Feeds:
Posts
Comments

Posts Tagged ‘Dhananjayans’

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

Advertisements

Read Full Post »

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.

Read Full Post »

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

Read Full Post »

Shakti
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.
Shakti

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.
Shakti
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.
Shakti
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.

Read Full Post »

Anusham logo

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

Read Full Post »