An article by SAVITHA GAUTAM in THE HINDU that features my Gurus 

Artists from three continents came together for ‘Shifting Grounds’, a music-dance creation, performed in Germany.

CULTURAL RENDEZVOUS: The dancers who participated in ‘Shifting Grounds.’ On the extreme right are my Gurus Anusha and Narendra Kumar

Lalgudi G.J.R. Krishnan is bubbling with excitement these days. The reason? His recent success in Germany where he participated in ‘Shifting Grounds,’ a music-dance production put together by the University of Cologne under the leadership of producer Prof. Dr. Hans Neuhoff of the Cologne University.

The shows, held during May in three German cities (Cologne, Düsseldorf and Aachen), were supported by DAAD (German Academic Exchange Service).

“This is the first time, musicians and dancers from three continents — Asia, Africa and Europe — have pooled their talent to create a production that talks of life, human emotions and the art of communication,” says Krishnan, sitting in his T. Nagar home.

‘Shifting Grounds’ is the culmination of one and a half years of intense discussions and two months of rigorous rehearsals. Eight 90-minute shows were presented with 20 artists from Europe, West Africa (Senegal and Burkina Faso) and India (most of them were in Germany under the DAAD Fellowship programme) showcasing their talent.

The team

The production was conceptualised and produced by Hans, while music was composed by fellow professor and pianist Paulo Alvares and choreographed by Vera Sanders, also from the Cologne University.

The Indian flavour was provided by Krishnan and his violin, Ghatam V. Suresh, and dancers Anusha, Narendra Kumar and Sangeeta Isvaran.

On the genesis of the project, Hans in a telephonic conversation, explains, “The theme has its roots in the RASA theory of the Indian arts. It deals with the basic emotions of Man which can be expressed in many ways and yet, is universal. ‘Shifting Grounds’ is also about trans-cultural communication where non-verbal art forms are effectively employed to convey human emotions.”

Paulo shares similar thoughts. “The key words in this production are ‘contrasting’ and ‘shifting.’ ‘Contrasting’ because in the beginning, everything is so different — the styles, the traditions and even the language of expression. But finally, there is only one thought, one emotion. ‘Shifting’ because the styles literally move from one to the next in a smooth, harmonious manner.”

The stage for ‘Shifting Grounds’ was shared by two pianos, a violin and various percussion instruments.

The music was an eclectic mix of Western classical notes, Carnatic ragas and African rhythms. Says Paulo, “Believe me, we did not have a score at all! The music was in my mind. I allowed each musician the freedom to explore within a framework. That’s how the music evolved.” Paul, not familiar with Indian music till then, discovered “new sounds, rich cultures and different ways of thinking musically.”

The ragas represented

Talking about his musical contribution, Krishnan says, “I played snatches of such grand ragas as Varali, Vachaspati (‘Hans specifically requested it’), Revagupti and Kalyanavasantham. The Vachaspati raga alapana was the longest at 10 minutes! The raga suited the mood of the dance movements which express peace and calm.”

Hans, who studied under Lalgudi Jayaraman years ago, says, “Krishnan’s piece was the only sustained melodic sound in the whole production. his playing has won him many fans.”

For both Krishnan and Suresh, the German sojourn was a fun-filled learning experience.

Recalls Krishnan, “On the first day of the rehearsal, I did not know anybody except fellow Indians. Also, most of the others did not know English. But once I picked up my violin and played, the differences simply faded. Clichéd it may be, but music truly transcends barriers.”

Suresh adds, “There were some instruments which I had never seen before. Similarly, the African drummers were curious about the ghatam and the thavil. During the two months we were there, we were like one big family.

“In fact, Krishnan and I had to share an apartment with Fatou Cisse, a singer from Senegal. We had a fabulous time, trying out new recipes and learning French words. And yes, we taught her Tamil words.”

Talking about her role, Vera Sander says, “I spent two weeks in India trying to understand the various classical dance forms. I learnt about the mathematical precision, rhythm patterns and phrasing of Indian dances as also the strong link between dance and music.”

Her challenge was to create something which linked diverse styles without losing the distinct identity of each. “It was quite a challenge because we had to move away from the individual and find a common ground. In the end, what mattered was how effectively the movements conveyed the emotions…”

Will ‘Shifting Grounds’ find an Indian audience? Hans rues, “It is an expensive proposition. I do hope to take it to other parts of the globe.” But how? That remains to be seen.

(This article appeared in the Friday Review of The Hindu dated June 19, 2009)

The Cultural Talent Search Scholarship Scheme aims at providing facilities to outstanding young children to develop their talents in various artistic fields. Children in the age group of 10 to 14 years studying either in recognized schools or belonging to families practicing traditional art forms are eligible for the scholarship.

The Centre for Cultural Resources and Training (CCRT) provides 500 new scholarships each year, out of which minimum 5 seats each are reserved for all the states and at least 3 each for all the Union Territories. Minimum 10 scholarships are reserved for the state of Jammu and Kashmir also. While awarding scholarships preferences are given to children of families practicing traditional art forms. Special emphasis is given to rare arts and crafts which are becoming extinct..

The scholarship awarded under the Scheme is initially for two years and is renewable after every two years till the completion of the first University degree stage of education or up to the age of 20 years whichever is earlier subject to the awardees maintaining good progress.

BASIS OF SELECTION

Children in the age group of 10-14 years studying either in recognized schools or belonging to families practicing traditional, performing and other arts are chosen for the scholarships.
The outstanding children in various cultural fields such as traditional forms of music, dance, drama as well as painting, sculpture and crafts are selected for the award of scholarships. Special emphasis is given to rare art forms, which are in the process of becoming extinct.

CCRT Contact details

Centre for Cultural Resources and Training
Under the aegis of  Ministry of Culture,
Government of India
15-A, Sector – 7, Dwarka,
New Delhi – 110075

Telephone: (011) 25088638,
25088630, 25074254, 25074258
Fax: 91-11-25088637,
Gram: CENCULT
E-mail:- skdgccrt@del3.vsnl.net.in

The Centre for Cultural Resources and Training

The main function of the Centre for Cultural Resources and Training (CCRT) is to conduct a variety of training programmes for in-service teachers drawn from all parts of the country. The training provides an understanding and appreciation of the philosophy, aesthetics and beauty inherent in Indian art and culture and focuses on formulating methodologies for incorporating a culture component in curriculum teaching.

This training also stresses the role of culture in science and technology, housing, agriculture, sports, etc. An important component of training is to create awareness amongst students and teachers of their role in solving environmental pollution problems and conservation and preservation of the natural and cultural heritage.

The Centre for Cultural Resources and Training (CCRT) also organizes various educational activities for school students, teachers and children belonging to governmental and non-governmental organisations under its Community and Extension Feedback Programmes which includes, educational tours to monuments, museums, art galleries, craft centres, zoological parks and gardens, camps on conservation of natural and cultural heritage, camps on learning crafts. These educational activities emphasize the need for the intellectual and aesthetic development of the students.

The Centre for Cultural Resources and Training (CCRT) organizes academic programmes on Indian art and culture for foreign teachers and students. Workshops are conducted in various art activities like drama, music, narrative art forms, etc., to provide practical training and knowledge in the arts and crafts. In these workshops, teachers are encouraged to develop programmes in which the art form can be profitably utilized to teach educational curriculum.

Over the years, The Centre for Cultural Resources and Training (CCRT) has been collecting resources in the form of scripts, colour slides, photographs, audio and video recordings and films. Each year the CCRT’s documentation team conducts programmes in different parts of the country with the objective of reviving and encouraging the art and craft forms of rural India which can be used for the preparation of educational programmes for disseminating information about India’s culture to the student-teacher community. Some of the resource materials are used during teacher training programmes of the CCRT. These are distributed as part of the Cultural kit (sub link) and other productions free of cost to schools from where teachers have received training from CCRT.

The Centre also prepares publications which attempt at providing an understanding and appreciation of different aspects of Indian art and culture. These publications also highlight the influence of nature on artistic expressions so as to create an understanding of the impact of ecology on cultural manifestations.

One of the most important functions of The Centre for Cultural Resources and Training (CCRT) is to implement the Cultural Talent Search Scholarship Scheme. The Scheme provides scholarships to outstanding children in the age group of 10 to 14 years, studying either in recognized schools or belonging to families practicing traditional performing or other arts to develop their talent in various cultural fields particularly in rare art forms.

The Centre for Cultural Resources and Training (CCRT) has also instituted CCRT Teachers’ Award which is given every year to selected teachers in recognition of the outstanding work done by them in the field of education and culture.

CCRT contact details:

Centre for Cultural Resources and Training
Under the aegis of  Ministry of Culture,
Government of India
15-A, Sector – 7, Dwarka,
New Delhi – 110075

Telephone:(011) 25088638,
25088630, 25074254, 25074258
Fax: 91-11-25088637,
Gram: CENCULT
E-mail:- skdgccrt@del3.vsnl.net.in

Kalakshetra premises

Due to semester examinations and summer vacation Kalakshetra – College of Fine Arts and Museum will be closed for visitors from 23rd March 2009 – 30th June 2009. Visitors are requested to contact College office after 1st July 2009 for further information.

The Kalakshetra performance is a hallmark of excellence, marked by simplicity, elegance, and formal rigor. The thorough education here aims to create the consummate performer, one who is adept in his or her art and has an understanding of the theoretical, literary and musical basis of the art form.

Kalakshetra offers a range of options for the needs of every individual interested in learning music, dance or art, from its schools to its college, to the flexible evening course options. Interested persons should read about the different divisions at Kalakshetra for learning: the College of Fine Arts, the Besant Theosophical High School, the Arundale School, and the courses available in bharata natyam, carnatic music and the visual arts.

Students at Kalakshetra

Diploma
Dance
The intent of the institute is to create a consummate performer, one who is an adept dancer, and has a thorough understanding of the theoretical, literary and musical basis of the traditional margam. Therefore, language, music and theory are subjects that support the main subject of study. Each dance student must study vocal music or an instrument as a subsidiary subject. Dance students are encouraged to also study mridangam (a percussion instrument which accompanies the dance) in order to strengthen their understanding of tala or rhythm. Tamil, Telugu and Sanskrit, the languages most commonly found in the poetry of Carnatic music are part of the syllabus.

The Kalakshetra dancer is renowned for his/her impeccable form. One of Rukmini Devi’s most far-sighted changes to the dance was in the teaching of the basic steps or adavus of Bharata Natyam. She classified and broke down the various adavus, and refined many of the movements, giving them geometric precision with a touch of grace. Students are taught the adavus based on her systematized method for their first and most of their second years. Students are taught exercises and yoga, which aid and diversify the range of movement.

Items are gradually introduced into the curriculum from the second year onwards, and students begin learning abhinaya pieces from their third year. Students graduate from the four year diploma course with a strong theoretical, musical and language foundation which allows them to understand and incorporate new items into their repertoire, and, with continued practice and performance, to gain further insights into the dance form.

Students at Kalakshetra

Music
The intent of the institute is to equip students to become performers with strong foundations and the capacity for development on their own. The Kalakshetra diploma in music is unique in requiring 5 years of training, with 3 hours of main music class daily, more than any other comparable program. In spirit, the program emulates the gurukul system. Classes are small and individualized and the students’ progress is based on their strengths and on the discretion of the teachers. The teacher-student ratio is about one-to-four, with the teacher concentrating on the strengths and weaknesses of every student.

Teachers cover rare ragas and rare kritis wherever it will aid the student. They also cover works by all of the major composers, including compositions by those great gurus who worked at Kalakshetra, like Tiger Varadachariar, Mysore Vasudevachariar, Budalur Krishnamurthi Sastri, and M.D. Ramanathan, who all shaped the way music is taught here.

Voice culture is an important aspect of vocal music teaching, with regular sruti exercises, aakaram, and regular repetition of basic exercises in many raagas. This helps students to produce correct notes at quick speeds.

Every vocal student must take an instrument as a subsidiary subject, apart from other subjects like the theory of music, study of the lives of great musicians, and shastras related to music. They also do field trips to Thiruvaiyaru and other places of interest for carnatic music. Yoga is commonly taught to all students in Kalakshetra and two out of three languages are compulsory-Sanskrit, Telegu, and Tamizh.
If a student takes an instrument like veena, violin, or mridangam as their main subject, then vocal music becomes their subsidiary subject. Apart from this, they follow the same syllabus as the vocal student. It is also possible to take dance or art as a second subsidiary subject.

Drama, which is part of the legacy of Smt. Rukmini Devi, our founder, is seen and can be appreciated around the year in the many festivals and performances held in the institute. Kalakshetra has a repertory company that performs extensively through the year. Dance and music students of the institute have the benefit of listening to the music of great stalwarts and seeing the choreography of Rukmini Devi who was perhaps the greatest choreographer of the previous century.

Art
Art, dance and music, although of different disciplines, address the same sensibility; therefore, it is necessary that they all grow together in a cohesive environment of learning. The natural beauty and richness of the Kalakshetra campus is just the ideal setting for this Art, dance and music, although of different disciplines, address the same sensibility; therefore, it is necessary that they all grow together in a cohesive environment of learning. The natural beauty and richness of the Kalakshetra campus is just the ideal setting for this cohesive growth

The art centre provides students four-year diploma courses as well as short-term and part-time courses in the areas of visual arts including: art (painting), ceramics/pottery, sculpture and woodwork, design (basic visual design, textile, kalamkari, etc), and graphic art.

Courses of Study include a four-year diploma course (graduation program – residential), one-year short-term course (residential or day scholars), 1, 3, or 6 month short-term courses (day scholars), and part-time courses in the evening (day scholars).

For further detail, please contact the Registrar or Principal of Kalakshetra at 2452 1169 or email the Advisor of Fine Arts at artcentre@kalakshetra.in.

Rukmini Devi Arundale

Post Diploma Study in Music and Dance

Kalakshetra offers graduates who secure a First Class diploma the opportunity to apply for a further two-year post-graduate course in either music or dance.

Music students focus primarily on the practical, with a special focus on Raga Alapana, Pallavis, Padams, and other advanced studies. During this period, they have to write a dissertation, attend workshops and concerts of eminent artists and do field trips that may be related to their particular paper.

Dance students learn two new margams in the two year program. They study advanced theory, and have field trips with a view to writing a thesis. They also have the opportunity to perform in the dance-dramas and other productions of the Kalakshetra repertory.

Diploma/Post Diploma: Admissions
Interested applicants should read the following information on the applications and admissions process for the diploma course in Kalakshetra in music and dance, as well as other information available on this site about the College of Fine Arts and the Kalakshetra Foundation. The information provided will enable them to understand the range of resources available to every student.

Students between the ages of 15 and 25 who have passed the 10th standard are eligible for admission to the college. The prospectus and application form will be available on the web and in the College office in February of each year. The age restriction can be waived in the case of foreign applicants, after due consideration by a selection committee. The final decision will be taken by the Director.

Prospective students must submit their completed application with testimonials before May 18th. Applicants who are selected for the interview will receive an interview letter giving them the exact date and location of the interview. Interviews are held in the second week of June, a week before the college reopens. The interview is mandatory for all prospective students. Foreign nationals who require a student visa may be exempt from this rule at the discretion of the Director. For all others no changes to the interview date will be entertained. Students must pay for their own travel to and from the interview. Successful candidates must be prepared to join the institute within a week of the declaration of results which are made immediately after all interviews are completed.

The college opens in the third week of June and selected candidates must be prepared to join within a week. Students are selected on the basis of a practical aptitude test and an interview. The school seeks talented students who intend to become professional artists, and who will give the practice of their chosen art primary importance in their lives.

The first year is a probationary year for all students. Students must complete the entire course (four years in the case of Bharata Natyam and Visual Art and five years in the case of classical Carnatic music) in order to earn the diploma. In very special cases, direct admission to a higher class may be considered according to the training and qualifications of a student. However, a student will, regardless of this special consideration, have to undergo training for at least three years in order to qualify for a diploma in dance or art, and four years for a diploma in music.

International Students
Foreign students may apply using the Foreign Students Application Form. Visa and passport details have to be supplied to the College at the time of application. Students who wish to apply from foreign countries in advance or who apply through the Indian Council for Cultural Relations in their own countries must do so well in advance so that their applications can be processed in time for the new course. Such candidates must send their application form, school and college certificates, curricula vitae and a DVD of their work. Such candidates will be duly informed through email of the results.

Those foreign nationals who wish to take the interview in person will go through the same selection procedures as students from India. Those selected for entry into the college will be permitted to begin study only after obtaining the appropriate student visa.

Applicants selected for the interview under a tourist visa must obtain relevant information in their respective country of the rules that apply to the transfer of a visa from tourist status to student status. If students are selected for admission, Kalakshetra will issue a letter confirming their selection. This letter may be used to obtain a student visa, according to visa procedures which vary from country to country. For more information on visas, please contact the Indian consulate in your country.

Rukmini Devi and George Arundale, Finland, 1936

The Indian Council for Cultural Relations (ICCR) has entered into agreements with certain countries, with a view to promoting cultural exchange between India and these countries. Students interested in learning in institutions and universities within India are given a scholarship for study, which cover tuition, lodging, board, and reimbursement of medical expenses. Prospective applicants to Kalakshetra from these countries must apply through the Indian Consulate in their country and indicate their preference for Kalakshetra in their application forms. The ICCR will forward their application to us for processing. As a government institute, Kalakshetra makes every effort to honor the Indian government’s commitments to other nations. However, Kalakshetra reserves the right to screen all applicants. For more information, please contact the relevant Indian Consulate.

Scholarships
A scholarship fund exists for students of Kalakshetra created from donations and endowments made to the institute. A limited number of scholarships are available to students whose parents or guardians are not in a position to pay their fees and who display a degree of talent and aptitude. The case of each applicant will be considered and decided by a scholarship committee. The scholarship covers the tuition fees alone, and for very deserving students, the hostel fees as well for an entire academic year. Scholarships are merit-based, and will only be made available to students with demonstrated financial need after their first year during which a student’s abilities can be judged.

Kalakshetra grants full scholarships to qualified candidates from any of the Northeast states of India.

Full time course fee details for 2009-10 at the Rukmini Devi College of Fine Arts of Kalakshetra

Kalakshetra’s Hostel (Besant Cultural Centre Hostel Fees

Hi!

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Vidya Dinakaran

Excerpt from an article in The Hindu dated January 2, 2009

Double impact

Two is company. Especially for some on whom the Margazhi spotlight has fallen over the years, be it in the field of music or dance. The Dhananjayans, the Reddys and Narasimhachari-Vasanthalakshmi have paved the way for many others to follow. The Margazhi Vizha has, over the years, thrown up some very talented pairs. Here are a few who have made a mark:

Narendra Kumar and Anusha: A show for ABHAI brought them together. “At least that’s the first time we noticed each other, though were both students at Bharata Kalanjali,” laughs Anusha. “I admired his choreographic skills and was too happy when he asked me to participate in ‘Kalinga Narthana’ thillana.” Narendra laughs when he remembers how he choreographed a Meera bhajan for the two of them. “Now, I do the scripting and concept, while he concentrates on choreography,” says Anusha. “The couple who ‘find joy in dancing together’ are in totally sync, on and off the stage.

Bharata Natyam is one of India’s oldest and gracious dance forms.

Bharatha Natyam is one of the seven classical dance forms of India,chiefly associated with the South of India ie Tamil Nadu.The name of sage Bharatha or form its origin in the Bharatha Desha.Bharatha Natyam is also iterpreted as Bhaaram Tharayithi Bharatham -the true dispeller of grief and anguish.Baratha Natyam is also that which encompasses Bhaavam (emotional content),Raga (melody) and Thaalam(rhythm).

For long this dance was also referred to as Sadir or Dasiattam, drawing from an ancient tradition of girls who chose to be wedded to God and spend their lifetime in his servitude. Such ladies were called Devadasis (servants of God) or Nitya Sumangalis (one who would remain auspicious and happily wedded forever) . Such dasis performed music and dance dedicated to the temple during all auspicious festivals, also fanned the deity with chamara and held the lamp or the kumbharthi in sacred processions. They initially held esteemed place in society and were well cared for by the temple and the local ruler.

The literary content of Bharata Natyam was initially inspired by the devoted outpourings of Nayanmars (Shaivaite saints) and Alwars (Vaishnavaite saints), whose influence grew around the tenth century.

The saint poets of later medieval period and early modern period of Indian history, further enhanced the literary content of Bharata Natyam repertorie.

The earliest task of redefining and formalising the repertorie of Dasiattam was carried by four brothers from Tanjore, popularly referred to as the Tanjore quartet (Chinnaiyah, Ponnaiyah, Vadivelu and Sivanandan), to whom we owe the modern day repertorie.

Due to the circumstantial deterioration of the Devadasi system around the beginning of the twentieth century, this practice was banned by a Government Legislation. It was at this time that in 1931, the Madras Music Academy took up the losing cause of this tradition along with Shri E. Krishnaiyer. The first momentous stem was the rechristening of Sadirattam as Bharata Natyam, to present the art in new light.

Enlightened members of society such as Shri E. Krishnaiyer and Smt. Rukmani Devi took to reforming the status of the dance form by introducing further stylization and logical technique in its practice.

Smt Rukmani Devi’s sojourn in this dance formblossomed only in her thirties making her the first Brahmin woman to pursue dance in the latter twentieth century. She was instrumental in later forming the Mecca of Bharata Natyam in Madras – Kalakshetra. She was also one whose aesthetics greatly enhanced the costume and overall representation as dance as we see it today.

This particular dance form was more earth based as seen from its very grounded strong movements from the Ayatha Mandala or the demi plea – araimandi position. The repetorie of a performance is known to consist of Alarippu (drawing from the Telugu phrase of Alarimppu, meaning adorned with flowers), which is the first step of the dancer into blossomig into a full-fledged artiste.

The next item is the Jathiswaram, where pure dance sequences or jathis are strung together to a garland of Swaras, forming simple but interesting rythmic and physical patterns.

The Shabdam introduces the aspect of emotional content onto the hitherto and where danceuse, in small amounts along with the regular Nritta or pure sequences. This intermingling of pure dance and drama (Natya) is called Nritya.

The dancer’s test of stamina and understanding of physical media and its literary content is the Varnam (originally called Vannam or colour). The longest item of the repetorie, the Varnam, adequately exploits the dancers’ experience in the art with its extensive dramatic sequences and challenging sequences and challenging complex rhythmic footwork.

Next follow Padams (derived from the term Padagalu, meaning precious gems). The Padams allow the artiste to explore great depths of emotion surging forth as Bhakti or devotion and Sringaara or love for the God.

Following the Padams, we ocassionaly encounter lighter items like Javalis or intense Ashtapadis that are more inclined to Sringara or the sentiment of love and that which explore in detail the multifacets of fleeting emotions that result from the main feeling of love.

Thus these items are replete with Sancharis, which are extrapolations or extensions of a central idea, seen by way of a multitude of stories, either mythical or puranic.

The repetorie then concludes with a Thillana (derived from Tiralaanadu or that which is fast), that comprises Nritta sequences again, complex footwork and the pure joy of dance.

Form differs, not the content

RUPA SRIKANTH

The Anusham group presented `Shakthi,’ with perfect co-ordination, accurate timing and discipline.

L. Narendra Kumar first shot to fame some years ago with an exciting group choreography of the Kalinga Narthana tillana. Since then, he has remained on the horizon, stretching the boundaries of art and choreography with varying degrees of success.

This season, Anusham group, led by Narendra Kumar and Anusha, presented `Shakthi,’ a thematic work on the Mother Goddess.

The endeavour was to present a traditional idea with predominantly traditional hymns, from a non-traditional perspective. That’s why the presentation differed in form, but not in content.

With the total absence of narrative, symbolism was the operative tool of communication. It was a contradiction in terms, really because this choreography celebrated the sheer physicality of movement without detracting from the seriousness of the imagery.

It is always a risk to employ devotional prayers, but in the present case, the choreographers came out unscathed simply because they did not tamper with the aura of solemnity.

The Gayathri Mantra, the Saraswati sloka, the Mahalakshmi Ashtotram, the step-by-step shodasopachara puja and the Mantra Pushpam were used in different parts of the presentation, each properly recited and sensitively captured in a visual medium.

Besides an opening homage to Gayathri Devi, the manifestations of Shakti as Durga, Lakshmi and Saraswati formed the core illustrations.

The dancers — Anamika, Poornema, Vidya Madhubala, Vidyalakshmi, Gayathri, Tiruchelvam, Guhendran, Narendra Kumar and Anusha — dressed in simple white cotton costumes and adorned with silver jewellery, excelled with their perfect co-ordination, accurate timing and discipline. The tightly-knit choreography was bound together by crisp passages of nritta, not dramatically stirring, yet effective in their very precision.

Poetic resonance

Moments of poetic resonance and friezes were pegged efficiently by the additional lighting by Nambu Kumar.

The music composition and the veena accompaniment were by Rajhesh Vaidya, the konnakkol and sollus by L. Narendra Kumar, percussion by N. K. Kesavan and Sudaman and vocal by Haricharan and Bhavatharini. Within the framework of the production, there were winds blowing from different directions. The Shakthi Kauthuvam composed by S. Guhendran juxtaposed the divine mother and her mortal counterpart in finely crafted wording. The same theme replayed through a poignant

A.R. Rehman composition, “Uyirum Neeye” conveyed the essence of the production in a powerful finale.

While the gurus’ generosity can be appreciated, it was a disappointment for the audience when Narendra Kumar and Anusha’s disciple, Kavita Venkateswar, took centre stage that evening to present a full margam before the staging of `Shakthi.’ The 15-year-old from San Antonio is also a disciple of Bana Ramnath and the Dhananjayans, and is a good dancer, bright-faced and lively.

The lilting Lathangi varnam in Adi talam, a composition of Madurai R. Muralidharan brought out Kavita’s felicity with story telling and rhythm.

She requires some changes in posture though. Definitely a student to be proud of.

Nataraja’s Children

by Samanth Subramanian

(Article appeared in The New Indian Express, Sunday Magazine)

Anusham is the brain child of Narendra Kumar. Anusham, the seed or ‘beeja’ has been nurtured by the creativity and undaunted efforts of Narendra Kumar, his wife Anusha, and their friends, from myriad disciplines of dance, theatre, music, martial and visual arts.

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.

 

More about the Anusham Dance Group, Anusha Narendra Kumar and L. Narendra Kumar