a Festival of Dance
13 thru 15 March 2015
(Friday thru Sunday) 6:30 pm
1 Copernicus Marg, New Delhi
MAP | Metro Station
|Friday, 13 March 2015|
Sreelakshmy Govardhanan is a Kuchipudi artiste based in Kerala. She has trained under distinguished dance teachers like Guru Sri Pasumarthy Rattaiah Sarma, Srimati Vyjayanthi Kashi, Srimathi Manju Barggavee and Sri Vasudevan Namboothiri in Kuchipudi. Sreelakshmy Govardhanan is widely acclaimed for her ability to bring alive the charm and beauty of the Indian dance form Kuchipudi. Described as “a dancer who has harnessed the power of expressions” Sreelakshmy exudes confidence, elegance and liveliness in her performances. She is totally dedicated to her chosen art form of Kuchipudi. Her dance skills are especially evident in her swift foot work and fast movements on stage. For Sreelakshmy Kuchipudi is not just a passion, but the very purpose of her existence. Although a post-graduate in Psychological Counseling and Hypno-Therapy she has tuned into the Spiritual Self through Kuchipudi.
Many coveted titles like Bharatham Yuva Kalakar, Sri Jayadeva Rashtriya Yuva Prathibha Puraskar, Natya Ratna , Singar Mani , Nalanada Nrutya Nipuna has come her way. Besides performing at prestigious dance festivals in India she has also performed on many international stages in countries including in Germany, Switzerland, U.K and U.A.E. She has conceived and curated many dance related workshops and events and is currently the co-ordinator of ‘Rasavikaplam’ an annual dance festival and workshop organized by Kerala Sangeetha Nataka Academy. Sreelakshmy is the founder and Director of Avantika, Space for Dance.
( Source Artiste)
Accompanying musicians: Vidya Sundari – Nattuvangam, Satish Venktesh – Vocal,
Kesavan – Mridangam, Rajath Prasanna - Flute
SEEKING THE BELOVED
‘Seeking the Beloved’ (with ‘adbhuta rasa’ being the predominant rasa through the pieces),is about the ‘wonder' that is life. It is about our constant search through life. A search forwhat lies beyond the realms of the known. What lies beyond what our mind can perceive?What lies hidden in the deep recesses of our heart? This has been portrayed throughcompositions of three Poet-Philosophers: Meera, Amir Khusrau and Kabir.
Aditi will dance an extract, comprising of the pieces by Amir Khusrau and Kabir
Through Hazrat Amir Khusrau…
O wondrous eyes full of languor, O wondrous tresses wavy and long,O wondrous wine worshipper, O wondrous mischievous one…I am intoxicated by you; I am infused by your being. Passion for you has become a frenzyand it rises in me like waves. I am full of your hues.Those who get bathed in your colours, are truly blessed.
Through Sant Kabir…
Ah, the fragility of life, this finely woven delicate tapestry of life!Oh Lord, what thread have you used to weave this complex and intricate tapestry? That isdrenched and immersed in you and that I return as is!
Concept, Choreography, Costumes & Dance: Aditi Mangaldas
Music Composition for the Amir Khusrau piece: Drishtikon repertory, inspired by the
original composition byAbida Parveen
Music Composition for the Kabir piece: Drishtikon repertory
Musicians: Tabla: Mohit Gangani, Vocals and Harmonium: Faraz Ahmed, Pakhawaj:
AshishGangani, Flute: Devender Rajbhatt
Lights: adapted and executed by: Govind Singh Yadav
Sound: Yogesh Dhawan
Administration: Kusum Arora
Coordination: Arijeet Mukherjee
Production: Aditi Mangaldas Dance Company –The Drishtikon Dance Foundation
P R E S S
In the final moments of Majid Majidi's 2001 film Baran, a young wastrel-turned-activist herowatches as the love of his life, an Afghan refugee in Iran, departs for her homeland. Thoughhe is never to see her again, his love for her has been truly transformative.... As she walksaway amid falling rain, the camera cuts to a close-up of the girl's slowly dissolving footprintin the grey-brown slush. Something about a solo evening performance by Aditi Mangaldas....evoked for me this exquisitely ephemeral image in Baran, signalingperhaps hope, perhapsdespair, perhaps solace for pain, now here, now gone. Mangaldas traversed the space betweentemporality and transcendence, invoking the ghosts of bhakti and sufi poets past, straddlingthe line between contemporary and classical Kathak in the process…..Aditi Mangaldasintones: "I seek the beloved," letting the words hang softly in the air as she sits still on stage,a picture of perfect repose. Is this search for the beloved (whoever, whatever that may be) adewdrop falling on a leaf, or a storm unleashed, she asks,before letting loose a blizzard ofbreathtaking movement and sound that spirals slowly into silence. Those who only vaguelygrasped what that moment meant then will surely now arrive at deeper, more complexunderstandings of the daily physical, psychological, intellectual, metaphysical strivingconstituting artistic endeavour: the elusiveness, the tantalising nearness, of the goal.Akhila Ramnarayan, Shruti Blog, Sept. 3rd, 2012 (Dance India Asia Pacific Festival,Singapore)
“...Her concept of the intangible embraces the divine and the profoundly human: love andfreedom, truth and beauty being as cosmically mystical as God. This inspires wonderfulexcursions into the heart of rhythm, the energies of light, the ambience of space, thestructures of movement and the power of stillness....You can, as ever with her choreographies– and especially with her own utterly compelling performances – simply relax into the joyfulsatisfaction of watching the steps unfold, hearing the music conversing with them. But thatpleasure increases limitlessly if you engage with the ideas that shape those interactions.”Mary Brennan, Herald Scotland, Aug. 20th, 2012
Aditi Mangaldas is the choreographer and principal dancer of the Aditi Mangaldas DanceCompany-The Drishtikon Dance Foundation. She is a leading dancer and choreographer inboth,the classical Indian dance form of kathak and the contemporary idiom. With extensivetraining under the leading exponents of Kathak, Shrimati Kumudini Lakhia and Pandit BirjuMaharaj, Aditi is today recognized for her artistry, technique, eloquence and characteristicenergy that mark every performance. She has broken new grounds by using her knowledgeand experience of Kathak as a springboard to evolve a contemporary dance vocabulary,infused with the spirit of the classical. Her solo performances and group ensembles, bothclassical and contemporary, have received critical acclaim at leading festivals all over theworld. "Classical or contemporary... there has never been a contradiction between the two inmy mind. I look at the ancient dance form of Kathakwith a modern mind. I believe thatKathak is not a tether that holds me back, but a deep root from which I draw the strength togrow, to explore new forms, and use the past to create a language of the future." -AditiMangaldas
MOHIT GANGANI–Tabla Player: Mohit Gangani started learning Tabla at a young age ofseven from Shri Fateh Singh Gangani. He has been playing as an accompanist with manysenior dancers and has participated in prestigious festivals all over India ajoined the AditiMangaldas Dance Company for the past 4 years.
ASHISH GANGANI–Pakhawaj Player: Ashish Gangani comes from a family of musiciansand trained under Shri Fateh Singh Gangani and Shri Ravi Shankar Upadhayay. He hasperformed with many leading dancers and choreographers andjoined the Aditi MangaldasDance Company for the past 4 years.
FARAZ AHMED–Vocalist & Harmoniumplayer: Faraz Ahmed belongs to a family ofMuradabad Gharana. He has studied under Ustad Sadique Ahmed Khan Saheb & UstadGhulam Sabir Khan Saheb. He has performed in many choreographic works of leadingdancers & choreographers, both nationally as well as internationally and joined the AditiMangaldas Dance Company forthe past 4 years.
DEVENDAR RAJBHATT –Flautist:Devendar Rajbhattbelongs to the Jaipur Gharana. Hestudied under Sh. Ravi Shankar, Sh. Malharoy Kulkarni, Sh. Ajay Prasanna and Sh. KailashChander Sharma. He has accompanied most of the senior dancers in India and performed inmany festivals across India.
GOVIND SINGH YADAV – Light Execution: Govind Singh Yadav graduated from theNational School of Drama. He likes to play around with different kinds of lights to illuminateperformances. He has been honoured with the Bismillah Khan Award for light design in2008. He has worked with The National School of Drama as a light designer as well as withThe National Theatre, South Korea for six months.
YOGESH DHAWAN – Sound Execution: Yogesh is an Electronics & CommunicationEngineer, and has been working in this industry for the past 15 years. He has been associatedwith the Aditi Mangaldas Dance Company -The Drishtikon Dance Foundation for over threeyears now.
Abhinaya is the very corpus of finely segmented Odissi repertoire. It literally means mime & always accompanied by a song. This is pure demonstration of an emotion contained in a song or lyric. Dancer tries to demonstrate the meaning of the contents by facial expression & meaningful hand gestures. Every hand movement has a meaning in this dance form. Rasa and Bhava are the essence of the thematic content of the abhinaya items.
According to Chaitanya to be one with God is to Love him profusely. This love could be expressed in five ways bhavas through different bhavas - Shanta, Dasya, Sakhya, Vatsalya & Madhurya
The feeling of a mother for her child is Vatsalya Rasa. This unconditional, pure & simple love is experienced not only with the human beings but noticed in all most all the species.
Mothers work hard to make their children’s lives better. Yosada is the quintessential mother who loved Krishna immensely & shared many memorable incidents with the naughty, over active child. She longed for his company even when he was naughty and troubled her while she did her household chores or refused to follow her instructions.
The first song describes how Yosoda feels when Krishna is late from. The second one depicts how the proud mother takes lot of pain to feed him & the third describes how she tries to frighten naughty Krishna to put him to Sleep.
Item 1:“Dhire Ghena Kananare Krushna Bilambita”
Yosada is worried why Krishna is late returning from the forest after grazing the cattle. Then she finds Krishna has left his sandals & umbrella & worries that thorns would pierce his feet. She worries that he (Krishna) is afraid of darkness.
She laments why she allowed him to go to the forest when she knew there are witches who lure the young lads. She is perturbed and bemoans “Why am I unable to listen to the music of your flute that I long to hear always?”.
Lyrics by poet Abhimanyu Samanta Singhar
Music Composition: Ramesh Das & Kalandi Charan Parida
Choreography: Aloka Kanungo
Set to Tala Khemta
Item 2:“ Mo Krishna pari”
In this song the proud mother Yasoda tries to feed child Krishna. She says who could be like my son Krishna? She shows the Moon to distract his attention when this failed She cleansed him, and plaited his hair.When Krisna is decked up Yasoda says you will dance to the syllables of “ Ta thei ta thei thei” . She says after you finish your meal you can go to play on the bank of river Yamuna.Then she tells Subala & Sudama are at the door calling you. When nothing works out she gets angry & says she will not leave him for a second & finally feeds him forcefully.
Lyrics: Poet Lokanath
Music Composition: Dhiraj Mohapatra
Rhythm: Sachidananda Das
Choreography: Aloka Kanungo
Set to Raga Misra Khamaj &Tala Khemta
3. “Braja ku Chora Asichhi”
Mother Yosoda after feeding Child Krishna tries to put him to sleep but when He is up to mischiefs she threatens -
A thief has come to Braja who will take you away,
My heart’s jewel, night has set. Sleep quietly
You danced away the whole night. Now the village is silent,
but you are unable to sleep. Sleep quietly.
Who taught you to wink in rhythm? You have danced enough for now. Your legs will ache. Sleep quietly.
Lyrics: Bhakta Charana Dasa
Choreography: Padmabibhushana Kelucharan Mohapatra
Music: Pandit Bhubaneswar Mishra
Set to Raga Ananda Bhairavi and Tala Jati
Alarmél Valli is a celebrated Bharata Natyam dancer and choreographer, internationally acclaimed for her ability to turn a traditional grammar into a subtle, deeply internalized, personal dance poetry. Her dance, while rooted in the classical tradition, has been lauded as an undeniable language of self-expression that is dynamic and continuously evolving, able to connect with audiences across the board, from the specialist to the layperson.
Having trained under legendary gurus, Pandanallur Sri Chokkalingam Pillai and his son Sri Subbaraya Pillai, she has evolved a distinctive style of dance that has been described as, "classical and yet contemporary, precise and poetic... both a stylised idiom and an idiolect, blurring the boundaries between tradition and the individual talent, inheritance and invention."
In recognition of Alarmél Valli's contribution to dance, in 2004, she was awarded one of India’s highest civilian honours - the ‘Padma Bhushan’, conferred by the President of India. In the same year, the Government of France conferred on her the Chevalier of Arts and Lettres. Amongst numerous awards she has received are the President’s award of "Padmasri", the Tamilnadu State Government award of Kalaimamani, the ‘Grande Medaille de la Ville de Paris’ from the City of Paris and the Award of the Sangeet Natak Akademy- the apex body for music, dance and drama in India.
In 2004, The Films Division of India commissioned a film on Alarmél Valli for the Indian National Archives called ‘Pravahi’, which was directed by Arun Khopkar. The BBC also made a film on her for the Omnibus series. In 2012, 'Lasya Kavya - The World of Alarmél Valli', a film on her by Sankalp Meshram, won the National Award for Best Film on Art and Culture.
Alarmél Valli's work has been featured at landmark theatres and festivals in India and abroad. Some of the international cultural venues at which she has performed include - the Bolshoi Theatre, the Theatre De La Ville, the Avignon Festival, the Lyon Biennale, the Vienna International Dance Festival, The Munich Opera Festival, The Edinburgh Festival, the Royal Albert Hall, the Queen Elizabeth Hall, the New York International Festival of Arts,The Kennedy Centre, the Min-On Festival in Japan, the Venice Biennale, The Madrid Festival, the Helsinki Biennale, the Frankfurt Alte Oper and The Israel Festival.
In 1986, Valli founded the Dipasikha Dance Foundation and Educational Trust. Through lecture demonstrations, master classes, workshops and seminars in India and abroad, Valli shares her thoughts on Bharatanatyam, as a dynamic, contemporary dance language. A few of the forums in which she has worked, include Spic Macay in India, the Societe Italiana del Flauto Dolce, The Philharmonic society in Rome, the International Sommertanzwochen in Vienna, The Singapore Indian Fine Arts Society and Universities across the US.
Poetry and musicality of movement are core elements in Alarmél Valli's approach to dance. Her early training in music under the renowned musician, T. Muktha, helped shape her ideal of an intensely musical dance style and honed her approach to dance, as a harmonious extension of verbal melody. It is a tradition that deepened her awareness of the seamless connection – between word, meaning and music and also inspires her, as she often says, to ‘write’ with her body, ‘sing’ with her art.
Alarmél Valli’s understanding of dance was also enriched by her study of Odissi, under eminent Guru Kelucharan Mohapatra and his disciple, Guru Ramani Ranjan Jena. Her extensive research on Sangam poems, for over two decades, has resulted in a significant repertoire of dance poems. Authored between 100 BC and 250 AD, the Tamil poetry of the Sangam age ranks among the oldest and most sophisticated body of classical, secular poetry in India. In her interpretation and choreography of poetry, Alarmél Valli explores subtexts and works with musicians to give the texts a visual and melodic dimension.
Noted poet and writer Arundathi Subramaniam says of her work, " Her art may invoke the mystical, but it never mystifies. It understands abstraction, but is never abstruse. It is capable of soaring, but it never loses its vital connectedness with the earth."
Accompanying musicians: Mrs. Nandini Anand Sharma – Vocalist, Mr. C K Vasudevan - Cymbals/ Nattuvangam, Mr. Sakthivel Muruganantham – Percussion, Mr Easwar Ramakrishnan – Violin, Mr. J B Sruti Sagar – Flute, Mr Murugan K - Lighting designer
Item 2: Ramdani and Geet or Nach
The pure dance item of Sattriya is based on Jhumura Nach followed by Geet or Nach. The song taken from Sankaradeva’s Ankiya Naat Kaliya Damana. Lord Krishna one day went to Kaliya Lake in the company of his cowherd friends where the great snake Kali had built his abode. Krishna’s cowherd friends drank water from the lake and fell senseless as a result of the poison that was in the water. At the sight of his lifeless companions Krishna bemoaned his lot like a child and restored them to life by his divine healing power.
Krishna decided to punish Kaliya. He jumped in to the lake from a Kadamba tree. Being enraged, the snake churned the lake but Krishna was glad to enjoy a long swim. During the contest with the snake that spread his hundred fangs to take revenge, Krishna slipped through the rings of the serpent’s coil, leaped from hood to hood dancing with his feet on the outstretched fangs of the serpent. Unable to bear the weight of Krishna, the serpent soon collapsed and his many wives now came out and begged Krishna for their husband’s life.
Dance Choreography: Bhabananda Barbayan
The song based on Raga Deshaag, Tala Yati and Sutaa
Item 3: Barnana
The Abhinaya technique of Sattriya is based on Ojapali. The third performance sequence of Ojapali is Saruravingsati Avataar based on Srimanta Sankardeva’s text of Kirtan Ghosa where twenty four incarnations of Lord Krishna are described. Guru Adhyapak Paramananda Barbayan, the dance teacher of Bhabananda has improvised this sequence for solo performance named after the Dashavatar and added some texts from Mahamurush Madhavadeva’s Naam Ghosaa in the later part.
Dance Choreography: Guru Paramanada Barbayan
The song based on Maahur Raga, Tala - Eka and Suta
Khol: Niranjan Bayan, Vocal: Reem Pathak, Taal : Rimjhim Pathak, Flute: Vinoy Kumar, Sitar: Lavanya Ambade
Item 1. Shiva Panchakshara: Na Ma Shi Va Ya
Salutations to Siva who wears the King of Snakes as a garland, the Three-eyed God whose body is smeared with ashes, the great Lord, eternal and pure, who wears the directions as his garment and who is represented by the syllable NA.
I bow to Siva who has been worshipped with water from river Mandakini, with Sandalwood paste, the Lord of Nandi, the Lord of the elements, the great Lord who is worshipped with mandara and many other flowers and who is represented by the syllable MA.
Salutations to Siva who is all auspiciousness, who is the sun that causes the lotus face of Gauri to blossom, who is the destroyer of the Yagna of Daksha, whose throat is blue, whose flag bears the emblem of the bull and who is represented by the syllable SI.
Vashista, Agastya, Gautama and other venerable sages as also Indra and other Gods worship Him. I bow to that Siva whose three eyes are the moon, sun and fire and who is represented by the syllable VA.
Salutations to Siva who bears the form of Yagna, who has matted hair, who bears the pinaka bow in his hand, the Primordial Lord, the brilliant God who is Digambara with space for his attire and who is represented by the syllable YA.
Anyone who offers this sacred FIVE syllable mantra NA MA SI VA YA in Siva's shrine attains His Abode which is synonymous with bliss.
Lyrics : Adi Sankara's Siva Panchakshara Kriti
Music Composition: Sri Kavalam Narayana Panicker
Raga: Ragamalika and Tala Talamalika
Dance Choreography by Pallavi Krishnan
Item 2. Pingala:
This piece tells the story of Pingala, a courtesan of Mithila, who transcends her worldly consciousness to a spiritual realm.
The performance starts with beautiful Pingala adorning herself as on any other day and waiting for her wealthy clients, extremely confident of attracting men with her enchanting appearance and seductive glances.
That night no one turns up. Her haughtiness turns to anxiety and despair. She doubts whether her beauty is fading away. Then again, she reassures herself, I am still so attractive. When she passes by the street, people throng to get a glimpse of her through the fluttering curtain of the palanquin. When she dances every drop of sweat earns her wealth. She is confident that some one will come to her, no matter how late. Then the night passes by and a few more nights too pass by but no one turns up.
After introspection, she realises that she had not shown gratitude to any man who came to her. She ignored every one after extracting his wealth. A thoughtful Pingala awakens from the worldly life realising that external beauty is ephemeral. In the darkest moment of her grief Pingala hears an inner voice emerging within her – the voice chanting the divine epithet of Lord Sri Rama. She pleads to Rama to save her from the pangs like the way he liberated Ahalya and Sabari from curse. She becomes an ardent devotee of Rama and commences on her spiritual journey. Finally she sees the aura of Rama and surrenders herself at his feet.
Lyrics: Namangalam Nambootiri (based on the Bhagavata Purana and poem Pingala composed by the great Malayalam poet Ulloor (1877-1949).
Music Composition: Palakkad Surya Narayanan and Nedumpally Rammohan
Raga: Ragamalika and Tala Talamalika
Dance choreography by Pallavi Krishnan.
Music Composition: Palakkad Surya Narayanan
Raga: Bagesree and Tala Adi
Dance choreography by Pallavi Krishnan.
Vocal: Prasanth Parassini
Mridangam & Maddalam: Sri Kiran Gopinath
Edakka : Satish Poduval
Flute - G. Raghuraman