit. The
first one helped her overcome taunts from society as
an attakkari (danseuse with loose morals), an extension
artograph
Defying
the odds
Chavara Parukutty has been the
torchbearer for women artistes in
Kathakali for many decades.
SREEVALSAN THIYYADI
Chavara Parukutty in one of her most favoured roles, as
demoness Poothana in ‘Poothanamoksham‘ Kathakali.
of which she initially felt in the green room where male
artistes sought to harass her. The second was her getting
probably snubbed as a ‘southerner ‘ by the aesthetes of
central Kerala’s Kalluvazhi style that began enjoying an
upper hand in Kathakali by when Parukutty was into the
field in the 1960s.
Parukutty, the art world has largely failed to notice, was
among the pioneers in Kathakali to have gone for strong
academic education simultaneously. She graduated
from a vintage college in Kollam in economics, before
choosing to take up the art-form in a big way. True, she
specialised in female characters, but then Parukutty
also dabbled in male roles, chiefly as Krishna. Even so,
that transit phase saw her doing even a heavyweight
male character like Bhima in the Mahabharata story of
Kalyanasougandhikam.
Relatively lesser caste biases in south Travancore
ensured that Parukutty’s background as a member from
a family belonging to a traditionally underprivileged
community didn’t check her tutelage under senior
gurus. What’s more, her chief teacher, Mankulam Vishnu
Namboodiri (1908-81) was a Brahmin - and that with an
egalitarian mind about society at least when it came to
the arts.
Overall, Parukutty would be remembered for not just the
grace she lent to her Kathakali characters, but the poise
with she began a gender revolution in the art that still
suffers from a feudal hangover. ●
Sreevalsan Thiyyadi is a media consultant and
freelance journalist based in Kerala. He is a keen
follower of traditional performing arts, more so
Kathakali.
 artograph 2019 MAR - APR | VOL 01 | ISS 02
OPINION | 04

അതിവായനകളില്ലാത�ൊരു കീചകന്‍
ക�ോട്ടക്കല്‍ നന്ദകുമാരന്‍ നായരുടെ പരമ്പരാഗത കീചകന്‍ സമ്പന്നമാക്കിയ ഒന്നായിരുന്നു
ദൃശ്യവേദിയുടെ ആഭിമുഖ്യത്തില്‍ തിരുവനന്തപുരം കാര്‍ത്തിക തിരുനാള്‍ തിയേറ്ററില്‍
അരങ്ങേറിയ ‘കീചകവധം’ കഥകളി.
സേതുനാഥ് യു.എന്‍.

പ്രതിഭാധനൻമാരായ തുടക്കക്കാരും മുതിര്‍ന്നവരും ഒരുപ�ോലെ ആദ്യാവസാന വേഷങ്ങൾ വിദഗ്ധമായി കൈകാര്യം

ചെയ്തു വരുന്ന ഈ കാലഘട്ടത്തിൽ, ‘സമകാലിക കീചകൻ’, ‘പരമ്പരാഗത കീചകൻ’ എന്നീ രണ്ട് തരത്തിലുള്ള
കീചകന്മാരെ അരങ്ങില്‍ കാണാറുണ്ട്. ഇവയില്‍ ആദ്യം പറഞ്ഞ വിഭാഗത്തിലുള്ള കീചകര്‍, അഥവാ ആ വേഷം കെട്ടുന്ന
നടന്മാര്‍, ഗവേഷണ കുതുകികളും, നൂതനത്വത്തിൽ വൈവിധ്യം തേടുന്നവരുമാണ്.
പലപ്പോഴും അവരുടെ വൈവിധ്യങ്ങൾ ആസ്വാദ്യകരമായി തീരാറുമുണ്ട്. തിരുവനന്തപുരം
ദൃശ്യവേദിയുടെ ആഭിമുഖ്യത്തിൽ കഴിഞ്ഞ ജനുവരി പന്ത്രണ്ടിന്, കിഴക്കേക്കോട്ട
കാർത്തിക തിരുനാൾ തീയേറ്ററിൽ നടന്ന ‘കീചകവധം’ കഥകളിയിൽ,
ക�ോട്ടക്കൽ നന്ദകുമാരൻ നായര്‍ പക്ഷെ കാമല�ോലുപനായ, തനി വിടനായ,
അഹങ്കാരിയായ, അതേസമയം (കാമ)കാര്യസാധ്യത്തിനു അടവുകൾ
പയറ്റുന്ന പരമ്പരാഗത കീചകനായാണ് തിളങ്ങിയത്.
കരബലം ക�ൊണ്ട് വിരാടൻ പ�ോലും ഭയപ്പെട്ടിരുന്ന കീചകൻ, തനി
തെമ്മാടിയും താന്തോന്നിയുമായിരുന്നു. തനിക്കിഷ്ടപ്പെട്ടതെല്ലാം
അധൃഷ്യമായ കൈക്കരുത്തുക�ൊണ്ടു നേടിയിരുന്ന കീചകന്റെ
കണ്ണിൽ മാലിനിയെന്ന കള്ളപ്പേരിൽ മാത്സ്യരാജ്യത്ത് വന്ന
ദ്രൗപദിയും പെടാതിരിക്കുന്നില്ല. അയാളാവട്ടെ കാര്യസാധ്യത്തിനു
തന്റെ കുതന്ത്രങ്ങളും സൂത്രങ്ങളും ഒക്കെ പ്രയ�ോഗിക്കാനും
ബദ്ധശ്രദ്ധനും. പലപ്പോഴും ചില കഥകളി ആസ്വാദകർ വിശേ
ഷിപ്പിക്കുന്നതു പ�ോലെ, സൗന്ദര്യാരാധകനായ കാമുകൻ എന്ന
കാല്പനികമായ വിശേഷണമ�ൊന്നും കീചകന് യ�ോജിക്കില്ലെന്ന്
വ്യക്തമാക്കും വിധമായിരുന്നു ഇവിടുത്തെ കീചകന്‍.
കളരിത്തികവില്‍ പകര്‍ന്നാടി
കാലു മുന്നോട്ടും, പിന്നോട്ടും തൂക്കി വെച്ചാല�ോ, വെച്ച് ചവിട്ടിയാല�ോ
എത്തുന്ന വട്ടത്തിൽ വൃത്തിക്ക് വൃത്തിയായി അളന്നു മുറിച്ച ചുവടുകളും,
ഒതുങ്ങി മെരുങ്ങിയ മെയ്യിന്റെ നൃത്തബദ്ധമായ ഉടലനക്കങ്ങളുമായി
ഒരു ‘പരമ ആഭാസനെ’ അതിസുന്ദരമായി അവതരിപ്പിച്ചു നന്ദകുമാരൻ
നായര്‍. നൃത്തഹസ്തം പിടിച്ച കയ്യുടെ ത�ോളിൽ നാരങ്ങ വെച്ചാലത് മുട്ട്
വഴി ഉരുണ്ട് വിരലുകളിൽ വന്നു നിൽക്കുമെന്നും ത�ോന്നി ഇടയ്ക്ക്.
കീചകൻ തിരന�ോക്ക് കഴിഞ്ഞ് പീഠത്തിൽ ഇരുന്ന് ദൂരെ മാലിനിയെ
കണ്ട്, അത്ഭുതവും കാമവും നടിച്ച്, "സന്തോഷം ക�ൊണ്ടും
അത്ഭുതം ക�ൊണ്ടും ഏറ്റവും ചഞ്ചലമായിരിക്കുന്ന എന്റെ
മനസ്സില്‍ കാമമുണർത്തുന്ന ഇവള്‍ ആരാണ്? ബ്രഹ്മാവ് നാലുമു

ദൃശ്യവേദിയുടെ ആഭിമുഖ്യത്തില്‍ നടന്ന ‘കീചകവധം’

■ PRIYANKA B.

കഥകളിയില്‍ കീചകനായി ക�ോട്ടക്കല്‍ നന്ദകുമാരന്‍

നായര്‍ (ഇടത്), സുദേഷ്ണയായി കലാമണ്ഡലം
അരുണ്‍ രാജു, സൈരന്ധ്രിയായി കലാമണ്ഡലം
ഷണ്‍‌മുഖദാസ് (മറുപുറം) തുടങ്ങിയവര്‍.
2019 MAR - APR | VOL 01 | ISS 02
05 | OPINION
ഖങ്ങളെക്കൊണ്ടും ചുംബിക്കുന്ന ഭാരതിയ�ോ? ശിവന്‍ തന്റെ
അംഗത്തില്‍വെച്ച് ലാളിക്കുന്ന പാർവ്വതിയ�ോ? വിഷ്ണുവിന്റെ
മാറിടത്തില്‍ വസിക്കുന്ന ലക്ഷീദേവിയ�ോ? ഓ, അല്ല! എന്റെ
ജ്യേഷ്ഠത്തിയുടെ സൈരന്ധ്രിയായ മാലിനിയാണ്. ഇവളെ
ലഭിച്ചില്ലെങ്കില്‍ എന്റെ ജന്മം വിഫലം. ഇവളെ ലഭിക്കാൻ
വഴിയെന്ത്", എന്നൊക്കെ ത്രുപുട ഒന്നാം കാലത്തിൽ,
കടുകിട വേഗവ്യത്യാസമില്ലാത്ത തികവ�ോടെയുള്ള ആട്ടം.
ഉദ്യാനത്തിൽ പൂവിറുത്തുക�ൊണ്ട് നിൽക്കുന്ന മാലിനിയെ
പതുക്കെ പ�ോയി മുട്ടിത്തടഞ്ഞിട്ട് വിടശൃംഗാരത്തോടെ
"മാലിനി രുചിര ഗുണ ശാലിനി..." എന്ന പദം. ചെമ്പട ഒന്നാം
കാലത്തിൽ, പാടി രാഗത്തിൽ, ക�ോട്ടക്കൽ നാരായണന്റെ
ഘനശബ്ദത്തിൽ ഉള്ള ആലാപനത്തിന്, നന്ദകുമാരൻ
നായരുടെ, ചിട്ടയും നൃത്തവും ഒരുമിച്ചു ചേർന്നു നിന്ന
രംഗഭാഷ്യം. ചുഴിപ്പുകൾ ക�ൊണ്ട് കുറ തീർന്ന മെയ്യിന്റെ
സൗന്ദര്യം തെളിഞ്ഞു കാണാവുന്ന ഇരട്ടികൾ; എല്ലാം ഒരു
'പറവട്ട'ത്തിൽ. (കല്ലുവഴി ചിട്ടയിൽ 'പറവട്ടം' എന്നാൽ,
ഒരു പറ നെല്ല് നിലത്തു നിരത്തി വിരിച്ചിട്ടാൽ എടുക്കുന്ന
സ്ഥലം. ആ സ്ഥലത്തു ഒതുങ്ങി നിന്നുക�ൊണ്ട് ഉള്ള ആട്ടം
എന്നർത്ഥം.)
കഥകളിയിൽ കീചകനെ ആസ്വദിക്കാൻ പുതുമ നിറഞ്ഞ
ആട്ടങ്ങൾ ഇല്ലെങ്കിലും സാധ്യമെന്ന് നന്ദകുമാരന്റെ
ഇവിടുത്തെ കീചകന്‍ സാക്ഷ്യപ്പെടുത്തി. മാലിനിയുടെ
പ്രതിഷേധങ്ങൾക്കുള്ള അയാളുടെ ന്യായീകരണങ്ങളും
സുസാധാരണമായ 'അഞ്ചു ഭർത്താവുള്ളവൾക്ക് ഞാനും
കൂടിയായാൽ എന്ത്!' എന്ന പരമ്പരാഗത വിടഭാവത്തിലൂന്നി
യാണ്.
"ഹരിണാക്ഷി..."യിൽ എത്തിയപ്പോൾ, മുൻപ്
കാണിച്ച അബദ്ധം പിണയാതെ, കരുതല�ോടെ
'ഇരയെ' വശത്താക്കാൻ പദ്ധതിയിട്ടിരിക്കുന്ന/
നടപ്പാക്കുന്ന കീചകനെ കണ്ടു. നയത്തിൽ പറഞ്ഞിട്ടും,
artograph
രാജ്ഞിയാക്കാമെന്നു വരെ പ്രല�ോഭനം നല്‍കിയിട്ടും,
നടക്കാത്തതിൽ അരിശം പൂണ്ടു മർദ്ദനം. കീചകന് കാമ
പൂർത്തീകരണം മാത്രമാണ് ലക്ഷ്യം എന്ന് ഉറച്ചുറപ്പിക്കുന്ന
കഥാപാത്രാവതരണം.
ഒപ്പം ചേര്‍ന്ന് മറ്റുള്ളവരും
കലാമണ്ഡലം ഷണ്മുഖദാസ് ആയിരുന്നു സൈരന്ധ്രി.
സൈരന്ധ്രിയുടെ പദത്തില്‍, "പണ്ട് ജനകജ തന്നെ..."
എന്നയിടത്തെത്തുമ്പോള്‍ ലഘു ചലനങ്ങളിലൂടെയും
മുദ്രകളിലൂടെയും അതിനനുസരണമായ ചുവടുകളിലൂടെയും,
രാവണന്റെ വരവും സീതാപഹരണവും ജടായുവധവും
രാമന്റെ വരവും രാമ-രാവണയുദ്ധവുമ�ൊക്കെ തന്നെ,
ചുരുങ്ങിയ സമയത്തില്‍ അനായാസേന അവതരിപ്പിച്ചത്
ശ്രദ്ധേയമായി. കീചകന്റെ പദങ്ങളിൽ ചില സമയങ്ങളിൽ
ഉള്ള നിൽപ്; ഭയം, വെറുപ്പ് എന്നിവയ്ക്കപ്പുറം വിരസതയിൽ
ഊന്നിയതായി കണ്ടത് സ്വാഭാവികമായി അഭിനയിച്ചതാവും
എന്ന് കരുതുന്നു. കീചകന്റെ പെരുമാറ്റം പരമമായ വിരസത
ഉളവാക്കുന്നതും കൂടിയാണല്ലോ. കലാമണ്ഡലം അരുൺ
രാജുവിന്റെ സുദേഷ്ണ പാത്രസൃഷ്ടിക്ക് അനുയ�ോജ്യമാംവണ്ണം
പ്രവർത്തിച്ചു. ഗുരുവായൂർ ഹരിദാസൻ വലലനായി വന്നു.
മാർഗി രത്ന ‌ ാകരന്റെ മദ്ദളം അതീവ ഹൃദ്യവും ശ്രദ്ധേയവു
മായിരുന്നു. ക�ോട്ടക്കൽ പ്രസാദിന്റെ ചെണ്ട നടന്മാരുടെ
കൈക്ക് കൃത്യമായി കൂടി. ക�ോട്ടക്കൽ നാരായണന്റെ
സംഗീതം ആട്ടക്കഥാകാരൻ കല്പിച്ചിട്ടുള്ള രാഗങ്ങളിൽ
തന്നെ ആയിരുന്നു. അദ്ദേഹം അത് ഭംഗിയാക്കി. ക�ോട്ടക്കൽ
സന്തോഷ്‌ആയിരുന്നു കൂട്ടുഗായകന്‍. ●
പതിനഞ്ച് ക�ൊല്ലത്തോളം കഥകളി അഭ്യസിച്ചിട്ടുള്ള
സേതുനാഥ് യു.എന്‍., കലയുമായി ബന്ധപ്പെട്ട വിവിധ പ്ര
വര്‍ത്തനങ്ങളില്‍ സജീവമാണ്. കൂടാതെ ഐ.ബി.എസ്.
സ�ോഫ്റ്റ്‌വെയര്‍ സര്‍‌
വീസസ് ലിമിറ്റഡ് കമ്പനിയില്‍
ജ�ോലി ന�ോക്കുന്നു.
■ PRIYANKA B.
artograph 2019 MAR - APR | VOL 01 | ISS 02
FEATURED | 06

Festivity and beyond

■ SPECIAL ARRANGEMENT
Conceived as a multilayered dance event, the 2019 edition of ‘Dancejathre’
served as a platform to celebrate the diversity of different dance forms.
LATA SURENDRA

T he charisma of the veteran maestro of Kuchipudi;

Vyjayanthi Kashi and her daughter-disciple Prateek-
sha, coupled with the team spirit of volunteers made
Kathak recital by Anuj Mishra and group on the opening day of
‘Dancejathre 2019‘.

Workshops and more

‘Dancejathre 2019’ at Bengaluru, such a memorable
chapter to cherish! Being a part of the two-day festivity
of workshops, dance competitions, exhibition, stalls and
evening performances by seasoned artists and winners
of competitions, was to be gathered in the bliss that was
defined through art, artists and art forms. For those who
are in love with art, it was sheer heaven on earth at the
scenic Shankaraa campus.
The beginning
The dawn of the jathre unveiled with the prelude set
through invoking Lord Ganesha, followed by the ceremo-
nial lighting of the lamp. There was an air of expectancy
around, as restless feet awaited the moment when com-
petitions, workshops and performances would endorse
the purpose and meaning of each of their presence there.
The day’s workshops had a great start with renowned
Bharatanatyam exponent, Geeta Chandran, awakening
dancers to aspects of physical control, ever so vital to
self-control and the ultimate flowering of the body in its
reaching out with the soul.
Photo exhibition by the Mumbai based photographer
Madhusudan Surendra Menon titled ‘Dancescapes’,
espied upon the perfect moments of seasoned dancers
and veterans. When asked about what he sought while
capturing those moments, promptly came the reply:
“to capture the perfection in movements that dancers
give their very life-breath to. It is important that my stills
reflect those movements”.
The strains of the Garba filled the air and the delegates
were guided to the energetic and bubbly Bhumi Thakkar
and the elegant and soft-spoken director Tripti Bhupen
from Samarpan School of Performing Arts, Ahmedabad.
After the demanding classical workshop that preceded
it, the lightness demanded from the feet of waiting par-
ticipants were a caress unto them.
Immersed in the joie-de–vivre all around, none felt the
shining afternoon sun. Against the music from pen-
drives carrying the senior and junior competitor’s destiny
reaching out from multiple directions, one hardly could
resist the flavours from the organic food stall, so sensi-
tively put up by the nutritionist within Vyjayanthi Kashi.
Steaming millet idles, dosas, delicacies, had one witness
the rhythms across counters.
Soon it was time to move on to the choreography
workshop by Bengaluru’s very own Mayuri Upadhya
and an interesting Natyagraphy workshop by Vijay
Madhavan from Chennai. A very absorbing workshop
highlighting the technical aspects of Yakshaganas was
taken by Chandrasekhara Navadhisha from Mangalore.
All too soon it was time for receptive feet to align to the
kinesthetics of Kathak through Anuj Mishra’s workshop
followed by the gentle and poised Ileana Citaristi’s
Chhau workshop - ‘Moving in Space‘.
The evening performances by accomplished artists
and veterans displayed the virtuosity and awareness of
2019 MAR - APR | VOL 01 | ISS 02
07 | FEATURED
each. Odissi recital by Sharmila Mukerjee and her group
from Bengaluru presented aesthetically choreographed
and synchronized pieces. Geeta Chandran’s ‘Anekanta’
already creating waves all around held the audience
spellbound as she explored the Jain philosophy of
embracing diversity and accepting multiple truths.
The evening concluded with Kathak by Lucknow based
Anuj Mishra and group; whose awareness of the kines-
thetics of his idiom merited him applause that echoed
into the charged night, setting the prelude to the next day
unfolding with workshops interesting in their aesthetic
and intellectual content.
Closing day
We had Bengaluru’s established Poornima Gururaja with
her ‘Metaphor in Dance’ workshop and the accom-
plished Jayashree Rajgopalan from Mumbai with ‘Fitness
through Shastra’ workshop to align the physical with
self control and then myself, highlighting the redress-
ing of familiar rhythmic cycles, with an awareness of the
inherent mathematics ever so intriguing and vital to the
dance, dancer and dance-choreographer.
Priti Patel, an accomplished Manipuri exponent with her
absorbing workshop threw light on the various aspects
of Manipuri dance traditions and the exhilarating martial
arts form of Thang-ta. Her evening performance ‘Agni -
Glimpses from ‘Dancejathre 2019‘, an
event organized by Shambhavi School of
Dance on the 26th and 27th of Jan.
artograph
the Sacred Fire’ lit up the ambience of dance pervading
across the campus sanctifying it absolutely.
The ‘Magic of Movement’ workshop had Divesh Mirchan-
dani drawing in the onlookers too into the workshop
where he had all dance the Ghumar. The energy
kissed every dance performance in the evening as one
witnessed the earnest performances by winners of the
senior group competitions. Parents and rasikas had a
chance to understand that from mime to a spontaneous
delineation is a journey where dance slowly transformed
into a visual prayer. This was more than endorsed by
Vyjayanthi Kashi and her Shambhavi Dance Ensemble
who reached out with two unique productions.
Blissful performances
The first one brought alive the characters of Poothana
and Krishna, and depicted the victory of the Lord over
the demon. There is such depth in Vyjayanthi Kashi’s
abhinaya! Overflowing with the foil of evil and maternal
love through subtle delicate expressions, she was abso-
lutely one with the character of Poothana. Charismatic
and alluring Prateesha Kashi as Rudramma, in the next
presentation, did full justice to her character. The entire
choreography was a kind of benchmark for people to
become aware of whilst dressing any theme through
form and content. The most important
aspect being ending the performance at just PAGE 09 ►
 artograph
The essence of
Ramayana
The dance-drama ‘Rahasya’ brought Bharatanatyam,
Kathakali and Odissi together, in an attempt to
uncover the soul of the great epic.
RACHANA NARAYANANKUTTY
T his is neither the first time Indian
classical dances are being
performed together on a stage nor
Ramayana appears as the main plot
in a dance presentation. While this is
also not the first time a dance-drama
staging has been executed with the
support of theatre techniques, it
is the very first time that Kathakali,
Bharathanatyam and Odissi dance
forms have been combined to
present a dance-drama, ‘Rahasya
- Mysterious Circle of Life’, to spill
the beans about the Ramayana. The
production has been
conceptualized as a
triptych of Indian
classical dances
■ SREERAJ T.
by Bharathanatyam danseuse and
cine actor Paris Laxmi, Kathakali
actor Pallippuram Sunil and Odissi
dancer Abhaya Lakshmi.
The title expands as Ra-Rama,
Ha-Hanuman and Sya-Sita. The
presentation gives an overview of
the enigmatic cycle of life through
Hanuman. The three-act staging
started and ended with him, the one
who lives forever aka Chiranjeevi.
Relating to the present
‘Rahasya’ suggests Hanuman is still
amongst us and whenever he comes
across a piece of lost jewellery of
someone, he wonders whether
the history is about to be
repeated by itself. Ages
ago, he found some lost
jewels, and it defined his
destiny forever. Memories
come rushing in. His first
meeting with Rama, travel
to Lanka in search of Sita
carrying the signature ring
of Rama, bringing back
the choodamani (hair
brooch) from Sita, the
Rama-Ravana war, the
crowning ceremony, the
test by fire, the rumours,
the separation, Sita’s
Paris Laxmi as Rama, Abhaya Lakshmi as Sita (left) and Sunil
Pallippuram joins them as Hanuman (next page) in ‘Rahasya -
Mysterious Circle of Life‘.
2019 MAR - APR | VOL 01 | ISS 02
FEATURED | 08
return to Mother Earth, and Rama’s
self surrender in Sarayu; all these
episodes were presented beauti-
fully. When the waves of memories
reach the shore, Hanuman laments
on becoming an orphan as both
Rama and Sita had left him. His wait
for their return and then as the one
who tries to see them in himself
echoes the concept of ‘thathvamasi’.
A team effort
Laxmi’s was a spirited performance
as Rama, which evoked the Veera
Rasa, and seemed to be as powerful
as the arrows of Rama, especially
during the hunting scene of the
golden deer. The dancer, while doing
Jatayumoksha, was filled with a deep
sense that she was depicting not just
Rama, but Lord Vishnu as well. Also
being a western ballet dancer, Laxmi
had a flair of it in certain moves. As
far as Hanuman and Sita, both were
presented capably by Sunil and
Abhaya Lakshmi respectively.
Lakshmana also plays a vital part
in many of these episodes. While
the artists certainly succeeded
in making the audience feel the
presence of the character for the
most part, without an artist taking
the role on stage, one would have
wished to see him for real during the
crowning ceremony scene.
The balanced usage of the Cha-
thurvidhabhinaya; āngika, vāchika,
āharya and sātwika, mentioned in
Natyashastra, was seen efficiently
employed in Rahasya with the
narration of actor Murali Gopi also
coming in focus towards the end.
The musical composition by Praveen
D. Rao bears special mention. He,
without any compromises, did
justice to the three dance forms as
well as to the characters. Sanskrit
was the language used in the pro-
2019 MAR - APR | VOL 01 | ISS 02
09 | FEATURED artograph
► FROM PAGE 07 the right time, where people long to see
more.
Kudos to the lady whose passion has urged the Jathre
onward to 2019! As the delegates left the venue, it was
evident that they were full of the music coming through
an exchange of ideas, thoughts, action and interaction.
One could certainly hope that the rhythms stirred this
time set the prelude to the next one poised and waiting
in the wings of time. ●

Lata Surendra is an accomplished dancer, cho-

reographer, teacher, curator and writer. She is
Vyjayanthi Kashi in the role of demoness the founding director of Anjali Bharatanatyam
Poothana, during her performance on Research Trust in Thane, Maharashtra.
the second day of ‘Dancejathre 2019‘.

duction, and it was indeed an apt
choice for ‘Rahasya’. Arjun Bharad-
waj’s framing of words and phrases
were nothing short of poetry.
Technical glitches
Due to the projected structure of
the mudi (headgear) of Hanuman,
the light was not falling on his face
making it hard for the viewers to see
the facial expressions. A little more
thoughtful lighting would’ve helped
here. An increase in volume and
prompt usage of acoustics would’ve
also enhanced the overall experi-
ence creating a better impact.
What made the production special
was the sincere approach and con-
tribution of the three capable artists,
and they can be proud as their work
can be assured of a place in the con-
temporary choreography works of
Indian Classical Dances for sure.
‘Rahasya - Mysterious Circle of Life’
has been produced under the
banner of Kalashakthi School of
Arts and the premiere show was on
the 20th Jan’19 at JTPAC auditorium,
Thrippunithura. ●
Rachana Narayanankutty is a Kuchipudi
dancer, actor, choreographer
and research scholar. She
also heads Srishti - Centre
for Performing Arts, in
Thrissur and Kochi, Kerala.

■ SREERAJ T.
artograph 2019 MAR - APR | VOL 01 | ISS 02
COVER STORY | 10

Moments

Evening The 2019 edition of ‘Nishagandhi

Dance Festival‘ was inaugurated

delights at
by P. Sathasivam, the Hon. Gover-
nor of Kerala.

Nishagandhi
The 2019 edition of the annual ‘Nishagandhi Dance
Festival’ amused the viewers with a few delightful
performances.
HAREESH N. NAMPOOTHIRI
Noted Mohiniyattam exponent
T he dance festival of Nishgandhi, flagship event of the
Dept. of Tourism, Govt. of Kerala, aims to showcase
the richness of Indian classical dances to natives
Kalamandalam Kshemavathy has
been awarded the ‘Nishagandhi
and tourists alike. The seven-day festival happens Puraskaram‘ this year for her con-
annually in January, final day being the 26th. tribution in the field of Mohini-
yattam. Governor P. Sathasivam
Neena Prasad’s Mohiniyattam performance presented the award during the
marked the beginning of this year’s festival. The inaugural ceremony. The award
opening piece was a cholkettu in raga Dhanyasi, constituted in 2013 carries prize
praising the goddess of wisdom towards the end. money of Rs. 1.5 lakh, a citation
The item was adorned with postures and a bronze sculpture of Bhara-
and paced aptly to compli- ta Muni.
ment the mood of the raga.
Plight of mothers
It should be
nothing but just
a coincidence;
all Mohiniyattam
performers ended up
doing a mother character
in the central piece of their recitals.
Neena Prasad brought the poignant Kunti
on to the stage in the varnam “Asannamay-
allo...” penned by Sreepadam Easwaran
Namboothiri and set to tune by Changa- The inaugural event also had the
nassery Madhavan Nampoothiri in raga presentation of dance choreog-
Panthuvarali. The context of the varnam raphy set to the title song of the
is Kunti’s meeting with Karna before festival presented by the talents
the battle of Kurukshetra. The dancer of Regatta Natya Sangeetha
started by showing the preparations Vidyalayam, T’puram.
of the war in full swing all around
intensifying the torment of Kunti.
As the varnam progresses, Kunti
tells Karna how he was born. It
■ HAREE FOTOGRAFIE

was quite refreshing to watch

Neena Prasad transforming to
the teenage girl, who couldn’t

Rashmi Menon during her recital

at the 2019 edition of ‘Nishagandhi
Dance Festival’.
 2019 MAR - APR | VOL 01 | ISS 02
11 | COVER STORY
■ HAREE FOTOGRAFIE
Christopher Gurusamy
and Ardra M.A. (bottom)
during their recital at this
year’s ‘Nishagandhi Dance
Festival’.
resist the temptation to try out the
newly acquired boon. Then in the
next passage, she is the elder Kunti
again, asking Karna not to fight for
the Kauravas or at least do not kill
his brothers. The appropriate sthayi
for the character in two different
periods was remarkably intact, and
the dancer added a touch of it even
for the pure-dance portions. As
she takes leave, Kunti asks
for forgiveness and reminds
Karna that he’s no longer an
orphan.
Neena continued with
“Rathisukha sare...“, a song
from Jayadeva’s ‘Gita
Govinda‘ composed in
ragamalika. Here the
dancer took the role of
a gopi persuading Radha
to go to Krishna, who’s
waiting for her in fascinating
attire, resembling the god of
sensuality. After the evocative
presentation of the ashtapadi,
Neena concluded her recital
with a thillana in Amrithavarshini.
Rashmi Menon, for her main piece,
chose to present another mother
in predicament, Devaki - the birth-
mother of Krishna. The varnam was
penned by Thrissur Mohan Kumar
and is composed in raga Bageshri
by Vayala Rajendran. Different
episodes, from Devaki’s marriage
leading to Krishna’s birth and the
exchange of newborns, formed the
content of the varnam. Rashmi came
good in narrating the story aptly
switching the sancharis but without
missing the sorrow-stricken Devaki
in the midst.
In the Mohiniyattam adaptation of
“Ajithahare jaya...” from ‘Kuchela
vrutham’ Kathakali, Rashmi narrated
the familiar story of Kuchela meeting
with Sree Krishna. The dancer
used the portion ‘Vijayasarathe...’
to elaborate the ‘Gitopadesam’
episode. Rashmi effortlessly role-
played the characters and made it
worthy of a presentation. However,
as the focus shifted to this, the story
of Kuchela got to a back seat.
Earlier, Rashmi had a poised start
with “Danthamekam enkilere...“, a
Ganesha sthuthi in raga Vitapi. The
Devi sthuthi “Sree chakraraja...“ that
followed the varnam also underlined
artograph
the finesse of the danseuse. Thillana
in raga Bhupalam was the final item.
Ardra M.A., in the junior segment,
followed a similar pattern. She
presented the sorrowful Hidumbi in
the varnam, who has lost her only
son Khadolkacha in the battle of
Kurukshetra. She did well to make a
mark in the allowed thirty minutes,
initially starting with a Ganesha
sthuthi.
Power-packed performances
In the Bharatanatyam segment,
the festival had two male dancers
and they both performed with
unmatched energy.
Christopher Gurusamy had an elec-
trifying start to his recital with a brisk
kautuvam in praise of Lord Natesa.
The dancer was well in control and
danced with admirable technical
precision. Swathi Thirunal’s “Sumas-
ayaka...” in raga Kapi was the chosen
varnam for the evening. The piece
was beautifully imagined and Chris-
topher did full justice in portraying
the heroine, who is mentally fatigued
dreaming about her Lord, unable to
contain her emotions.
In “Yaro ivar yaro...”, the dance
depiction of the song from
Arunachala Kavi’s ‘Ramanatakam’,
Christopher presented Rama in
astonishment, seeing Sita for the first
time. “Jagadodharana...” followed by
a short thillana in raga Bilahari were
the concluding items.
Adithya P.V. in addition to being deft
was also able to bring a certain level
of calmness to his recital, making
it more of a soothing experience.
Setting this tone was the initial piece,
a thodaya mangalam, featuring
exclusive nritta and offering prayers
to his chosen divinities.
The oft-performed varnam “Sami
ninne korinanura...”, a composition
of Ponnaih Pillai in ragamalika was
the central piece. He presented the
nayika as someone who experi-
ences her lord in every aspect of her
life. A cluster of short narratives was
presented, clearly outlining the sen-
timents of the heroine.
Stretching his hands, legs and
leaning sideways, often measuring
the stage diagonally - the cho-
reography plans were innovative
 artograph 2019 MAR - APR | VOL 01 | ISS 02
COVER STORY | 12

Adithya P.V. and Narthaki Nataraj (left)

during their recital at the 2019 edition of
‘Nishagandhi Dance Festival’.
and Adithya maintained the flow in
execution throughout.
In the Surdas bhajan “Dekh dekh
ek bala jogi...”, Adithya presented
Lord Shiva who plans to visit Sree
Krishna disguised as a young
saint. It starts with a little long
prelude, but for a reason. The
dancer set the premise here,
effortlessly handling the roles,
garnishing it with some lighter
moments as well. A ragama-
lika thillana was the concluding
piece.
A contrast in approach
Other than the male dancers, the
festival had Narthaki Nataraj in the
main slot and Sobha Madhu in the
junior slot doing Bharatanatyam.
Narthaki Nataraj wasn’t as vibrant or
very innovative in her dancing, but
she made up for it in the dramatic
portions, where she scored with her
innate abhinaya skills. She began
her recital with a cholkettu in raga
Nagaswaravali, not something
presented so often.
The verses of Tirumular
■ HAREE FOTOGRAFIE

were used to form the

varnam. The story
of the tribal man
Kannappa Nayanar
and his devotion to
Lord Shiva formed
 2019 MAR - APR | VOL 01 | ISS 02
13 | COVER STORY
the major part of it. Though she lacked the support of a
live orchestra, it didn’t seem to affect her recital much.
She did fine in the narrative part, especially the climax
portions where Kannappa tries to fix the eyes of Shiva
with his own, and the Lord himself appears before him
to save him from the troubles. One thing she could’ve
done without is the unnecessary elaborations in some
portions.
In the dance interpretation of the Swathi Thirunal padam
“Kamini mani...” that followed, Narthaki was again seen
at ease role-playing two maidens conversing over
their romantic interest. Narthaki Nataraj
concluded her recital with “Enna kavi
padinalum...”, a song in praise of Lord
Muruga.
Sobha Madhu began her recital with
“Arputha narthanam...”, a compo-
sition of Madurai R. Muralidaran,
then did the padam “Thottu thottu
pesavaran...“ and concluded with
a thillana. She surely had a
flair for dancing. However, it
seemed like she was either
over excited or nervous, in
turn not succeeding to
make a finer impact.
■ HAREE FOTOGRAFIE
Namrrta Raai, Shobha Madhu, Nija Lathin and T. Reddi Lakshmi (clockwise from top)
during their recital at this year’s ‘Nishagandhi Dance Festival’.
artograph
More of solos
Namrrta Raai, T. Reddi Lakshmi, and Raminder Khurana,
performing Kathak, Kuchipudi, and Odissi respectively,
were some other soloists in the festival.
Namrrta Raai began with a Devi sthuthi, and then
followed it with a series of dance patterns dealing with
the rhythmic aspects of the repertoire. As progressed,
Namrrta transferred the syllables set in teen taal in
different beat cycles and tempos, effortlessly to her feet.
Dance adaptation of “Yaad piya ki aaye...”, a thumri of
Bade Ghulam Ali Khan featuring a heroine waiting for
her lover and then the Sufi poetry by Amir Khusrow
“Zehaal-e-miskeen makun taghaful...”, saying not to
overlook one’s miseries, were instances underlining the
dancer’s proficiency in abhinaya. The concluding piece
was a vibrant tarana.
T. Reddi Lakshmi is a dancer who brings a lot of live-
liness in her recital and “Pranavakaram...” in Arabhi
was an apt choice to begin the recital. The gopi
yearning for Krishna in the sabdam and Saty-
abhama in ‘Lekha’ and the “Shakunalu...”
daravu were notable for her involvement.
The pick of her recital was the Meera Bhajan,
“Main sanware ke rang...” sung in raga Desh.
The legend says Meera Bai was poisoned by
her in-laws and Krishna came to her rescue.
Lakshmi excelled in the roleplay and made
it captivating. She concluded with a
swarajathi in raga Vasantha and
artograph
Adi tala in which she also danced on
the brim of the brass plate.
Nija Lathin and Sindhu Sivankutty
also performed Kuchipudi in the
junior slot on different days. Nija
took the Tyagaraja composition
“Nagumomu ganaleni...” as the main
piece. She portrayed the plight of
Sita, under the custody of Ravana,
praying to Rama for her rescue.
Earlier, Nija had a pleasant start
to her performance with “Giriraja
sutha...”, paying obeisance to Lord
Ganesha. She could have brought
a little more finesse to her dancing,
and it would’ve made a better
impression. This aspect was even
more apparent in the final thillana in
raga Shankarabharanam.
The Kuchipudi of Sindhu, couldn’t
help the audience but wonder how
she managed to get through the
selection procedure of the festival; if
there was one!
Raminder Khurana planned her
Odissi recital with a few notable
items; “Bho sambho...” as the opening
piece and two pallavi pieces
separated by the evergreen Odiya
song “Kede chanda jane lo sahi...”.
But alas, the dancer struggling to get
her rhythm right and the abhinaya
missing that grip, the recital hardly
could make an impression.
Like always, the festival also had
a handful of group performances.
Maybe the lack of funds also could
be a reason; it seemed like the
groups had limited resources at their
disposal.
The thrill of Gotipua
They came, they performed, and
they left the audience in awe! There
is no better way one can describe
the thrill of watching Gotipua dance
performance by the young boys of
Nrutya Naivedya.
For those who are not familiar,
Gotipua is a traditional dance form
and is considered as an early form of
Odissi. Dressed up in girl’s costumes
every member of the team did well
as they have practised.
The boys began their performance
with ‘Vandana Nrutya’ paying tribu-
tes to the five presiding deities. A
pallavi and then a piece based on
2019 MAR - APR | VOL 01 | ISS 02
COVER STORY | 14
‘Gita Govinda’ followed. The focus
being on synchronized movements
and formations, the dancers were
up to the task.
It was in the final ‘Bandha Nrutya’
they took their game further up.
Ornated with acrobatic movements
and postures, many of them only
possible for boys in their adolescent
age; they carried the audience to
the peak of excitement.
A Kuchipudi medley
Vyjayanthi Kashi and her team of
dancers from Shambhavi School
of Dance put together items that
are unique on its own starting with
‘Sandhya Tandavam’. The dancers
might be in the different stages of
training, and their proficiency varied.
But with Vyjayanthi Kashi taking the
lead along with Prateeksha, made Raminder Khurana performing Odissi
up for it making it less prominent. (top) and Young boys of Nrutya Naivedya
The story of Krishna and Poothana
presenting Gotipua dance on the stage
of ‘Nishagandhi Dance Festival 2019‘.
was the content of the next piece.
The highlight of it was Vyjayanthi
Kashi portraying Poothana.
After a tarangam again by the
group, the mother-daugh-
ter duo presented scenes
from ‘Chitralohitha’, a pro-
duction bringing multiple
tales together. The legend
of Hanuman reaching for
the sun thinking it is some
fruit was the first one
followed by a situation
where Krishna and Radha
spend time together. They
both did their roles well in
an engaging manner.
Maybe it was inspired
by the recent trend in
Bollywood, biopics
■ HAREE FOTOGRAFIE
 2019 MAR - APR | VOL 01 | ISS 02
15 | COVER STORY
focusing on historical personages;
‘Rudrama’, with Prateeksha in the
title role, tried to give a snapshot of
the life and spirit of Rani Rudrama
Devi, the 13th century monarch belo-
nging to Kakatiya dynasty.
The approach was more inclined
towards contemporary, with differ-
ent scenes unfolding the life of
Rudrama. Packed with a lot of drama
and action, Prateeksha presented
her role with flawless energy and
made it an entertaining ride.
Failing to impress
Manjushree Panda and her group
started with a mangalacharan
■ HAREE FOTOGRAFIE
followed by ‘Sthayee Nrutya’, a pure
dance piece. The dancers seemed
not very involved, and the perfor-
mance hardly created much of an
excitement.
‘Dasavatara’ portraying the ten incar-
nations of Lord Vishnu based on the
Jayadeva poetry was also the usual
kind, without anything unique in the
offer. ‘Nabarasa’ highlighting the
nine emotions, based on instances
from ‘Ramayana’ was presented by
Manjusree Panda as a solo item and
it was somewhat of a relief.
The Manipuri dance by Sudip Kumar
and his group also had a similar fate.
artograph
■ HAREE FOTOGRAFIE
Odissi group presentation by the team
led by Manjushree Panda and Kuchipudi
group performance by Shambhavi
School of Dance (bottom) at the 2019
edition of ‘Nishagandhi Dance Festival’.
‘Krishna Biraha’, based on the third
canto of Jayadeva’s ‘Gita Govind’ -
a solo piece in which Sudip Kumar
appeared as Krishna was notewor-
thy. However, as the members of his
team couldn’t contribute much, the
recital in its wholeness fell short of
making an impression.
The lack of usual segments like
pung cholom and martial arts was
another disappointment, especially
for a crowd seasoned to seeing
artograph
the repertoire with all these ingre-
dients. Usually, the performers end
their recital on a high note with the
‘Basant Ras’ piece, but it also wasn’t
as exhilarating as it used to be.
A delightful finale
Monisa Nayak together with her
disciples - Aishwarya Srivastava,
Mahima Gupta, Malvika Sharma and
Priyanka Kumari of Khanak Institute
of Performing Arts, presented a cap-
tivating show of Kathak on the final
day.
The team opened their recital offer-
ing salutations to the Sun god using
Monisa Nayak along with her team per-
forming Kathak on the concluding day of
‘Nishagandhi Dance Festival 2019’.
verses taken from Surya Stotra, set
in rag Bhairavi and teen taal. They
all danced well together and it was
noteworthy in its totality.
Monisa excelled in her rhythm and
execution as she performed a series
of technical pieces like udan, tihai,
parmelu, gathika and so on. Monisa
Nayak continued her recital with
‘Makhan chori’, a gat bhav piece in
which she portrayed how Krishna
steals butter and how Yashoda deals
with it.
The narratives were simple, like
Yashoda churning butter or Krishna
2019 MAR - APR | VOL 01 | ISS 02
COVER STORY | 16
Manipuri by the group led by Sudip
Kumar Ghosh at the 2019 edition of
‘Nishagandhi Dance Festival’.
reaching the pot of butter and
Monisa made it all engaging. Later,
the team also presented an instance
connected with Krishna, having a
playful time with the gopis.
The climax of the presentation was
the jugalbandi and the tumri that
they have presented towards the
end, ably supported by Yogesh
Gangani on the tabla. With a lot of
rapidly paced signature spins, often
with all the dancers circling the
stage, it was indeed a visual treat. ●
■ HAREE FOTOGRAFIE
2019 MAR - APR | VOL 01 | ISS 02
17 | OPINION artograph

The tale of Sanjeevani

T he ‘Bhramara Festival of Dance‘ that recently concluded at the Royal
Opera House in Mumbai featured the highest quality performances of a
cross-section of classical and traditional dance forms of India. Among them,
The premiere show of
‘Sanjeevani’, presented by
Parshwanath S. Upadhye from Bengaluru was the only soloist, and he was Parshwanath S. Upadhye
on his mettle to leave an enthralled audience in high spirits. The rigour in
infusing freshness into his choreographies and vigour in delivering it on stage
as part of Bhramara
with unparalleled energy and finesse was notable throughout his recital. Festival of Dance, was a
Parshwanath chose to present a new choreography ‘Sanjeevani’, depicting grant success.
the life of Hanuman from early childhood and through snapshots in time
of the Ramayana. It was choreographed with great care to cater to a wide
SREEKANTH J. KARTHA
range of audience from connoisseurs to novices with an ample mix of geeta,
vadya, nritha and abhinaya. The nrithya was interwoven with briskly paced
jathis delivered by Adithya P.V. in the nattuvangam. Parshwanath has a
unique style of dancing to jathis, often in complex tala patterns, with great
ease and precision that the audience doesn’t realise its complexity.
Impeccable portrayal
While Hanuman’s aura embraced the whole choreography, it was distinctly
apparent in depicting the folklore tale of Shiva accompanying Hanuman to
Ayodhya to facilitate his first meeting with Rama. Hanuman disguised as
a monkey sat on the shoulder of Lord Shiva, who pretended himself as a
monkey charmer. In depicting the monkey acrobatics that they displayed on
the streets of Ayodhya, Parshwanath completed a circle of somersaults on
the stage that wowed the audience.
The dynamics of pure nritha was mellowed with subtleties of equally
brilliant abhinaya. The lokadharmi abhinaya in the presentation of Hanuman
and the monkey charmer deserves high praise. Notably, the depiction of
the ‘hanu’ of Hanuman with a direct mimicking hasn’t widely experi-
mented in Bharathanatyam in the past, and so are other gestures
that provided a desi edge to the piece.
Extensive use of lokadharmi need not necessarily sublime well
with a highly stylized form like Bharathanatyam and could easily
garner criticism from the conservative people. Parshwanath’s
courageous experimentation well-founded in his traditional
practice, is for sure, providing new life and richness to the
repertoire.
The piece concluded with the story
of Hanuman fetching the mountain
laden with the Sanjeevani herbs to
■ PERFECT SNAP

revive Lakshmana who succumbed

to the asthras of Indrajith in the fierce
battle. And, when thanked for his deed,
Hanuman tears his chest open to show his
devotion to Rama.
Along with Adithya, he was also accompanied by Rohith Bhat
Uppoor in the vocal, Harsha Samaga on the mridangam, Narayan
Sharma on the violin and Mahesh Swamy on the flute. Light
design was done by Murugan Chennai. ●
Sreekanth J. Kartha works as a scientist at CSIRO,
Australia and is an admirer of music, dance,
literature and theatre. Writes often about
the aesthetics, socio-politics of arts and
occasionally indulges in own creative Parshwanath S. Upadhye during the
pursuits. premiere show of ‘Sanjeevani’.
 artograph
Magic of matchsticks
Bivin Lal - a magician, a photographer and a matchstick artist all in one, is now
the first-ever to create a matchstick video with exact motion.
B ivin Lal, an accomplished pho-
tographer and magician, is now
credited with a URF World Record
for the creation of first-ever match-
stick video with exact motion. A
government employee by profes-
sion and guest faculty at Magic
Academy, he had featured his pho-
tographs in ‘Art and Alchemy’ - an
exhibition organised by Soorya to
celebrate 177 years of photogra-
phy. An adherent lover of arts, he is
a master of well-timed dance shots.
‘Matchstick Man’, as he is popularly
known shares his views on the
less explored matchstick art, that
requires a great deal of patience and
eye for detail.
From macro photography to match-
stick miniatures; what inspired you to
work with matchsticks?
Roughly three years back, when I
was residing in Chirayinkeezhu, I
was mainly into stage photography.
The frequent travels to the city for
covering events became challeng-
ing with the arrival of a little member
into our family. I always wanted
to be different and was in search
of something that I could do from
home. It was then that I struck upon
a Facebook post using matchstick
figures. That seemed very interest-
ing to me. But I waited for the right
theme to begin my work and quite
surprisingly, during a train journey
with thickly packed passen-
■ AKHIL SUKHIYAN
PRIYANKA B.
gers, I overheard a witty Malayalam
movie dialogue ‘Purushu enne
anugrahikkanam...’ (from the movie
‘Meesa Madhavan’). That was a
eureka moment, and thus the first
matchstick model was born based
on that theme.
The matchstick models used in the
scenes are very creative. What do
you use as a reference?
Matchstick modelling, a precursor to
the matchstick art, began long ago.
What makes the latter different from
the former is the portrayal of human
beings and their conditions using 3D
modelling. What I
attempt is to
develop
2019 MAR - APR | VOL 01 | ISS 02
ART COLLOQUY | 18
matchstick art as a distinct form
incorporating my ideas and expe-
rience in photography. Everyone
can easily relate to the themes
adopted in my works. Be it the ‘lelu
allu’ (based on the Malayalam movie
‘Thenmavin Kombath’, the picture
of which was shared on Facebook
by Mohanlal himself) model, or the
cricket match model that became
hugely popular, all subjects are
drawn from everyday life.
It may not have been easy for sure;
what are the major hurdles in the
making of these matchstick figures?
There are many. From the selection
o f appropriate matchsticks to the
choice of right glue and
dress material, there are
many hurdles to overcome
before bringing out these
models in the current
form out in public.
Bivin Lal during one of his matchstick
endeavour.
2019 MAR - APR | VOL 01 | ISS 02
19 | ART COLLOQUY
How is your experience as a photog-
rapher helping you in this regard?
For me, matchstick art derives its
significance through the application
of photographic techniques. The
real beauty of each model can be
brought out through the captures.
My experience in macro photogra-
phy has helped a lot in this regard.
Patience and keen observation are
the main assets of a photographer,
and this has immensely helped
in taking the work forward amidst
many futile attempts.
A video using matchstick figures - the
idea itself gives goosebumps. How
did you make that possible?
It was very complex than I imagined
initially. It took almost three months
for the creation of the 4.14-minute
‘Song of Love’ video. A total of
around 13000 photos were clicked,
and among them, 5300 photos were
selected to give the movements
using the stop motion technique. The
music used in the video is a com-
position of famous playback singer
Shahabaz Aman (“Maranamethunna
nerathu...” from the movie ‘Spirit’), and
I am much indebted to him for his
criticism that brought out my best as
far as this video is concerned.
What about your family and their
support in all these craziness?
My wife Suma never complains
about my adventures like this. She
knows what I love doing and gives
full support. She is the one who
helps me with picking the themes
and in making the costumes for
the models. For female matchstick
‘The Circus Family‘; one of the recent
matchstick artwork by Bivin Lal.
The promotional poster of ‘Song of Love‘. Watch the video in YouTube here: bit.ly/ag-sol
models, we at times used our baby’s
little hair. A black tea during my late
night runs in itself is a great motiva-
tion.
We could say that one purpose of
any art form is to expurgate society.
In what ways do you think match-
stick art is capable of achieving this?
I have done matchstick models
on socially relevant themes such
as the Katwa rape case, and UP
incident where many infants died of
the lack of Oxygen supply. Besides
I have prepared a model for the
popularisation of ‘Mazhathavalam’
(construction of rainwater harvest-
ing pits), an initiative of District
Panchayat and another one for
‘Yuvatha’, a magazine of Kerala State
Youth Welfare Board.
A government servant, magician,
photographer and a matchstick
artograph
artist; which role delights you the
most?
Surely that of a photographer; the
happiness of freezing a moment is
beyond words.
How do you see the prospect of this
art form? In what ways can match-
stick art be popularised?
I have seen many celebrated
matchstick artworks on social
media. But it is disappointing that
most of them are not made entirely
of matchsticks. Some are only 2D
figures made just for the sake of a
photograph. In matchstick art, each
character should form a whole, and
matchsticks should be the primary
element in the making. Those who
do matchstick art in its complete-
ness are rare. Just as soap models
or pencil top models these also
can be converted into handcrafted
gift items and thus making it more
popular.
And what will be the next addition
to the list of laurels? Plans for the
future.
I want to bring out a matchstick work
based on my script and own music.
I do get messages every day asking
about the next project. But I don’t
want to do it in a hurry. An exhibition
of my matchstick models is also in
the cards. For that my little one also
should co-operate (laughs). ●
Priyanka B., is a freelance
photographer and an art
enthusiast; works as Postal
Assistant with Department
of Posts, India.
 artograph
Enunciating
eyes and anklets
Meera Sreenarayanan’s performance at the 52nd Anniversary event of Gosri Gana
Sabha was impressive in many aspects.
SREEDEVI N. NAMPOOTHIRY
M eera Sreenarayanan‘s recent
performance here in Kochi
was a replica of her exhilarat-
ing show at the 12th edition of the
annual Dance Festival of the Music
Academy, Chennai early this year.
The performance there has fetched
her a standing ovation and the
best performer title in the younger
category. Things were not different
here as it turned out to be a
amazing expression of talent,
the highlight being her
■ HAREE FOTOGRAFIE
2019 MAR - APR | VOL 01 | ISS 02
OPINION | 20
proficiency in the dance form.
Three heroines, all in love but expressed differently, formed the crux of
Meera’s recital. She presented them in her unique style embellished with
precise footwork and innate abhinaya. It was fascinating to watch Meera
dancing her soul out. The way she has used the stage space, the confidence
she has shown in her footwork, the precision of the technique; all these
added excellence throughout. When it comes to abhinaya, the diverging
innuendos added intensity to the varicolored emotions.
Remarkable varnam
“Danike tagu janara...” set in raga Todi and Rupaka tala, a famed padavarnam
by Sivanandam of Tanjore Quartet was the central piece. Meera depicted a
romantic devadasi who was deeply in love with Maharaja Shivaji the second.
The varnam is believed to be performed originally by the court danseuse
Mannargudi Meenakshi. While expressing her sakhi’s sentiments towards
the king, hinting she is a suitable match for him, Meenakshi reveals herself.
With the eyes sparkling with love and devotion, Meera elegantly metamor-
phosed as Meenakshi.
Interlaced with dance sequences set to crisp and short jathis, Meera’s trans-
formation as court danseuse was unmitigated. The portions were
choreographed by herself under the guidance of her guru, Indira
Kadambi. She made a ceremonial entry, by offering salam and
then removing the veil; adding a bit of color and drama. Her
glances were dazzling, especially the final one, and
one could imagine the confusion the
king would have faced for real seeing
those piercing eyes of Meenakshi.
It was not just Meera, but her
accompanying artists also in a
way metamorphosed to the court
musicians of Maharaja Shivaji. Great
performances are teamwork, and
it happens when all the artists get
genuinely involved. Meera’s recital
was one of that kind. Meera was seen
enjoying the music, at times interact-
ing with the musicians, maybe the
way Meenakshi would’ve performed
during that period. Udayasankar Lal
in the nattuvangam, Bijeesh Krishna
in the vocal, Kalaman-
dalam Charudutt on the PAGE 23 ►
Meera Sreenarayanan during her per-
formance on the concluding day of 52nd
Anniversary Celebrations of Gosri Gana
Sabha.
2019 MAR - APR | VOL 01 | ISS 02
21 | OPINION artograph
അശ�ോകവനിയിലെ രാമപാദങ്ങളിൽ നമസ്കരിച്ചില്ലെങ്കിൽ നിന്റെ നാശമാവും
ഫലമെന്ന് നിശ്ചയദാർഢ്യത്തോടെ പറയുന്ന സീത
സിന്ധുവിൽ ഭദ്രമായിരുന്നു.

സീത സീതയെ വശത്താക്കാനായി ‘അഴകി’യെത്തുന്ന

രാവണൻ, തന്റെ ശ്രമങ്ങള�ൊന്നും ഫലിക്കുന്നില്ലെന്ന് കണ്ട്
ക�ോപത്തോടെ വാളെടുത്ത് വെട്ടാനായുന്നു. ഇതു കണ്ട്
മണ്ഡോദരി തടയുന്നു. ഇതിന�ൊക്കെ സാക്ഷിയാവുന്ന
‘ശ്രീരാമചരിതം’ നങ്ങ്യാരമ്മക്കൂത്തിലെ ഹനുമാൻ പിന്നീട് ജീവത്യാഗത്തിന�ൊരുങ്ങുന്ന സീതയെ,
‘ഹനുമദ്-സീത സംവാദ’രംഗം രാമകഥകൾ പാടി പിന്തിരിപ്പിക്കുന്നു.
അശ�ോകവനികയിൽ ഖിന്നയായി വസിക്കുന്ന കാമപാരവശ്യത്തോടെ സീതയുടെ കാൽക്കൽ
സീതാദേവിയിൽ കേന്ദ്രീകൃതമായി നമസ്കരിക്കുന്ന രാവണൻ, നേരിട്ട അവഗണനയിൽ
ക�ോപിഷ്ഠനായി വെട്ടാനായവെ, മണ്ഡോദരി വന്നു
വികസിക്കുന്നു. തടഞ്ഞതിൽ ലജ്ജിതനായി, പിന്നെ സ്വാഭിമാനം
ഹരീഷ് എൻ. നമ്പൂതിരി വീണ്ടെടുത്ത് മണ്ഡോദരിയ�ോട് തിരിച്ചു പ�ോകാൻ കണ്ണുകൾ
ക�ൊണ്ട് ആഗ്യം കാണിക്കുന്നതു വരെ; ഒര�ൊറ്റ നീട്ടത്തിൽ

മാ ർഗി സതി എഴുതി കലാമണ്ഡലം സിന്ധു

രംഗസംവിധാനം നിർ‌ വ്വഹിച്ച ‘ശ്രീരാമചരിതം’
നങ്ങ്യാർക്കൂത്തിലെ 'ഹനുമദ്-സീത സംവാദം', വിവിധ
നിശ്ചിത കാലദൈർഘ്യത്തിൽ തുടർച്ച നഷ്ടമാവാതെ
പകർന്നാടുക എന്നതാണ് കലാകാരി ഇവിടെ നേരിടുന്ന
വെല്ലുവിളി. ഈയ�ൊരു മർമ്മമറിഞ്ഞു തന്നെ കലാമണ്ഡലം
കഥാപാത്രങ്ങളുടെ പലകാലഭാവ പ്രകരണത്തിലൂന്നു സിന്ധു രാവണനെ മികവ�ോടെ പകർന്നാടി.
ന്നൊരു കഥാഭാഗമാണ്. കലാമണ്ഡലം സിന്ധുവിന്റെ രാവണന്റെ മേൽ പറഞ്ഞ പരാക്രമങ്ങള�ോക്കെ മരത്തിനു
ഈയടുത്തു നടന്ന ഈ കഥാഭാഗാവതരണം മുകളിൽ മറഞ്ഞിരുന്നു കാണുന്ന ഹനുമാനിൽ, ഹനുമാനിൽ
കലാകാരിയുടെ പകർന്നാട്ടമികവാൽ സീതയ്ക്ക് വിശ്വാസം വരാനായി അംഗുലീയത്തോട�ൊപ്പം
സമ്പന്നമായ അരങ്ങായി. മങ്ങിക്കത്തുന്നൊരു വിളക്ക് മാത്രം സാക്ഷിയായ�ൊരു
രാവണൻ അപഹരിച്ച സീതയെ മുൻ‌കാല സ്വകാര്യ നിമിഷം കൂടി പറഞ്ഞു ക�ൊടുക്കുന്ന
അന്വേഷിപ്പാനായി ശ്രീരാമൻ ശ്രീരാമനിൽ, ഇതു ശ്രവിച്ച് ചൂഡാമണിയ�ോട�ൊപ്പം
ഹനുമാനെ നിയ�ോഗിക്കുന്നു. സമുദ്രം ശ്രീരാമന�ോട് പറയാനായി മറ്റൊരു സംഭവം ഓർത്തെടുത്തു
ചാടിക്കടന്നു ലങ്കയിലെത്തുന്ന പറഞ്ഞു ക�ൊടുക്കുന്ന സീതയിൽ; ഇപ്രകാരം എല്ലാ
ഹനുമാൻ, അശ�ോകവനിയിൽ കഥാപാത്രങ്ങളിലും വേണ്ടുവ�ോളം അഭിനയസാധ്യതകൾ
സീതയെ കണ്ടെത്തുന്നു. ആ തുറന്നിടുന്നുണ്ട് ഈ കഥാഭാഗം. എപ്രകാരമാണ് ശ്രീരാമൻ
സമയം പ്രേമാഭ്യർത്ഥനയുമായി തന്നെ ഈ ദ�ൌത്യത്തിനായി നിയ�ോഗിച്ചതെന്ന് ഹനുമാൻ
രാവണനും അവിടെയെത്തുന്നു. വിശദമാക്കുന്നിടത്ത് രാമനായി പകർന്നാടുന്നു. അങ്ങനെ
രാമനായി നിൽക്കെതന്നെ, വിവാഹാനന്തരം രാമനും
ഒരു പുൽ‌
നാമ്പ് പറിച്ചെടുത്ത് സീതയും അയ�ോ‍ ധ്യയിൽ സന്തോഷത്തോടെ കഴിഞ്ഞ
അതിന�ോടെന്ന വണ്ണമാണ് അവസരത്തിലേക്ക് പ്രേക്ഷകരെ നയിക്കുന്നു കലാകാരി.
സീതയുടെ രാവണന�ോടുള്ള
മറുപടികള�ൊക്കെയും. രാവണന്റെ ചുരുക്കം ചിലയിടങ്ങളിൽ ഇതിലുമധികം വ്യതിരിക്തത
അഭ്യർത്ഥനകളെ നിരസിക്കുക ക�ൊണ്ടുവരാൻ സാധ്യതയില്ലേയെന്ന് സംശയിച്ചെങ്കിലും,
മാത്രമല്ല, തന്നെ തിരികെയേല്പിച്ച് തികഞ്ഞ കൈയ്യടക്കത്തോടെയും നിറസാന്നിധ്യത്തോ
ടെയുമുള്ള സിന്ധുവിന്റെ അഭിനയത്തികവിൽ ഈ
കഥാപാത്രങ്ങള�ൊക്കെയും ജീവസ്സുറ്റതായി മാറി.
നങ്ങ്യാർക്കൂത്ത് അവതരണ
വേളയിൽ കലാമണ്ഡലം സിന്ധു. ഹനുമാൻ യാത്ര പറയുന്ന വേളയിൽ, അപ്പോഴത്തെ ചെറിയ
വാനര രൂപം കണ്ട്, ഇവനെങ്ങിനെ സമുദ്രം ചാടിക്കടക്കുമെ
ന്ന് സീത ആദ്യം ശങ്കിക്കുന്നെങ്കിലും, പിന്നീട് ഭീമാകാരനായി
മാറുന്ന ഹനുമാനെ കാണുന്നത�ോടെ ആശങ്കകൾ നീങ്ങി
അനുഗ്രഹിച്ചയയ്ക്കുന്നു. ശ്രീരാമദർശനം വൈകാതെ തന്നെ
സാധ്യമാകുമെന്ന പ്രതീക്ഷയിൽ, പാർത്ഥനയ�ോടെയിരിക്കു
ന്ന സീതയിൽ കഥാഭാഗം അവസാനിക്കുന്നു.
മാറിമറിയുന്ന കഥാപാത്രങ്ങളുടെ വൈകാരികാവസ്ഥകളെ
കൃത്യം പ്രതിഫലിപ്പിച്ചുക�ൊണ്ട് കലാമണ്ഡലത്തിൽ
നിന്നുമുള്ള രതീഷ് ഭാസും രാഹുലും മിഴാവിലും, കലാനിലയം
രാജൻ ഇടയ്ക്കയിലും പൂർണ പിന്തുണയേകി. മാർഗി
വിശിഷ്ടയായിരുന്നു താളത്തിൽ.
■ HAREE FOTOGRAFIE

കേന്ദ്ര സംഗീത നാടക അക്കാദമി കൂടിയാട്ടം കേന്ദ്രയുടെ

ആഭിമുഖ്യത്തിൽ, ഫെബ്രുവരി മാസപ്പരിപാടിയായി കഴിഞ്ഞ
ഇരുപത്തിയെട്ടിനാണ് ഈയ�ൊരു നങ്ങ്യാർക്കൂത്ത് അവ-
തരിക്കപ്പെട്ടത്. തിരുവനന്തപുരം തീർത്ഥപാദമണ്ഡപമായി
രുന്നു വേദി. ●
 artograph 2019 MAR - APR | VOL 01 | ISS 02
INSIGHT | 22

M ore often than not, we are of

the opinion that higher the
number of shows, more profes-
sional and successful is the dancer.
Though this could be true to some
extent, it is not the ultimatum. Mile-
stones alone do not determine the
progress. It is more to do with how
it helps in fine-tuning and elevating
one’s thoughts and emotions, how
it moulds one’s character and more.
Ultimately it becomes about the
quality than the quantity.
Challenges turned to possibilities
Challenges are a part of life, and as
in the case of every profession, a
dancer goes through certain hurdles
as well. The way one work out
these challenges shows how good
a professional dancer s/he is. Con-
sistency in maintaining physical and
mental fitness becomes crucial.
Finances involved is something that
has to be looked into while making
a dance production. From recording
high-quality music to having
appealing jewellery and elegant
costumes; everything demands a
good inflow of money. It is purely
individualistic, and there is no
general rule to identify the source of
income.
Striking a balance between dance
and personal life by giving each
space and time it deserves is
essential. Most of the times dancers
tend to work in isolation. May it be
conceptualization, choreography or
travel; it all appears to be an individ-
ual effort. Finding the right feedback
■ ANJALI REDDY

channel to take a second opinion on

your thoughts or work is a much-
needed asset for a dancer. The fresh
perspective it gives, lead to a more
holistic result.

Making dance
How you manage contrasts in the
profession, also plays a crucial role
in the making of a professional
dancer. There are times of low tide

a profession
Like any other profession, the field of dance has
challenges of its own. Making them into opportunities
is where a dancer succeeds as a professional.
PRATEEKSHA KASHI
when things don’t seem to fall in
place as expected. The number of
shows lined up may seem bleak.
One might encounter roadblocks
during choreography and times
when things seem to stall tempo-
rarily. On the contrary, there are days
where you are on your toes 24/7; all
day practice sessions, music record-
ings, back to back shows, extensive
 2019 MAR - APR | VOL 01 | ISS 02
23 | INSIGHT
travel to an extent where you enter a different time zone
every single day. End of the day, it all boils down to the
perspective which has the power to turn challenges into
favourable times and great possibilities.
Apart from these generic challenges, there might be
several other individualistic ones as well. Though there
are many variables, the one constant that can make up
for all these is the overwhelming joy that continually
accompanies the dancer through the journey.
As diverse as the cultures in India is, so is the life of a
dancer. It is what makes facing all the challenges worth
the trouble. Donning a dancer’s life is to walk the path
of unlimited joy, craziness, strength, self-discipline, sat-
isfaction, struggles and variety. No two days remotely
match as no performance can be replicated.
A dancer’s life opens up avenues to interact with varied
people and learn from the lives of others. As challeng-
ing as it sounds, the diversity yet the underlying unity in
each of these areas helps the dancer rejuvenate. It is the
sheer ability to fall in love with one’s life that is the catch.
This forms the central force to draw inspirations from our
surroundings and to express them artistically.
Defining one’s life
In today’s times, where the field of dance has gained
ADVT
► FROM PAGE 20 mridangam and Suresh Nambuthiri on
the violin; all have done an excellent job
all along.
Meera continued with “Choodare adinadace...”, a
Kshetrayya padam in raga Shahana. Be it the carefree
love-struck heroine who seeks out for Krishna despite
being a married woman or the gossiping ladies of the
village who make faces and questions the morale of the
nayika; all characters were safe in Meera’s hands. She
was at ease role-playing them, further stressing her
command over the medium.
Resentful nayika
Ashtapadi “Yahi Madhava, yahi Keshava...”, sung in rag-
amalika was the second last item. Meera portrayed
two different shades of Radha; firstly being desperate
and then being ablaze. The impatience, love and
despair flipped to anger when she realizes Krishna was
betraying her. The scene demanded swift mood vari-
artograph
momentum, with many possibilities out there, the
opportunities are endless. The kind of exposure comes
with greater responsibilities and lessons.
Besides being a dancer, the field trains one in allied
areas as well like lighting, stage design, makeup, people
management etc. making it a continuing process. In the
course of action, one gains confidence and strength to
face any situation come what may.
From the time I chose to dance full-time back in 2013,
there has been no turning back. As I write this article,
I feel dance is making its way through in almost every
aspect of my life; be it my thoughts, my interactions with
people, my way of managing situations and my being
itself. It has become a tutor, a friend, an asset, a blessing
and the list goes on.
There is a famous choir song which I remember from
school days “Count your blessings, name them one by
one…”. If by one of those blessings you are chosen to be a
dancer, then all I can say is, hold on to that blessing with
all your heart and get ready for the magic that follows! ●
Prateeksha Kashi is a noted Kuchipudi danseuse
and a film actor. She has learned the repertoire
under her mother, guru Vyjayanthi Kashi, and is
a recipient of SNA Ustad Bismillah Khan Yuva
Puraskar.
ations including moments of passion and Meera was
up to the challenge. And not to miss those intelligently
placed standstills, adding depth to the narrative.
Earlier, Meera Sreenarayanan began her recital with an
energetic ‘Narasimha Kauthuvam’, set to ragamalika and
Khanda Chapu tala. A spirited Meera with vibrant moves
spread her charismatic aura amidst audience through
this item. The same could be said about her conclud-
ing piece as well, a thillana in raga Tilang, composed by
Lalgudi G. Jayaraman.
The event was organized by Gosri Gana Sabha, on the
final day of their five-day-long anniversary celebrations
at YNP Trust Hall, Kochi. ●
Sreedevi N. Nampoothiry is keen to be a Mohini-
yattam dancer and is learning under guru Neena
Prasad. She is a Medical Officer in Ayurveda by pro-
fession.
artograph
Reader’s Response
Lifting up the arts
Beautiful photogra-
phy and well prese-
nted magazine on
dance by someone
with a sincere passion
for the artform and a
vast knowledge of
classical dance.
Miles Trevelyan-Johnson
Artist (T’puram, Kerala, India)
A notable venture
I was very impressed
with the first edition
of Artograph, giving
a detailed account
of two major dance
festivals held in
T’puram with elegant
photographs.
In the article about
the festival held in
Kannur, it was inter-
esting to see that
the author have
mentioned even the
not-so-common
dance form like
Talking Frames
Velkavadi
A young devotee offers penance as part of the ‘Kavadi‘ ritual on the day of
Sivarathri, at Sree Balasubrahmanya Swamy Temple, Kawdiar, T’puram.
Here the boy performs ‘Velkavadi‘ which involves piercing of miniature
spears through the skin, tongue or cheeks. ●
2019 MAR - APR | VOL 01 | ISS 02
GENERAL | 24
Playlist
Mayurbhanj Chaau. Maaye by Ananya Ashok
04:34 | 2019 Feb 12
I look forward to
more such articles
on fringe art forms,
artists and festivals
that celebrate them.
Kindly include a
section for informa-
tion on upcoming
events and programs
too. All the best to “Maaye Tvam Yahi...“ in raga Tarangini set to Adi
tala, composed by Muthusvami Dikshitar, featur-
team Artograph! ing Ananya Ashok in the vocal, B. Ganapathyra-
man on the mridangam and Hrishikesh Chary on
Anonymous the veena.
Art Enthusiast (Singapore)
Watch it here: bit.ly/ag-maaye
Parinatha - An ardent pursuit of love
06:41 | 2019 Feb 11
Thanks a lot for the kind words of encouragement.
We will be having more columns and content in
future issues.
We have already considered a section for upcom-
ing events. However, the magazine being a
bimonthly it is hard to get the details of events
beforehand.
Keep reading and keep sharing your feedback!
Meaningful responses will be featured in this ‘Parinatha - an ardent pursuit of love’ is a tribute to
section. Share your feedback using the online musical genius Swathi Thirunal. This music-dance
form available in this link: bit.ly/ag_response video presents one of his popular padam “Kantha-
nod chennu melle...”.
- Team Artograph Watch it here: bit.ly/ag-parinatha
Documentary on Harinie Jeevitha
14:44 | 2019 Jan 15
Photography by Anoop Raveendran
A documentary film produced by Sreedevi
Nrithyalaya on Harinie Jeevitha, a young dancer
who has made a name for herself in the field of
Bharatanatyam.
Watch it here: bit.ly/ag-docu-harinie
Tanam - Hamsanadam
07:03 | 2019 Jan 11
Jayanthi Kumaresh presents tanam in raga Hamsa-
nadam from Chrompet Cultural Academy concert
in Dec’18. Tanam is a melo-rhythmic improvisation
showing the soundscape of the raga.
Watch it here: bit.ly/ag-jayanthi01