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 Post subject: Re: Arts & Culture
PostPosted: Mon Sep 25, 2017 6:50 pm 
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 Post subject: Re: Arts & Culture
PostPosted: Sun Sep 24, 2017 11:51 am 
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Naalathe is on a mission to bring back the quintessence of Bharatanatyam back to a new generation of dance enthusiasts in Trichy


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Naalathe founder-president Supriya Ravikumar (centre) with her colleagues Gajalakshmi Anbalagan (right), J Idaya Rajkumar (extreme right) and students ahead of the ‘Colours of Abinaya’ performance to be held at Singaperumal Kovil Auditorium in Srirangam on September 23. | Photo Credit: M. SRINATH

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Naalathe is on a mission to bring back the quintessence of Bharatanatyam back to a new generation of dance enthusiasts

For the past four years, Naalathe, a group of teachers of Bharatanatyam and related arts based in Tiruchi, has been trying to stem the tide of talent flowing away to the metropolises. “We started Naalathe because every artiste has become isolated. To each person, what their guru taught is sacrosanct.

But as we grow in individuality, we have started adding innovation in dance forms. This doesn’t send the right message to the younger generation,” says Supriya Ravikumar, the founder-president of the group, with over 21 years of teaching Bharatanatyam behind her.

Naalathe brings together around 15 experts in classical dance and musical arts, and this Navaratri, the group has lined up performances at the Gollu Mandapam of Arulmigu Thayumanavar Thirukovil (Rock Fort), from September 21 to 28.

At 6pm today (September 23), students of Naalathe members Supriya, J Idaya Rajkumar and Gajalakshmi Anbalagan will be presenting Colours of Abhinaya at Singaperumal Kovil Auditorium in Srirangam under the auspices of the local chapter of Bharatiya Vidya Bhavan and Infosys Foundation, Bengaluru.

Extra-curricular activity

Retaining the purity of the dance form has been a sort of mission with Supriya, who runs the Sri Priyalaya Arts Academy. Over the years, she rues, learning classical dance has become an extra-curricular activity for school-goers and their parents. “The only aim seems to have the child learn as much is required for an arangetram (debut) performance. If a teacher is strict, children tend to hop to another. This was unthinkable in the days when arts education was shaped by the gurukulam system,” she says.

The fault lies not just in the learners, but also in teachers, she says. “Unless we know our art perfectly, and share our experience with others in the field, how are we going to encourage youngsters?” she asks.

Colours of Abhinaya will showcase the talents of upcoming and accomplished dancers on the same stage. “We chose this title because abhinaya (expressive techniques used to convey a theme, mood, or idea) differs from person to person, depending on the age group and experience. It will be a platform for all, and a treat for the eyes,” she says.

Learning, teaching

Compared to others, Naalathe joint secretary Gajalakshmi Anbalagan is a newcomer to the city. A student of Chennai-based Bharatanatyam and Kuchipudi exponent S Divyasena, Gajalakshmi worked in Singapore as a dance teacher, and shifted to Tiruchi after marriage. “I feel Naalathe is an important platform for dance enthusiasts and teachers like me. I have studied under Supriya ma’am, and as a teacher and well-wisher, she gave me several guidelines when I was setting out on my own,” she says.

Watching more programmes helps students hone their own dance skills, feels Gajalakshmi, and for this, the city has to wake up and give more opportunities to local dance groups.

Naalathe treasurer J Idaya Rajkumar has been running her Nrithya Kalalaya school in KK Nagar for 14 years, and has so far prepared 15 dancers for their arangetram. “Parents stop their children from attending dance classes once they reach senior school. Perhaps only one in 30 students is here to learn Bharatanatyam for cultural reasons. Many children waste their years of training after they get busy with higher studies and professions. The only way to keep old pupils in touch with their art is to have them over for small portions of our programmes,” she says.

Like most children, Vytheki Santhakumar took up dance because her mother pushed her into it. “But I fell in love with Bharatanatyam after that initial hesitance. So I always tell my students that if I can dance, so can they,” says Vytheki, a Sri Lankan national who has been based in Tiruchi since childhood, and runs a dance school here. “Half-way through my Engineering degree, I realised that dance would play a significant role in my life forever,” she adds.

Naalathe helps her to maintain standards as a working professional, she says. “I am a bit reserved, and so lose out on contacts. Naalathe helps me to connect with others in the field and get dance engagements,” she says.

Certification

The group, which has senior instructor Vrinda Ramanan as adviser, also prepares students for the annual Prayathnam dance exams. This is a Chennai-based organisation comprising of senior figures in classical performing arts, that certifies the accomplishments of students. “More than a degree, this is recognition by an expert,” says Supriya. “The exam pattern has created a unity within us in Naalathe. All our students are more or less of the same calibre, because we share our knowledge while training them up for the exams.”

M Jaya Khavi, the all-India topper in the 6th level of the Prayathnam exam this year, is a student/instructor who will be taking part in Colours of Abhinaya as well. “I have been learning dance from Supriya ma’am from the age of 8. She is more of a mother than teacher to me,” says Jaya Khavi, who is now doing her Masters in Dance. When asked about the impact of technology on classical art forms, she says, “the internet can actually be very useful for young artistes. We can see how various people around the world perform the same dance according to their training and exposure. We can also register our own presence in the field through YouTube.”

A Nojanna is a Naalathe member who is also an examiner for Prayathnam exams. Starting out as a group dancer, Nojanna, a double degree holder in classical dance and fashion technology, is now much in demand as a solo performer. “The best thing about our group is that students from financially poor backgrounds also get a chance to perform on stage. This is the only way to spread the culture of dance in society,” she says.

For now, Naalathe members pool in their own funds to stage their shows, which can go cost upwards of ₹1 lakh. “Most of the money goes towards hall fees, sound and light arrangements, and the stage backdrops,” says Supriya. “Besides this, the students have to shell out at least ₹5000 for a dance costume, and ₹2000 for the accessories.” Can corporate sponsorship help? “Certainly. But most local companies prefer to sponsor events in Chennai and completely overlook performers in their own city,” she replies.



source: http://www.thehindu.com/entertainment/dance/naalathe-bharatanatyam-tiruchi-nahla-nainar/article19735215.ece


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 Post subject: Re: Arts & Culture
PostPosted: Fri Sep 01, 2017 12:25 pm 
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Talented aspirants from Sri Bharathakala Academy,Srirangam are performing Bharathanatiyam at Thailand on the eve of India's 70th Independence Day celebrations there


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See Indian dances, Indian art and shop for Ayurvedic products at a festival celebrating 70 years of independence on the subcontinent with events through the rest of the year.

The Embassy of India is hosting Festival of India in Thailand, with traditional dance performances, art exhibitions and other cultural events also marking 70 years of Indian-Thai diplomatic relations.

A “Sri Krishna” dance performance will be held at 7:30pm on Saturday at the Sala Chalermkrung Royal Theater. At the same venue, a dance workshop will be held at 11am on Sunday. Tickets are available online for 700 baht to 1,500 baht.

Sri Krishna will feature dances about the Hindu God Krishna and his prankster antics and will be performed by 13 dancers from the Sri Bharatakala Dance Academy from Tiruchirappalli and Chennai.



source: http://www.khaosodenglish.com/life/arts/2017/08/31/india-going-celebrate-70-years-shows-art/


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 Post subject: Re: Arts & Culture
PostPosted: Sun Aug 20, 2017 8:59 am 
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 Post subject: Re: Arts & Culture
PostPosted: Sat Aug 12, 2017 6:51 pm 
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 Post subject: Re: Arts & Culture
PostPosted: Tue Aug 08, 2017 7:02 pm 
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Rasika Ranjana Sabha rolls out cultural week

From August 13 to 20

Rasika Ranjana Sabha will hold week-long cultural programmes and felicitation of young Carnatic musicians in memory of its founder L. Venkatraman.

Slotted to be held from August 13 to 20, the L.V. Memorial programme will be inaugurated at the Sabha’s F.G.N. Hall on Sunday. R. Banumathy, daughter and disciple of S. Ramanathan, Director, Alapana Arts, Singapore, will give away prizes to winners of the recent music contests and confer the titles ‘Sangeetha Sri’ upon S. Padmashree and Shruthi Shankar Kumar. Srimushnam K. Rengarajan will be honoured with a purse. This will be followed by a vocal recital by S. Padmashree.

Vocal concerts will be held at Hotel Sangam by Ranjani and Gayathri on August 14, Sherthalai Dr. K.N. Renganatha Sharma (August 15) and Sikkil Sri C. Gurucharan (August 16).

‘Ramanujar 1000’

The latter half of the commemorative week will be held at the F.G.N. Hall, commencing with the dance-drama, ‘Ramanujar 1000’, performed by Srirangam Bharatha Natyalaya under the direction of Revathy Muthuswamy on August 17. This will be followed by RR Sabha’s historical drama ‘Pandavi’ on August 18 and the Mayurapriya Chennai production ‘Vivahamalai.com’ on August 19.

The week will conclude on August 20 with the play ‘Ninaipathellam Nadanthuvittal’ starring Kathadi Ramamurthy, directed by S.L. Naanu. Admission is free.

http://www.thehindu.com/todays-paper/tp ... 448280.ece


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 Post subject: Re: Arts & Culture
PostPosted: Fri Jul 28, 2017 9:45 pm 
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1) A concert series featuring young Carnatic musicians is being presented by Rasika Ranjana Sabha on Sunday

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A concert series featuring young Carnatic musicians is being presented by Rasika Ranjana Sabha this week

Six Carnatic musicians — Vani Ramamurthi, Anavita Hariharan, Kamalakiran Vinjamuri, Akshay Ananthapadmanabhan, Sanjith Narayanan and Sowmiya Narayanan — are due to perform at Hotel Sangam tomorrow (Sunday) in what promises to be a showcase for young talents of traditional music.

That all the six are non-resident Indians from the United States, despite being deeply involved in learning Carnatic vocal and instrumental music in India as well, is but an interesting footnote in the upcoming programme.

The free concert series (from 6pm onwards) is being presented by Rasika Ranjana Sabha, with the aim of encouraging youngsters to gain a better appreciation of Carnatic music.

Audiences can expect to hear vocalist Vani Ramamurthi, a student of the sisters Ranjani-Gayatri, who was born and raised in California, but later shifted to Chennai in order to pursue music studies.

Among the instrumentalists, Kamalakiran Vinjamuri, 19, started learning violin from his grandfather Parthasarathy Iyengar at the age of 4, and was further trained by Malladi Vijayalakshmi from Tirupati. Currently he is learning from his father Subhash Vinjamuri and Sangeetha Kalanidhi A Kanyakumari.

Akshay Ananthapadmanabhan was first introduced to the mridangam at the age of five in Mumbai, under the training of T S Nandakumar. Ironically, Akshay's true passion for Carnatic music was awakened after his family moved to the United States.

He moved to Chennai in 2012 after receiving his Masters degree in Electrical Engineering from The Cooper Union Institute in Manhattan, New York and has since then become a full-time Carnatic musician.

Anavita Hariharan has been studying South Indian Classical saxophone with Sumanth Swaminathan since 2010. She has undergone further training with the eminent saxophone maestro Padmashree Kadri Gopalnath during her annual summer visits to Chennai.

She has won competitions at Chicago Tyagaraja Utsavam and Cleveland Tyagaraja Aradhana and was awarded scholarships in Chicago for her dedication to music.

Fourteen-year-old Sanjith Narayanan is learning violin from Subash Vinjamuri and Kamalakiran Vinjamuri for the past 8 years. He has performed in the United States and India, most recently at the TedX Youth conference in Pennsylvania.

His father, Washington-based Ghatam exponent Sowmiya J Narayanan, is presently continuing training from Sangita Kala Acharya TH Subash Chandran and mridangam maestro Trichy B Harikumar. He has accompanied many leading artists like Balamurali Krishna and Pandit Vishwa Mohan Bhatt.

Music as life

Anavita Hariharan, Sanjith Narayanan and Kamalakiran Vinjamuri shared their views on a wide range of topics with MetroPlus in an email interview.

“As always, I greatly look forward to all my kutcheris. I am extremely excited for tomorrow’s concert, because I will be accompanied by very talented musicians and I can't wait to share the stage with them. I love to showcase the fast and exciting parts of the instrument, as well as show the soothing musicality the instrument can produce,” wrote Anavita.

Besides her own ongoing musical tutelage and concerts, she also teaches Carnatic music on the saxophone to interested students around the United States. She is currently pursuing a major in Public Health at the University of Illinois at Urbana-Champaign.

Sounding wise beyond his years, Sanjith Narayanan writes, “It feels very good to specialise in an art outside my country of origin. I feel like it's my duty and a great way to connect me to my roots and who I really am. It is also very important that I keep my links to India so that hopefully, I can sustain this career in Carnatic music.”

Tomorrow’s concert will show that “music is still in good hands for the next generation and that Carnatic music is also very strong in the US and India,” adds Sanjith.

“Performing is a way of sharing your music with everyone around you. However, if you do not enjoy it then how can anybody else? Music does not have any role in my life; rather, music is my life,” writes Kamalakiran Vinjamuri. The young musician is equally adept at playing Western violin too.

It promises to be an evening of music that knows no geographical boundaries
.


source
: http://www.thehindu.com/entertainment/music/carnatic-music-concert-series/article19379434.ece



2) Much Needed and Long Felt Auditorium to be opened for public and Cultural events in Trichy City with 800 Seater Capacity

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The first public event is scheduled to be held on July 31

Days after being handed over to the Hindu Religious and Charitable Endowments (HR&CE) Department, the new auditorium constructed on the premises of the Sri Kattazhagiya Singar Temple at Srirangam is all set to be thrown open for public events.

The auditorium which was hitherto under the control of the Tourism Department was handed over to the HR&CE department recently after there was a public outcry over non-utilisation of the new building.

Having taken over the auditorium post-inauguration by the Chief Minister through video-conference recently, the HR&CE department has begun to spruce up the huge auditorium measuring a little over 11,000 square feet. Ahead of throwing it open for public events, audio system was being installed inside the auditorium which has a seating capacity of 800.

The HR & CE department has sunk a borewell for provision of water supply for the auditorium as well as for temple use. Provision has also been made for the installation of a generator set, said official sources.

The first public event at the auditorium, provided with air-conditioned facility, is scheduled to be held on July 31 with a bharatanatyam programme to be organised by the Bharatiya Vidya Bhavan, said official sources.

The HR&CE has fixed a rent to let out the auditorium for organising cultural events, spiritual discourses and religious workshops. The auditorium would not be let out for organising weddings, said a senior official adding that some more plans were on the anvil for the auditorium.

The auditorium was constructed after former Chief Minister Jayalalithaa was elected from the Srirangam Assembly constituency in 2011. The Tourism Department had constructed the building at a cost of ₹3 crore.



source: http://www.thehindu.com/news/cities/Tiruchirapalli/auditorium-on-temple-premises-to-be-opened-for-public-events/article19371204.ece

^^^^
Trichy should be promoted among the masses as a Citadel of Classic, Carnatic and Fine Arts

RR Sabha and Bharthya Vidya Bhavan doing the Job well over the years to Promote Trichy in this sector--Hope the newly opened Auditorim provide more such ample space for such concerts
:)


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 Post subject: Re: Arts & Culture
PostPosted: Mon Jul 10, 2017 11:19 pm 
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When Trichur Brothers set the tone for an enchanting evening

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Sri Krishna Mohan and Ramkumar Mohan performing at Bharatiya Vidya Bhavan in Tiruchi on Saturday. | Photo Credit: M. Srinath
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The Tiruchi Kendra of the Bharatiya Vidya Bhavan celebrated its sixth anniversary with cultural performances, including a vocal concert by Trichur Brothers Sri Krishna Mohan- Ramkumar Mohan and party, in the city on Saturday. The concert was preceded by a ‘Kala Pradarshnam,’ wherein young artistes, who had performed under the Bhavan-Infosys Foundation outreach cultural programmes during the year, presented crisp vocal, keyboard and bharathanatyam performances.

The Trichur Brothers presented an enchanting and cohesive concert starting with a fitting piece ‘Om Kaara’, a Balamurali Krishna’s composition in Shanmugapriya. It set the tone for the evening as they followed it up other compositions raising the tempo. They were accompanied by Vinoo S. Anand on violin, R. Mohan on the mridangam and Kovai Suresh on the ghatam.

T. V. Murali, Hon. Secretary, Bharatiya Vidya Bhavan, Tiruchi Kendra, thanked the Infosys Foundation for the support given to create a platform for budding artists to exhibit their talents. He appealed to the city residents to support the endeavour in nurturing young talent and also for building an auditorium in the city.

S. Chandrakumar, Chairman, and Bhavan committee members M. Somasundaram and K. G. Muralidharan honoured the artistes.




source: http://www.thehindu.com/news/cities/Tiruchirapalli/when-trichur-brothers-set-the-tone-for-an-enchanting-evening/article19249136.ece


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 Post subject: Re: Arts & Culture
PostPosted: Tue Jun 06, 2017 7:44 pm 
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5th World of hiddenidols in Thiruvanaikoil, the best place in the universe that represents water for Lord is a grand success. We dedicate this success to all the lovely hiddenidol participants and their parents who made it a memorable life time festival.

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5th World of Hiddenidols at one of the best place in the universe for Lord that represents water. Planet earth and human body has around 75 percent consists of water. We bow and salute to this divine element.

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 Post subject: Re: Arts & Culture
PostPosted: Fri Jun 02, 2017 6:51 pm 
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Epic moments with modern resonance

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Apart from the Pandavas and the Kaurava brothers, one character, who is spoken of in the Mahabharata is Karnan. Ajay Entertainers’ ‘Karnan,’ with which the Mythological Drama Festival jointly organised by Brahma Gana Sabha and Parthasarathy Swami Sabha, opened did bear resemblance to the popular film that had Sivaji Ganesan don the role, but it also had some novel twists (script — Kavignar Poovai Daya).

Sakuni wants to destroy the Kauravas, to avenge the death of his brothers, imprisoned and starved by Dritarashtra! He uses the naïve Duryodana to carry out his plans. The last few decades of politics in India have seen shadowy powers behind the throne, and through the story of the warring cousins, the play shows us the dangers of such manipulation, with contemporary references. There were some poignant moments as when Draupadi calls attention to her sorry state, and says: “I wanted to marry Arjuna, but was forced to marry all the five Pandavas. Is it something to be proud of?” None of the brothers has an answer, and Kunti conveniently says, “Let bygones be bygones!” Duryodhana (Natana Sabapathi) kept bobbing up and down on his toes — an annoying piece of overacting. Jagadeesan, as Sakuni, essayed his role with aplomb . The sound effects were an auditory assault. The play, directed by Mallik Raj, was an engaging presentation, but needs a lot of editing.

In Tiruchi R.R. Sabha’s ‘Pandavi,’ the Kurukshetra war is over, and the Pandavas rule over five separate kingdoms. Kunti’s life is peaceful, and she proudly tells Krishna that there is not the slightest whiff of disagreement among her sons. Krishna decides that her ego needs to be deflated a bit. He visits each of the Pandavas and tells them that it is not fair that Kunti should always be in Yudishtira’s kingdom. Why shouldn’t she stay with her other sons, who are just as affectionate as the eldest? And a quarrel ensues among the sons, with each of them wanting Kunti to make her home with him!

Detached attachment

Neatly scripted (Tiruchi George), the play stressed the importance of detached attachment, and therefore had a modern resonance. The play also posed the question — do parents really want to be with their children in their old age? Isn’t that why Vanaprastha was prescribed as one of the four stages of life ?

While the play was well executed (direction N. Sekar), the comedy scenes did not fit in with the story, and impeded the flow of the narrative. Mohamed Masthan as Bhima brought out the volatile temperament of the Pandava. The way Vinothini as Krishna used her hands and shook her head made her seem more like someone dancing than acting in a play. R.R. Sabha, Tiruchi, has its own troupe, and only sabha members can act in their plays. When a group of theatre enthusiasts began to stage plays in Tiruchi in the early 1900s, they realised that in order to sustain a troupe, it would be necessary to start a sabha, and thus was born R.R. Sabha, which is into its 103rd year. “Pandavi” was R.R. Sabha’s first outing in Chennai, and one hopes to see more plays from this troupe in future.

The last play in the series was Asvattama enacted by K.R.S. Creations (script Sri Kavi, production co-ordination K.R.S. Kumar). Asvattama is a child of Destiny. Reared with fondness by Drona and his wife Kripi, Asvattama gets sucked into a vortex of revenge. Drona is insulted by his friend, whose son Drishtadhyumna is prophesied to kill Drona. The prophecy comes true, when Drishtadhyumna cuts off an unarmed Drona’s head. It is now time for Asvattama to take revenge. In the fratricidal Kurukshetra war, there is no one who does not suffer losses.

Every dot connects to give an overall picture of how everyone marches to the tune of Fate. Every death happens as determined by the unseen hand of Providence, and the dialogue in delightful chaste Tamil brought out the inevitability of the turn of events in the lives of the Pandavas and the Kauravas, and those associated with them. And through the events in the Mahabharata, the play also touched an emotional chord in the viewer — don’t we also often fight a losing battle against Fate?

K.R.Selvaraj as Asvattama turned in a good performance, although some of his gestures — striking his thigh, for example — were exaggerated. Drona’s bow being kicked out of the way, even while Kripi is mourning her husband’s death was a glaring slip up. The stage hands had not removed the bow from the previous battle scene, but could the actors not have just have picked it up and put it away?

A story from the epic with lengthy dialogue calls for an excellent memory. It is to the credit of the team that there were no forgotten lines and the enunciation was clear too. Shadow effects were used to show the war scenes of charging horses and elephants, and Chithan and Mano deserve a pat on the back for their efforts.

This play was staged about 30 years ago by K.P. Rudrapathy’s APN Fine Arts, and was a huge success, running to 300 shows.

http://www.thehindu.com/todays-paper/tp ... 704387.ece


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