Divine Blossoms is the kind of book I might have never discovered if I was not the founder and host of a poetry group called the Poetry of Diaspora in Silicon Valley. I am so glad that I agreed to review it and have had it on my bedside table for easy access for the past several weeks.
The poet, Anuradha Gajaraj-Lopez brings wholesomeness to the ordinary life as a householder. As a former journalist, she has a facility with words, using them to reach everyone, regardless of where they might come from. The 134-page book is more than a poetry book. It offers poems that are also prayer, a wide range of ways of worship, and several ancient stories from epics of Hindu mythology, as spiritual fables with lessons for young and old. These are all wrapped and delivered as short poems, with the cadence and essence of a bhajan, a devotional song, in simple English, that makes it accessible to everyone.
The book has two parts: the first called Murmurs from Beyond and the second called Whispers from India. The poems in the first part deal with faith in God and the metaphor of divine love. The latter part has poems in six sessions, on topics of devotees, folklore, epics of Ramayan and Mahabharta, gods Shiva and Krishna, Christ and Yogananda, women in India, and on death. The poems are rich in detail with the pathos of lived life in human form combined with a yearning for the inspiration from the deep faith in the divine, through the references that evoke not just the main characters that are highlighted in the index, but also the poetic traditions, with Kabir, Ramakrishna, Chaitnya Prabhu and others who were seekers in the same vein.
Anuradha invites the reader into her world with an authentic and heartfelt outpouring of the essence of all that she cherishes. The Indian mythological stories have a living oral tradition such that retelling these timeless stories allows for making them relevant in contemporary times. Anuradha’s rendering does that. If you are not familiar with Hindu mythology, she helpfully provides a short introduction before the poem, to make the story be set in the context, and for them to be rendered in a poetic form. The poems are crystalized into the essence of the story, almost like a bhajan, an Indian devotional poetic form.
I will not be surprised if someone reading them decided to set them to music and create a musical or chant form for these in the future. As many of the stories were familiar to me, parts of the book took me on a journey to my childhood when I had first heard these. The poems leave a fragrance, and it makes sense that she called the book Divine Blossoms. While the poems are light reading, they offer comfort, surprise, hope, and the adventure of a story. The moral lessons are conveyed gently like what the poet believes, and not a lecture on morality. Her voice brings the easy access of an Amar Chitra Katha comic book version along with the message with the clarity of her spiritual guru, Yogananda. The deep convictions of the poet are what make this poetry transparent and luminescent. These are conveyed in an easy manner that makes it clear that the poet practices these effortlessly and speaks her mind genuinely, wearing her faith as easily as a well-loved garment, and releasing the poems with trust that they will find their own readers.
The book is self-published and shows care in how symbols and images have been added to enhance the presentation. It will feel different from a professionally edited book since it has its own unique layout. This makes me wish that it will inspire others who are carrying their poems and stories within them to also be willing to create their own books. The creativity and fire of the work are best experienced, rather than described by me, so I have selected one of my favorite poems, reproduced with her permission.
The Stone on the Temple Floor
It is so unfair
I am trodden on by hundreds
Who rush by without a thoughtless care
To seek a glimpse of your form
And yet,
I was hewn on the same old rock as thee
Here I lie on the temple floor
While you are daily worship
With honey, milk, curd and
Precious gems galore!
“Ha” laughed the divine statue
Standing erect and tall
And gently said,
“Brother, don’t you remember at all?”
The days when we lay on
The stone mason’s yard
With hardly a few blows you were
All set, and proudly carted afar
While, I cried each time,
The choice and hammer
Moved relentlessly on
On every inch of this form
You now see and envy from afar
And so, the Divine sculptor
Deals the hardest blows on those
He holds very close
Not to be discarded on an old temple floor
But to merge with Him and
Reach the coveted destiny that is His alone!
Dr. Jyoti Bachani is on a mission to humanize management using the arts, specifically poetry and improv, as a founding member of the Poetry of Diaspora of Silicon Valley, a co-founder of the US chapter of the International Humanistic Management Association, and an associate professor of business at Saint Mary’s College of California.
The barren arena has just a massive black lamp made of stone that dotted the center. No stage setup, no curtains, no extra lightings, no hint of any backstage music either. The arena of Pura Uluwatu in Bali, Indonesia is more like a mini open-air auditorium.
This is the stage for 50 dancers of the famed Kecak (pronounced as Kechak) Dance, a traditional art form of Bali in Indonesia. One is left wondering what kind of dance performance it would be!
A priest in a white garment walks into light of the solo lamp in the center of the circular place and you know the stage is set. The lighting of the lamp is a signal of commencement of the world-famous Kecak Dance of Bali. That stirs up all in their seats, craning their necks not wanting to miss any sight.
Chants of chak chak chak… faint at first grow stronger within seconds! Half clad men; more than 50 in number, dressed in black and white check patterned sarong, chanting chak chak chak, enter the stage. Slightly mind-boggling, it makes one curious – whatever does it mean?!
The men come in a disciplined rhythmic manner, take up their seats in concentric circles at the edge of this circular place chanting chak chak chak and swaying a bit. One by one the main artists make their entry dancing on their nimble feet. With expressive eyes and gestures with fingers, they convey their roles.
Pura Uluwatu arena in Bali, Indonesia.
Slowly the drama unfolds, the story takes shape and the characters evolve distinctly. The chant gets high-pitched whenever the scene climaxes and soon slows down to a murmur too and the men sway according to the same rhythm.
If you are aware of the story of the Hindu epicRamayana, you can name each character easily. No need for any lyrics, hymns, or dialogues. Just the mere rise and fall in pitch of the chant of chak chak gave us the overall effect of the drama including the climax and final closure.
The story, a small part of Ramayana: Rama goes hunting for a golden deer on Sita’s insistence. Lakshman stays back to protect Sita, but again on Sita’s insistence, Lakshman goes out to protect Rama. Meanwhile, Rahwana comes seeking alms in the disguise of a beggar. The moment Sita steps out to give alms, Rahwana carries her away to his kingdom.
Rama takes the help of Hanuman, the Monkey God. The drama is infused with humor with Hanuman’s entry. His tail is set on fire by Rahwana’s men and he keeps jumping around spreading terror; albeit with little humor. The dance takes the name Fire Dance from this scene.
While Kecak Dance can be seen in other parts of Bali too, it is at Uluwatu Temple the experience seems exceptional. With the sun setting in the background, the sun’s final rays created amazing silhouettes, and the torches borne by the artists reflecting their dramatic actions and gestures cast a magical spell!
Chak chak chak… the sound haunts your mind long after the show is over. So, it meant the chatter of monkeys! A story told by the monkeys with no words or lyrics, just chak chak chak, hence sometimes known by the name Monkey Dance too.
Lord Ram in the Kecak Dance retelling of the Ramayana.
How Ramayana reached Bali
Hinduism reached Indonesia from India in the 1st century. The religion crossed seas from the Indian mainland through traders and Hindu scholars.
Ancient Chinese records of Fa Hien of 414 AD mention two schools of Hinduism in Java. Additionally, Chinese documents from the eighth century refer to the Hindu kingdom of King Sanjaya as Holing, describing it as exceedingly wealthy.
Another widely believed reason for the spread of Hinduism in Indonesia is that Indonesian royalty welcomed Indian religions and culture. The rulers first adopted the spiritual ideas of both Hinduism and Buddhism and soon the masses too adopted them. Hindu epics are part of the country’s culture. They believe Hindu epics promote values like loyalty, courage, and integrity of characters.
History of Kecak Dance
Kecak Dance was first developed in Bona, Gianyar during the 1930s. For the people of Bali, dance is a medium of expression of cultural values; they use it to convey their folk history and mythological stories. It is an important part of rituals associated with life, cremation, and death. They perform while praying for the prosperity and health of their community.
Kecak Dance is one of the nine popular forms of dances of Bali. The older version was more a kind of trance ritual. Male performers chanted chak-chak in chorus with different rhythms and pitches. Sanghyang Dance, another traditional dance of Bali, has chorus singers and girls dance in trance. It belongs to the broader classification of Wali Dance, a form of the sacred dance of Bali. The present-day Kecak dance version is a mix of Sanghyang dance and the original form of Kecak dance-themed on the mythological story of the Hindu epic, Ramayana.
It was the joint effort of an artist named Wayan Limbak and a painter from Germany, Walter Spies, that put Kecak Dance on the world map of dances. Their goal was to put up a performance for the public.
Interestingly, since the 1930s, Kecak Dance has been performed by only men. It was until 2006 that women too began to perform this dance. Today Kecak Dance is performed not only in temples but also in cultural parks and in international theatres. However, it is most mesmerizing to watch in Pura Uluwatu in the evenings with a dramatic sunset as background!
Indrani Ghose is a freelance writer from Bangalore, India, and is passionate about travel, culture, cuisines, life stories, and bird watching. She blogs atisharethese.com.
The re-run of Ramanand Sagar’sRamayana, the late 80s hit serial, during the lockdown managed to engross diverse audiences.
However, this popularity is of no surprise since it began running again on the most widely available TV channels while the world was in lockdown, and the production of new shows and episodes came to a halt.
This time around, Ramayana was watched on the individual or even multiple TV sets in each household and some even watched it on their smartphone screens. Adding to this, the digital revolution has allowed for the Ramayana to go online.
TheRamayana™, a Virtual Museum of Indian Epic, Ramayana with 350+ written and audio short stories, perspective polls, and quizzes in Hindi and English.
The app contains a collection of comprehensive and illustrative guides and gives you multiple filters to select stories. Instead of proceeding in the story through a traditional narrative, the app gives the user freedom to explore various stories from unconventional and different narratives which can further be explored with the help of tags and lets the user eventually get engulfed by the universe of Ramayana.
It has 90+ of your favorite characters, 100+ essential landmarks and locations mentioned in multiple versions of Ramayana from Valmiki, Tulsidas, and Kamban which have been accurately connected to the current map of India for ease and to inform you about their historical significance and the 7 Kandas, all of which have a deep-rooted meaning and learning to obtain from.
The Ramayana has been designed in such a way that it is easy to use, it can be explored anywhere and anytime. The portability of this platform gives it an edge over other mediums such as books which allows the user to experience this epic saga while keeping up with technology.
Pictorial representations have also been used along with the texts to keep diverse audiences engaged. With the expertise of creating informative and fun bite-sized stories has been used in the historical domain this time. The Ramayana transcends the boundaries of religion as the stories and guides in it have been entirely curated with an unbiased viewpoint. The content is backed by authentic sources and has been created after extensive research.
The team has also created and integrated audio versions in English and Hindi for pleasurable use and further plans to launch bite-sized guides for scriptures such as the Mahabharata, the Vedas, the Quran, the Bible, Bhagavad Gita, and more to reach out to a wider set of audience in the future.
The Ramayana is extremely easy to use due to its simple user interface. It will be available in both Hindi and English language. The mobile application is available on both Android and iOS platforms.
Tigers killed the prehistoric animals, man killed the tigers, and now microbes kill the man. This sequence has been a part of our planet. Our mortal enemy is historically shrinking in size but the destruction caused by IT is getting progressively more devastating because of our lifestyle. A sweeping annihilation of human beings was neither unprecedented nor entirely unexpected.
I remember the words of our Previous Dean at Emory Medical School, who joined us from the National Institute of Health some years ago, that our most threatening enemy is going to be microbes because they have been on this planet far earlier than us and we can never compete with their rate of reproduction.
The only advantage of their vicious visit this time is the lessons they are leaving behind. I do not want to enter the details of the devitalizing vital statistics of this pandemic. Everyone knows them beyond our choice. They will be talked and written about for decades to come.
Some Lessons To Be Learnt: The tragic toll of life that the pandemic has taken will not go entirely in vain if we draw some harsh but needful lessons therefrom.
Lesson 1 – Microbial World
We are surrounded by and inhabited by a microbial world. We have to recognize the good ones from the bad ones. Giving them names such as “evil”, “monsters”, etc. makes no difference to them. They are totally blind to gender, nationality, race, age, and any such outer epithets. We saw how this pandemic eclipsed many royal members, politicians, and physicians. They have no respect for Churches or other religious places either. Many churches were their starting places. They besiege and kill indiscriminately. To keep such Bacteria at bay with the help of scientists is our only available recourse.
Lesson 2 – Indian History and Mythology
I find our Indian History and Mythology to be very instructive in this regard because we have survived many diverse disasters and catastrophes. When we find our disassociation from society so unbearable, remember that Lord Buddha, Shankaracharya, Lord Swaminarayana, Shree Rama, Pandavas have had all their share in living a secluded life. If we are talking about deaths of human beings en masse, we have witnessed many grim tragedies of smallpox, cholera, plague that frequented our country. AIDS still lingers in our memory.
If we are talking about the sudden loss of wealth, India has seen it perhaps more than any other country. I specifically think of Rana Pratap who lost everything he had and was in an exile when his wealthy businessman Bhamasha offered all his wealth and rejuvenated his spirits. I mention this particular episode to remind us that we should follow such an example to support the rebuilding of our adopted country. I believe this is a splendid opportunity for us to pay back our dues to this country by helping restore our sagging economy.
Lesson 3 – Social Distancing
I stand corrected if I am wrong, but we needed to reaffirm our familial cohesiveness. Let us evaluate how we handled our continued togetherness while in seclusion. How cohesive, supportive, and mutually fulfilling were we as a family.
Let us create a scoreboard of self-assessment. Did the familiarity breed conflict or care? I was so happy to see children playing and couples freely walking on the street…People talked to each other while walking. I rarely saw this before. Maybe we need to restructure our life to promote togetherness.
Lesson 4 – PTSD
Watch out for PTSD Post Traumatic Stress Disorder. During and after this excruciating experience, our deeply felt exhaustion is bound to come on the surface.
Many of us would be compelled to recognize the loss of lives and jobs that we sustained. Wounds often bleed later after the trauma is inflicted. Depression, suicidal thoughts, addictive tendencies, a lingering fear may push us to a state of psychosis. We may need to nurse each other with kindness and compassion to promote our combined healing. No social distancing at that time!
Lesson 5 – Nature
Let us also have a critical look at ourselves. There is a precise and piquant Indian saying that when one points one finger at others, three fingers are automatically pointing at him. We have violated the fundamental Laws of Nature over the last several years. From the time of Rigveda on, we have stressed the five elements of Nature, which deserve to be respected as our basic constituents – water, wind, fire, earth, and sky. These should be maintained in harmony to retain our planetary homeostasis. We have thoughtlessly violated the respectful restraint that we should have exercised over them. This is not a superstition but an obvious proof of our violation of the Laws of Nature. There is a rising Global outcry to revert our course and trace our steps back from this grievous misdemeanor. We are OFFLINE now but need to be ONLINE to secure our future. Recognize our faults and repair them.
Our slumber has been long enough. Let the dawn break.
Bhagirath Majmudar, M.D. is an Emeritus Professor of Pathology and Gynecology-Obstetrics at Emory University, Atlanta, Georgia. Additionally, he is a poet, playwright, Sanskrit scholar, philosopher, and a priest who has conducted about 400 Weddings, mainly Interfaith.
Some things are hardwired into our DNA no matter where we might travel across the globe. Language and vocabulary feature right at the top of the list. The words ‘Karnataka’ and ‘handcrafted puppetry’ jumped out at me from my email inbox one morning. I was intrigued and soon found myself driving up winding California hillsides to a home in Los Altos hills for a lecture demonstration on traditional wood puppetry of Karnataka. Hosted by Bay Area art & cultural organization SACHI, the event featured Anupama Hoskere, a familiar name I had heard during my visits to India.
Together with her husband Vidyashankar Hoskere, Anupama founded “Dhaatu” an organization dedicated to all things puppetry related – the first of its kind, in Bengaluru. In Sanskrit the word ‘Dhaatu’ means the root, the soul, the essence of everything. The Hoskeres established this non-profit organization with the aim of imparting traditional wisdoms that today’s world can benefit from. Annually, Dhaatu is also the venue of the famous Navratra Mahotsava – the pageant of dolls – depicting upwards of 5000 dolls displaying various scenes from Hindu mythology! It was one of those ‘must see’ items on my list that had slipped through the cracks over the years, and now here Anupama was in my backyard! Serendipity or what?!
On a small stage in an intimate home theater, a single chair sat occupied by a brightly clad puppet. She was outfitted in elaborately fashioned jewelry and draped in a beautiful sari, her large kajal-laden eyes taking in the gathered audience, as we sat eagerly awaiting the evening’s program. Even in stillness she seemed to fill the space with her presence. It made you wonder what she might be like when animated.
Walking onto the stage Anupama’s presence was just as magnetic, the passion for her life’s work, evident in every word she uttered. Over the next hour we were initiated into the elements of puppetry, mythology, and a behind-the-scenes peek into this fascinating world! Currently on a 20 city tour of the U.S, Anupama and her Dhaatu team is raising funds for the ‘Support a Child’ program. They are showcasing a novel concept with their production of “Malavikagnimitram” – a romance set in the second century BCE, which plays out in the court of King Agnimitra of the Shunga dynasty. The lecture concluded with the enactment of a scene from the production featuring the puppet on stage, who was joined by Anupama’s daughter Divya Hoskere – an established Bharatanatyam dancer.
Anupama graciously consented to an interview with India Currents in the midst of hopping across timezones on their hectic 20 city tour.
P.K:Thank you for speaking with me Anupama! The lecture demonstration was a wonderful experience. We would love to know more about the cause you are supporting with your tour of the U.S.
A.H:At Dhaatu, we like to involve ourselves with causes like“Support a Child USA” – an organization doing creditable work that needs our help and support. They came to us with the idea of sponsoring a puppetry production on a tour of the U.S, and the idea was both challenging and exciting! It also enabled Dhaatu to make a creative contribution to an already valuable cause. No questions asked when such an offer comes our way!
P .K: Indian mythology offers a plethora of subject matter. Why choose this particular story for your production?
A.H:Malavikagnimitram is a romantic comedy; an elaborate, many-layered story. It was originally a Sanskrit play written by the famous Kalidasa. It lends itself beautifully to a sophisticated production. And it also makes for great entertainment! It lets us showcase the exciting advancements in the field of puppetry that is being practiced today. Set in the 2nd century BCE, in Vidisha, in the court of King Agnimitra, the plot details the highly evolved artistic and cultural scene of the time period. The Indo-Greek war is mentioned – the war with the ‘Yavanas’! Details like a ‘Dolotsava’ ceremonial procession in a temple is depicted in great depth. It is a richly vivid portrayal of so many aspects of life of that period in history. Great material for a production!
P.K:Our life path takes us to interesting places. Yours has been more than just ‘interesting’ in every sense of the word! How do you go from a Masters degree in Engineering, a job and life in the U.S, to a totally divergent life hand crafting puppets?
A.H:Passion! That is the one ingredient that makes such a shift possible! I was on what was widely accepted as the ‘path of success’ in a competitive world. And I was doing very well. But I didn’t really know quite how I got there! A day came when I realized that the enrichment I received in my childhood, had ultimately led to my being where I was. Then the question I was faced with was, “how can I give back what I received to the next generation”? This was what helped make my choice to return to what I loved most.
P.K:And what was the enrichment in your childhood like? We would love to know more about it.
A.H:I was blessed to have grown up with my grandmother who told wonderful stories! Not just stories like Panchatantra etc that was common, but she also narrated scenes from Kalidasa’s Sanskrit plays. She was very well read, and passionate about sharing her knowledge. Nowadays children have many more options if they want to familiarize themselves with mythological stories. Our choices were limited. That’s why my grandmother’s oral storytelling was precious to me! We also had traditional Yakshagana troupes perform near where we lived. Watching those plays, we saw old storylines being depicted in new ways all the time! Creativity was boundless. That sort of learning and enrichment is priceless!
P.K:Your audience is often comprised of children. How do you see their involvement in your shows?
A.H:The impact of real time entertainment in puppetry is very different from virtual entertainment and engagement. And children especially, they get involved in a very deep way! Puppets become more real to them than the people around them! Communication happens in a beautiful manner. Their minds open up differently and it creates a huge potential for self exploration with something they might go on to create by themselves. It is like opening a door to lifelong exploration!
P.K:What is their reaction when they connect with the characters?
A.H:Different age groups express in different ways. But all of them engage 100%! It is fun to watch them get into the scene and characters! When we staged Bhakta Prahlada, after the final scene, the puppet Prahlada was garlanded! No one else was given this honor! It just goes to show that if the right setting is provided for a puppet show, audience – no matter their age – can engage in a wonderful way!
P.K:Each of your puppets is created with such attention to detail! Where do you draw your resources for costuming, era appropriate jewelry etc?
A.H:All our puppets are handcrafted to the tiniest detail! We design them and use a lighter wood to allow better handling. There are various resources to research and collect information. Ajanta-Ellora paintings, research by scholars on various dynasties, the staff at the Mysore palace for example. And there is the internet of course. But because historical authenticity is very important to us at Dhaatu, we take extra care and go in search of verified information. Many of the Puranas and epic poems have historical details and visual imagery given in great detail. You just have to know where to find it. But it is available. And it is a treasure trove for us when we start creating our own puppets.
P.K:You have been involved with puppetry on the global scene. How do you see the art form showcased in Czech Republic or Indonesia? How does it compare to the way it is received in India?
A.H:I went to Europe as part of a scholarship. Then I realized that there is a division between art for children and adults. That is how it is perceived. Puppetry was mainly developed as an entertainment for children. There was a rebel movement which also developed alongside mainstream practices. Both thrived. Tourism is key to the survival of such artforms in Europe and Indonesia. In North India puppeteers had access to western and Japanese styles of the artform. So their styles became more contemporary. In South India we were untouched by such western influences and retained traditional styles. But with time, urbanization took away patronage for this artform. Without patronage puppetry cannot survive! Our numbers started dwindling. Today there is a new revival, a new energy on the puppetry scene. More traditional practices are being showcased and accepted once more.
P.K:Under lining your comment from the lecture demonstration, I would like you to address the reasoning behind your choice of basing a majority of your productions on mythology as opposed to current social issues.
A.H:It is my conviction that mythology is always a best seller! No matter what the storyline, and however repetitive, the manner in which you treat it will set you apart. South India’s Yakshagana is a great example of this! Yakshagana artistes depict so many subtle layers of the Puranas. Knowledge is important. And since mythology involves the use of all this knowledge, investing in this particular dimension of mythology stimulates the storyline.
Socially relevant subject matter needs financing and patronage. Also there is a limited timeline in terms of relevancy for many such topics. The Government of India has used puppeteers to implement their political agendas. If the government changes, their policies become irrelevant. And the patronage disappears! Puppeteers who invest considerable time and resources in the creation of specific puppets have no protection to weather such situations! It is a short-lived blip that leaves us high and dry! Mythology on the other hand, always endures and comes out on top!
P.K:With your current production Malavikagnimitram, you have an interesting concept of combining live actors and dancers with puppets. Highly engaging, as we saw from the scene enacted during the lecture. Challenging as well I am sure?
A.H:Oh sure! It is like putting the puppets to a litmus test when a live dancer/actor shares the stage with them. My main concern was whether the audience would ‘see’ the puppet at all?! Or would the actor/dancer upstage the puppets? The current concept was built up slowly over two or three productions. We are still working on polishing it further, that process never ends. But in the end we realized that the puppets could hold their own! The interaction between a live dancer and a puppet is magical! A great example of this type of interaction can be seen in our production “Vijayanagara Vybhava”. You will see what I mean by puppets managing to shine on their own merit! Yes, there are challenges, of course. Stage design is the obvious challenge. The Proscenium theater design means there is limited space for dancers when sharing it with puppets. So we had to redesign the stage and the placement of characters over several iterations to make sure we could create this magic!
P.K:Does India have guilds or cooperatives of puppeteers? And how difficult is it to procure funding for productions?
A.H:No, there is no such thing as a guild for puppeteers as yet. State level academies and a Government entity – Sangeet Natak Academy, do exist. And yes, it is a challenge to get funding. Private patronage what we have at the moment.
P.K:What types of workshops does Dhaatu offer?
A.H:Dhaatu offers workshops for all ages – starting at age 3 to adults! Puppetry and puppet making teaches aesthetics in a way that lego & robotics etc do not. They certainly have their positive points. But puppetry is multi faceted. Besides aesthetics, it also involves aspects of engineering and requires fine motor skills both in making and handling puppets. There is the aspect of movement with puppetry that needs to be mastered. When you are able to control a puppets subtle movements, it is a thrilling experience!
P.K:Your personal journey with puppetry started with a ‘leap of faith’. And you just found out you are the recipient of a prestigious award!
A.H:Yes! My phone was inundated with congratulatory messages since early this morning and that is how I discovered I had been awarded the prestigious Sangeet Natak Academi award! It is a great feeling of satisfaction that a Nation has accepted this artform! My Bharatanatyam guru, the late Smt. Narmada received this award from the hands of the late President Abdul Kalam in 2007. For me to receive the same award is a great honor! I am overwhelmed! All the growing pains and potholes that I have experienced with Dhaatu’s journey is validated by this acknowledgement and ultimate reward! It inspires us to do more and reach greater heights – in making magic with our puppets for the generations to come.
P.K:What are your plans upon your return to Bengaluru?
A.H:Maybe one day of rest and then it is back to work again! The festival season will start soon. During Dussera, Dhaatu opens it doors to showcase our incredible collection of dolls with ‘Dhaatu Navaratra Mahotsava’. We will have over 5000 dolls on display, depicting scenes from mythology. It is an annual event and we have been doing this for a decade now. There’s no resting until that is done!
Anupama’s enthusiasm gives new meaning to the term ‘pulling strings’! Her passion and that of her team at Dhaatu is definitely award worthy. Dhaatu’s workshops and productions bear the hallmark of true creativity while contributing a treasure trove of traditional & cultural knowledge to children and adults alike.
India Currents congratulates Anupama on the prestigious Sangeet Natak Academi award!
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Pavani Kaushik is a visual artist who loves a great book almost as much as planning her next painting. She received a BFA from the Academy of Art University, San Francisco. Her new avatar requires creative juggling with the pen and the brush.
And there is the internet of course. But because historical authenticity is very important to us at Dhaatu, we take extra care and go in search of verified information. Many of the 
