Aangikham bhuvanam

Yasya vachikam sarva vangmayam

Aaharyam chandra taradi

Tham numaha satvikam shivam

Meaning:

(based on lord shiva)

whose body is the universe

whose speech is the sound of all creatures.

Whose ornaments is the moon and stars

I salute that Shiva with pure conscience

Please treat this as a personal invitation.

http://beta.thehindu.com/arts/dance/article111899.ece

For Radhika Shurajit, Bharatanatyam is not exclusively for the elite.

Just the other day when Radhika Shurajit entered the canteen of a sabha after performing a lecture-demonstration and saw the ‘today’s special’ board that was put up, she became emotional. At the bottom of the board was written ‘Thaka Dhimi Tha’ along with a simple sketch of a boy and girl dancing. Apparently, the man who runs the canteen likes Radhika’s dance show by the same name on Jaya TV, and thought the title aptly reflected the Margazhi mood.

Another memorable instance is when the owner of a small brass vessel shop in Pazhani from where Radhika bought a pair of salangai suggested that she watch talented youngsters perform on ‘Thaka Dhimi Tha’.

“Responses such as these are what make my artistic journey fulfilling. And, I feel really good about reaching classical dance to the common man through the popular medium of television,” says Radhika.

Her award-winning weekly dance show ‘Thaka Dhimi Tha’ has completed 350 episodes. Conceived of and directed by Radhika, the show provides a platform to up-and-coming Bharatanatyam artists from across the country, and sometimes abroad. It also features senior exponents of the art form as judges.

Television helped Radhika regain the rhythm of her life when a knee problem put an abrupt end to her promising performing career. “I used to perform along with my sisters Shobana and Gayathri and we were popularly referred to as Trio Sisters.” Disciples of the Dhananjayans, the sisters made a name for themselves in the dance field in a short time.

“It was difficult to come to terms with life without dancing. It was then that I turned my attention towards the small screen and thought about doing a show based on classical dance. Thankfully, the idea has been very well received.”

“Dance through lens” became the focus of her life. She analysed and explored the art from a new angle. She also learnt to shoot dance sequences with different cameras. “Performing before a camera is not the same as performing on stage. The expressions, make-up and costume should be understated. Otherwise, you could end up looking dreadful in close-up shots. A dancer should be conscious about the limited space and time. She or he should know when not to look at the camera. I learnt many such things from experience and observation.”

Besides ‘Thaka Dhimi Tha,’ Radhika has also made dance capsules for BBC, come up with ad campaigns and choreographed classical dance sequences for films, including the award-winning “Nila Kaigiradhu…” (from “Indira”). But, what she seems to enjoy most is training youngsters who join ‘Thrayee’, her dance school.

“Every time a student performs, I see myself in her. I think it’s very important for any youngster to learn an art. It adds a new dimension to one’s personality and helps them look at the world from a different perspective,” says Radhika.

Over the years, she has choreographed a range of thematic performances, including those based on the compositions of Balamuralikrishna, Kannadasan’s songs, songs rendered by M.L. Vasanthakumari and M.S. Subbulakshmi in films, Sangam poetry, and more.

“Passionate about cinema, I adapted many of the lyrical gems of yesteryear into my dance. It’s thrilling to choreograph them in my own way. I do not tamper with the music, but sometimes add appropriate jatis. Being used in films does not mean these compositions are less poetic. If modern verses can be taken up, why not these timeless melodies?” says Radhika.

You will find one of them in the shop itself. They are extremely courteous  and helpful.

They also have a Web site: http: http://carnaticbooks.com/ . Use the drop-down menu at the top to change your preference for currency. If you are buying from India, click on the drop-down menu to change it to Indian Rupees.

The address is:

The Karnatic Music Book Centre,

23A, Sripuram First Street,

Royapettah, Chennai – 600 014

Phone: (91) 044 – 28111716 ;  28113253

When you head towards Mylapore from Royapettah, take the road on the left of the Royapettah flyover. The road that turns left next to the Deccan Plaza hotel is Sripuram First Street. The shop is at the second building on the left.

Please don’t rely on Google Map search. Though the Google search throws up the correct address, the map shows a wrong location.

Inextricably entwined with the sacred belief and philosophy of the people of India, the classical arts, are the ladder of understanding that encompasses all learning, all sciences and all discipline leading to Gnana. The sojourn of an artist is as much within himself as it is without. From the mundane to the divine, from gross to the subtle, religion to aesthetics the arts traverse a path so hidden yet so apparent. The quintessence of Indian ideology is based on the oxymoronic substratum of losing yourself to find ‘Oneself .Tradition sows the seed, time nurtures and experience ripens the fruit called learning. To partake of that fruit, to revel in that magnificence, to experience that Aananda- we have set out.

THE GURUS

Narendra Kumar

Narendra Kumar is an early student of the Dhananjayans. He has earned a name for himself as a skilled Bharata Natyam dancer and choreographer. Eager to explore different dimensions in dance, he has studied martial arts such as Kalaripayyattu, Silambam and Tai-Chi. He has his dance establishment Anusham and is a teacher, choreographer and performer, along with his wife Anusha. He travels to the US often to work with dancers/choreographers and to aid them in their productions.

Anusha Narendra Kumar

Anusha Narendra Kumar is a disciple of the Dhananjayans and is well known as an excellent exponent of Bharata Natyam. She is the wife of Narendra Kumar and they are gaining a reputation as a skilled dancing couple. She is a teacher in their school “Anusham” and they also work with dancers in the US conducting classical dance workshops and assisting in choreography. She won audience appreciation and critical acclaim for her performance in Living Tree. She is also earning a name as a fine visual artist.

Click here to read the article by Samanth Subramanian about L. Narendra Kumar in the Sunday Magazine section of The New Indian Express

Anita Ratnam’s latest production ‘Ma3ka’ is a string of thoughts and reflections.

It’s hard to ignore Anita Ratnam’s art. Because, it operates at many levels — personal, traditional and contemporary. Because, the approach is holistic — angika, vachika and aharya get equal attention. Because, most significantly, her choreographic works throb with a rare energy, honesty and imagination.

“Each time I dance, I should have something to convey,” says the charismatic dancer as she gets ready to premiere ‘Ma3ka’ this Season.

“I have the life experience, the training in the art form and the eternal desire to find my own ways to re-engage with the audience.”

Like most of Anita’s previous works such as ‘Arya Tara’, ‘Daughters of the Ocean’, ‘Neelam’, ‘Naachiyar’, ‘Utpala’, ‘Seven Graces’ and ‘Faces’, ‘Ma3ka’ too celebrates the female imagery. Once again, the dancer gives a human face to goddesses by combining the sacred and the worldly.

She explores a woman’s triumphs, angst, challenges and longings through the Supreme Trinity —Lakshmi, Saraswati and Meenakshi. The production also subtly touches upon the women in Anita’s family — her 95-year-old grandmother, who continues to influence with her traditional wisdom, her late mother’s support in the dancer’s multiple creative engagements over the years and her 22-year-old daughter, who wakes her up to the promises of tomorrow.

“The strength of the spiritual and the inspiration of the mythological are undeniable but you instantly connect when the role models are real and closer. A reason why my productions are more about personal interpretations,” says the artist.

There are no storylines, just a string of thoughts and reflections. Revathy Sankkaran, with whom Anita shares a special rapport, is the narrator.

But what the multi-faceted dancer is most excited about is the young team of musicians and technicians that has worked tirelessly and enthusiastically on ‘Ma3ka.’

“Anil Srinivasan, who has given a new sound to my new dance, has yet again come up with a fascinating music score. Viji Krishnan has provided some soulful violin tracks while K.S.R. Anirudha has composed an amazing percussion piece. Then there are Subiksha Rangarajan and multi-percussionist Darbuka Shiva. Lights, sets, costume, music, make-up, hairdo… every aspect is integral and well taken care of in my productions. It is a visually-stimulated world — what appeals to the eye often appeals to the soul too.”

As for movements, Anita will draw upon her training in Bharatanatyam, Kathakali, Mohiniyattom, Kalaripayattu, Tai Chi and yoga. “There is enough vocabulary in my body. But I prefer to invest my contemporary works with a primal meditativeness. They need to suit my age and thought process.”

Anita takes her own time to work on the productions (‘Ma3ka’ took two years) and does not worry about the outcome. She choreographs them in a manner that is personally convincing. “I strongly believe in being contemporary, but on my own terms,” she smiles.

VIDYA SARANYAN (A review from The Hindu)

The silent pause preceding Kaikeyi‘s demand was easily one of the best moments in the Dhananjayans’ performance.

The riveting performances by V.P. Dhananjayan, Shanta Dhananjayan and their students reaffirmed their reputation as artists par excellence and worthy natyacharyas. After the invocatory number, the next piece Nrittaswaravali had dancers Venkatakrishnan and Pavitra Srinivasan display their rhythmic prowess. Their bright smiles, straight posture and vigour brought liveliness to the evening. Complex jatis to the various nadais formed the fabric of the Nrittaswaravali.

In the latter half of the evening, the glory of Siva‘s dance was essayed by Lavanya Raghuraman for ‘Adidum Arasae’. With her big eyes and a charming stage presence, she brought home all the dimensions of Siva‘s dance as envisaged by the poet. The sollukattu with the Nandi motif caught one’s attention for its aptness.

Another strong display of rhythm was to be seen in the Nrittangaharam, the concluding number in Behag and Khanda Ekam by Lavanya, Divya and Vedakrishnan. These numbers revealed the panache of the dancers and reinforced the dynamism of the evening. The vocalist for the second half was Vanathi, and the cymbals were wielded by Shanta Dhananjayan.

The limelight of the evening was the enactment from the Ramayana. ‘Sita Rama Katha’ from the Ramanatakam by Arunachala Kavi was positioned as the core piece. Here, Shanta Dhananjayan as Kooni (Manthara), Divya Shivsunder as Kaikeyi and V.P. Dhananjayan as Dasaratha enthralled the audience with their dramatic portrayal.

The succinct Patra pravesha for the maid Manthara established her diabolical intent, and simultaneously threw light on Kaikeyi, who was still unsullied by the dreams of power. With her rolling eyes, frowning brow and a positively evil grimace, Shanta Dhananjayan got under the skin of the character.

She was the villain incarnate with the bent back and the hand on the hip as she steadily corroded the best of Kaikeyi and in its place carved out a woman intent only on the coronation of her son. At times cajoling and at others manipulating, Shanta’s performance carried the audience. The stage was now set for Dasaratha to meet his nemesis. In his realistic performance as the king, Dhananjayan also incorporated some small touches that enhanced the content. The sidling movement of the feet, the pole axed fall, and especially the nippy shifting of moods from anger to disgust completed the high drama. Divya matched her teachers’ spirited delineation and portrayed the heartless Kaikeyi convincingly.

Sashidharan’s clear diction and his expressive singing pooled with the strong nattuvangam of Gopukiran for this part of the recital. Kalaiarasan’s fluid violin, Sunil Kumar‘s trills on the flute and Ramesh Babu’s proficient mridangam play were big pluses.

Yet, the moment of silence which preceded Kaikeyi’s demand was easily one of the best moments in the recital where body language and sentiment spoke more than words or song.