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Bharatanatyam performnce at Kamakoti hall(shrui Krishnagana sabha mini hall) at 4pm, Saturday, December 28

Bharatanatyam performnce at Kamakoti Hall (Shri Krishna Gana Sabha mini hall) at 4pm, Saturday, December 28

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The Hindu newspaper has carried a review of my dance programme. You can find it here (starts from the fourth paragraph):

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

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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 tAnusham logoo 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.
– Anusha and Narendra

THE GURUS

With my 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

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CHITRA SWAMINATHAN (from The Hindu)

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.

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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

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Hi!

This site is in a blog format. You may either scroll down to read the posts or click on the Categories list on the right.

If you are interested in a particular subject such as Kalakshetra or the Anusham Dance Group, you may click on the pages devoted to the subject on the top of the site.

The position of the post on Bharata Natyam (scroll down below) will remain static. This does not mean the pages are not being updated. It means anyone coming into this site will get a general introduction about Bharata Natyam in the first page itself. If you like to know what’s the latest, go to the What’s New section on the top.

Please feel free to write to me at this email ID: email ID

Vidya Dinakaran

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