Tag Archives: #sattriya

Parampara Festival: And the Flow Continues

A celebration of legacies – a festival of bhava, rasa, tala, laya – was recently hosted virtually by Sangeet Natak Akademi award recipient Srimati Aloka Kanungo and Eastern Zonal Cultural Center (EZCC), and powered by Kadambini, the popular Oriya magazine.

Parampara unfolded over twelve days like twelve gemstones, each day shining with the lustrous hues of established and promising Indian classical dancers from India and abroad. Guru Aloka Kanungo successfully visualized and conceptualized the festival with five days dedicated to the celebration of Odissi, and seven days of other classical dances such as Bharatanatyam, Kuchipudi, Manipuri, Sattriya, Kathak, Mohiniyattam, Kathakali, and Gaudiya Nritya. Each episode was introduced by Baishali Bhuniya. The festival featured EZCC director Gouri Basu, diplomat and dancer Rajashree Chintak Behera, Media personality Sadhna Srivastav, and Dr. Sangita Gosain. 

The first five days presented a very commendable range of artists of Odissi, from scholars, researchers, to dancers and choreographers from various parts of the globe such as Rohini Dandavate (USA), Supradipta Dutta (USA), Kaustavi Sarkar (USA), Niharika Mohanty (USA), Rajashree Chintak (China), Supriya Nayak (Canada), Maya Devalecheruvu (USA), Maya Lochana, Pompi Mukherjee. Interesting ideas and discussions came up in the Nritya Kovid chapter where senior dancers and researchers, namely Dr. Snehaprava Samantaray, Daksha Mashruwala, Dr. Rohini Dandavate, and Niharika Mohanty, presented their choreographic or research-based works through slides and video snippets. 

Day one of Parampara started with Odissi on June 17th. There was a galaxy of promising dancers of Odissi from all over India who presented their craft quite gracefully. Rudraprasad Swain, Debashis Pattnaik, Arushi Mudgal, Panchanan Bhuniya, Paulami Chakraborty, Rudra Prasad Swain, and Saurav Samanta were among the Odissi dancers in the Parampara series who showed considerable promise. 

The sixth day celebrated Kathak and presented dances by various promising Kathak dancers of the current time namely Indrayanee Mukherjee, Shinjini Kulkarni, Sandip Mallick, Souvik Chakraborty, Paramita Moitra, and Vishal Krishna. Souvik’s elegant presentation of dhamar, Indrayanee’s nuanced ashtapadi and crisp pancham sawari deserve mention. Srimati Uma Dogra’s scintillating choreographic essence was visible clearly in Indrayanee’s presentation. Shinjini was elegant as ever in her poise and dexterity with a dignified presentation of abhinaya. Finally, Sandip’s subtle but chiseled movements left the audience asking for more. 

The seventh episode highlighted Bharatanatyam by dancers from India, and USA. The artists were Sharanya Chandran, Shweta Prachande, Anuradha Vikranth, Himanshu Srivastava, Samrat Dutta, Uttiya Barua, and Piyali Biswas. Technical precision in form and appropriate usage of bhava and rasa in the presentations of Shweta, Himanshu, Sharanya, and Anuradha was mindboggling. Piyali chose an unusual and challenging locale to show the mayura alarippu. Samrat’s dhumavati , and Himanshu’s kaalbhairav stood out for the sheer power of concept, choreography, and execution. 

The eighth segment showcased Manipuri and Sattriya. S. Karuna Devi, Paushaly Chatterjee, Sinam Basu Singh, and Sudip Ghosh presented Manipuri, while Anwesha Mahanta, Naren Baruah, And Seujpriya Borothakur presented beautiful Sattriya dances. 

On day nine, the audience witnessed Kuchipudi and Gaudiya Nritya. Srimayi Vempati, Minu Thakur, Prateeksha Kashi, Gururaju presented scintillating Kuchipudi, while Kaberi Putatunda and Ayan Mukherjee showcased traditional Gaudiya Nritya. Prateeksha kashi and Gururaju were breathtakingly sharp in their performances. 

The tenth saw the two most prominent classical dance forms of Kerala – Kathakali and Mohiniyattam. Priyadarshini Ghosh, Mom Ganguly, Smitha Ranjan, Methil Devika presented Mohiniyattam with utmost precision and nuanced expressions, While Diptangshu Paul and Ramyani Roy brought out the elements of Kathakali nicely in their presentations. Methil Devika’s sarpatatwam took the rasika to an experience of mysticism and Priyadarshini’s lasya aspect was presented beautifully. 

The pandemic has closed some doors but opened many windows into the world of art and culture. The entire event showed how the virtual windows can be used successfully to showcase the brilliance of classical art and rising artists of the various dance forms. Hope this enterprising festival reaches its goal of including more artists and audiences from around the world. 

Hats off to Aloka Kanungo and EZCC for this great enterprising event. Looking forward to more such events in the future.

Nandini Mandal is a Bharatanatyam dancer, teacher, choreographer, Founder & Artistic Director of Nandanik Dance Academy in Pittsburgh, PA. She is the host of the Facebook talkshow, Shetubondhon, and a social activist, cancer survivor, and freelance writer.

 

Sattriya, and Its Fight for Recognition as a Classical Dance

Why I Dance – A monthly column, in collaboration with IndianRaga, in which we uncover the variety of Indian Classical Dance forms and their lineage. 

This first edition of the Why I Dance Column features Sattriya, an Indian Classical dance form originating in the state of Assam.

Originally developed by the great seer-polymath Shrimanta Shankardev, the art form is based on the Bhagvat and takes its roots in neo-Vaishnavism. As a means of social reform, Shankardev aimed to use Sattriya to meet the goal of cleansing the society of caste and creed hierarchy.  Shankardev also used this artistic medium for the propagation of the philosophy called Eka-Sharan-Naam-Dharma (the religion of taking refuge in the name of the only One). Sattriya dances and dramas that are based on the works of Shankardev and his disciple Madhavdev are performed by groups of dancers and actors in a Prayer Hall called “Naamghar”.  

To Prateesha Suresh, Sattriya dance has meant everything. Trained in both Sattriya and Bharatanatyam, she has been instrumental in the recognition of Sattriya as a classical dance of India, which it was declared as by the Sangeet Natak Akademi in 2000.  She notes that: “I learnt Bharatanatyam and took up Sattriya (which I learnt as a child) as it belonged to my state and at that point, we were trying to establish its classical status. I performed a lot with lecture-demonstrations for that cause. Today, although Sattriya has gained its classical status, there is a lot of work yet to be done.”

She continues to inspire Sattriya practitioners around the world through her choreographies and lecture-demonstrations, where she breaks down the artform for those unfamiliar. About Sattriya, Prateesha says, “It has many layers to it like a “Shastra” and I am trying to unfold those layers every day of my life!”   

Sattriya is a lived tradition, having been practised continuously since its inception by men in institutes called Sattras. In the 1970s, Sattriya emerged from the Sattras, against the wishes of many. Dances in the Sattriya repertoire are based on the Sutradhari Dance, among others created by Shankardev, as a part of the drama called Ankiya Nat. 

Dances in the Sattriya repertoire are divided into three sections; Ramdani, Geetor Naach, and Mela Naach, which refer to the  ‘the beginning’, ‘the middle’, which is the dance accompanied to a song, and ‘the conclusion’. 

Khol
Khol (Image from Wikimedia Commons)

The percussion used in Sattriya is called a Khol, and does not follow the same jati system used by many other classical dance forms.  Because of this, the changes in tempo are done gradually and are not calculated (which is how the jati system works).

The basic posture of the art form is the half-sitting “mandala” posture called Ora. In Sattriya, the body moves in undulation and the arms are always bent at the elbows and follow a circular path. The torso is held in samabhanga, dvibhanga and tribhanga positions mostly bending forward or side to side. Acrobatic movements like bending back and touching the ground, and either standing or sitting on the knees are also seen in the art form. The fingers of the palm use all the “hasta karana-s” as mentioned in the Natyashastra.

The costuming in the Purush (male) style is Krishna’s attire. It consists of a yellow coloured dhoti, dark blue coloured upper-garment in the angarakha style called “chapkon”, richly embroidered waist girdle with hanging pearls called “kanchi” either in dark blue or black colour and a black or dark blue embroidered crown over the head. 

The costume of the Prakriti (female) style is a plain white skirt, two panels over each shoulder with patterns which join in a “V” at the back, like the Sutradhari. Dark blue or black coloured blouse with rich embroidery. A long piece of cloth tied at the waist, ends hanging in the front called “tongali”. A richly embroidered waistband with two panels hanging from either side called “aachol”.  

Sutradhari costume has both the elements of ‘Purush’ and ‘Prakriti’, where the dancer wears a white skirt, two panels over the shoulders joined at the back in a ‘v’, a long piece of cloth tied at the waist, the ends hanging in the front called ‘tongali’ and a white head adornment which is in the shape of a “kosha”.  Traditional Assamese jewellery like “unti” (earings), “muthi kharu”, “gaam kharu” (bracelets), “mota moni”, “dugdugi”, “gejera/junbiri” for the neck are worn. Light dancing bells called “junuka” are worn on the feet. 

The Why I Dance Campaign is a collaboration between Maryland based Kuchipudi company Kalanidhi Dance, and IndianRaga. IndianRaga provides a platform for aspiring artists to explore their talent, with opportunities to focus on presentation and performance, high-quality audio and video production for digital channels, and learn how to collaborate with fellow artists.  

Tune in next month to learn more about the Indian Classical Artform of Odissi!

Tarini Kumar is an IndianRaga Bharatanatyam Fellow and Why I Dance team member. She is a disciple of Smt. Divyaa Unni, and currently studies at the University of Texas at Austin.

Why I Dance: Over 300 Classical Dancers Speak

Why I Dance – A monthly column, in collaboration with IndianRaga, in which we uncover the variety of Indian Classical Dance forms and their lineage. 

“Why do you dance?” asked Anuradha Nehru, Founder and Artistic Director of Maryland based Kuchipudi company Kalanidhi Dance, “It was such a profound question that it made me introspect and look deeper into my source of inspiration for dance. Upon further reflection and discussion with my fellow dancers in Kalanidhi, we realized there were four motivations that drove us – connecting to our heritage; the sense of liberation that dance affords; the ability to tell stories; and the strong bonds of friendship and community that dance builds.”  This simple yet complex question prompted the creation of her 2016 production Why I Dance.

Six months ago, the world underwent an unforeseen change.  Everything came to a halt, and the world of dance had to overcome an obstacle. Dance classes, workshops, performances, and productions were all canceled. No one knew when they would be able to return to the stage. Hoping to re-energize her dance community, Kalanidhi dancer Sahiti Rachakonda suggested that they start an online campaign called Why I Dance. Kalanidhi Dance partnered with IndianRaga to take the campaign global. The campaign launched August 22nd, on the auspicious occasion of Ganesh Chaturthi, and the #whyidance gained traction.

Artists from all eight of the Sangeet Natak Akademi recognized Indian Classical Art forms participated in the campaign, along with artists from many of India’s folk and contemporary styles. The campaign featured 36 world-renowned maestros and teachers including Prateesha Suresh, Birju Maharaj, Leela Samson, Alarmel Valli, Sujatha Mohapatra, Bijayini Satpathy, Sonal Mansingh, and Kumudini Lakhia. Anuradha Nehru says, “We were pleasantly surprised by the amazing response from India’s most famous and legendary dancers. They responded enthusiastically to our request and obliged readily with their thoughts and words of wisdom and generously shared video excerpts of their dance.

Their participation inspired many dancers from over 65 countries to join this movement, turning the initial wave of dancers into a tsunami,” IndianRaga Founder and CEO Sriram Emani adds “I was amazed by the willingness of some of Indian dance’s senior-most maestros to learn how to shoot a video from home, in the midst of a pandemic, to help inspire dancers globally.” 

 

Pragnya Thamire, a Kalanidhi Dancer said, “It was absolutely phenomenal to have edited the ‘Why I Dance’ videos of some of the legends in Indian classical dance… I learned so much through their words!”  

The response to the campaign was indeed unprecedented.  Dancers from around the world were eager to post their own videos; from the youngest dancers having only been learning for a few years, to the seasoned professionals, everyone wanted a chance to share their story, why they dance.

 IndianRaga team member Isha Kulkarni felt, “The campaign was one of the most exciting and challenging things I have ever worked on and nothing less than a privilege. We got to talk to these legendary artists, hear their thoughts, their experiences and that was definitely one of the things that inspired me to keep pushing harder in spite of the limitations in the current scenario.

Although the campaign was started as a way for dancers around the world to reflect inwards in light of the global lockdown, it is far from the end. Sriram says, “We definitely intend to continue – There is no planned conclusion to this campaign. Dancers can continue to post as per the guidelines and tag us, and we will share as we go along. Many people who used to dance before and left it for multiple reasons are now picking up dance again and participating in the campaign, and we welcome everyone to join in!”

Tune in next month to learn more about the Indian Classical Artform, Sattriya, featuring Why I Dance participant and exponent Prateesha Suresh!

Tarini Kumar is an IndianRaga Bharatanatyam Fellow and Why I Dance team member. She is a disciple of Smt. Divyaa Unni, and currently studies at the University of Texas at Austin.

Will My Culture Survive the Pandemic?

Trying to create a space in the United States, Indian Americans rely heavily on the Arts to remain connected to their roots. Instead of soccer practice and baseball lessons, the minivan drives kids to Kathak (Indian Classical Dance) class or Tabla (Indian percussion/drums) lessons. What our parents understood, that took me till my adult years to grasp, was that culture was identity. And we would only be comfortable in our skin, in alien territory, if we could see the beauty of who we inherently were. 

As a young brown girl, I found a sense of camaraderie and belonging with my peers through the Classical Arts. Some learned Bharatanatyam dance and some took Kathak. Some learned to play the Tabla and some, the Sitar. Some took Carnatic Classical Music and some took Hindustani Classical Music. But all of these Arts drove one point home – no matter the geographic location or style of the Art, we were deeply connected to our culture. At times when I was ostracized for that same thing – being too Indian – I took solace in what I knew to be true. I am who I am and there was no reason to resent something so pure- so unifying. I continue to cherish it. 

A lifelong Kathak dancer and student, I saw the strain the Arts went through when my classes at the Chitresh Das Institute went online due to the shelter in place orders. Many students dropped off, our teachers struggled to teach online, and our performances were canceled. I felt myself become uninspired. 

But Art cannot be stopped. Art keeps pushing along like the little engine that could, to give meaning to that which is inexplicable. One Bharatanatyam teacher found purpose in embracing the messiness of online teaching and musicians like Sunny Jain began putting their music on Youtube. IndianRaga and Kalanidhi Dance collaborated during the pandemic to rejuvenate classical arts through their Why I Dance campaign. However, an artist’s career comes to a halt when spaces to perform are limited and they are faced with the reality of a declining income.

The artistic community, many working as freelancers and independent contractors, requires life support. At the Ethnic Media Services briefing on September 11, 2020, LA Based Actor, Kristina Wong told us of the moment that her livelihood came into question. Her one-woman satire, Kristina Wong for Public Office, that she had spent three years researching and running a real election in preparation for, was running on the college/university circuit when the pandemic hit. Colleges and university campuses made the decision to go fully online, as to mitigate the pandemic, and Wong was stuck scrambling to find alternatives to cancelation. 

“I’m witnessing a lot of artists just leave Los Angeles. Some are working for the census. Some are just scrambling,
” she noted, emphasizing that her ability to adapt to the online format was a unique luxury and that she still wouldn’t be able to recoup the losses of canceled performances. 

Kristin Sakoda, Actor and Executive Director of the LA Arts Commission witnessed the impact of COVID on the Arts. It was one of the first sectors to close and will be one of the last to reopen. 2.7 million jobs have been lost resulting in a $150 billion impact on the creative industry. As a grant distributor, Sakoda mentioned $20 million in losses for the nonprofits sustaining local arts.

Appreciation of the arts is crucial in inconsistent, unclear times. Art gives context, an escape, a safe space to feel uncertain, and to empathize with others.

Minority arts are quickly disappearing. Jose Luis Valenzuela, a UCLA and community college theater professor, met with artistic directors who cater to communities of color and were worried about the survival of their companies. They are the few sources for access to the arts for minority populations. Representation matters and when that diminishes, so do the voices. Graphic designer and Muralist, Roberto Pozos of Imperial Valley resonates with this message. Living in a space that has been a hotspot for COVID related death, Pozos wants to commemorate the suffering and lift the spirits of those around him. None of this can happen without funding. 

We must push for federal grant funding! Email, call, snail mail your Congresspeople. The last time federal tax dollars were put towards the arts was during the Great Depression and the time has come again to make our mark on democracy and preserve culture. 

I think about what I would do without Kathak. Kathak is not just a form of Indian Classical Dance. Kathak is the best parts of me. Kathak accepts me and grounds me to the reality I am in. Kathak reminds me to forgive myself and others. Kathak is a guiding force, teaching morality and mythology. Kathak is music. Kathak is discipline and learned knowledge. Kathak is Indian history. Kathak is me. 

Srishti Prabha is the Assistant Editor at India Currents and has worked in low income/affordable housing as an advocate for children, women, and people of color. She is passionate about diversifying spaces, preserving culture, and removing barriers to equity.

This post has been updated.