Erasing Borders Dance Festival- 2014, better late than never...

Classical arts are very much alive and changing. I spent the weekend in NYC at the Erasing Border Dance festival held by the Indo American Arts Council. I am so glad I came to this event. In attendance were some truly wonderful artists and art appreciators. Festivals like this, occasions that showcase talent really cannot be done without the support of a community. This segment of the Erasing Borders festival was focused on contemporary Indian dance. (Whether artists chose to call their practice contemporary, experimental, modern, etc is truly an artist's decision.) What I appreciated was seeing where Classical dance is headed. The fusion of different styles and concepts, rooted in the classical dances forms of India, still presented as Indian Arts with a twist.

These artists were phenomenal. Each and every one of them has committed to the practice of dance (in multiple forms). Rarely do I see this type of work. In the process of experiencing them, I was able to get to know a few.  In discussing our thoughts on the practice of classical dance, we all had one common sentiment and that is love and appreciation of what the classical training has given us. Dr. Mitul Sengupta, a Kathak contemporary artist from Kolkata, India presented a work on "the son born of Ulupi and Arjuna, was convinced to sacrifice his life to save the Pandavas from losing the war, as a sacrifice to Lord Kali.It is the dance of the desolate and song of the voices, which echoes from the deep within “that we are trapped, unheard of and desolate.” (iaac.com). 

Subhash Viman Gorania, finally I saw Bharatanatyam and hip hop mixing, the right way! Thank goodness. He wowed all of us with his piece Morphed.  The combination of Bharatanatyam, Kathak, Urban Dance, Bollywood, and I am sure there are other styles in there that I am missing, was eye opening. His movements were so quick and mudras so clear, that from my seat, I could differentiate the different images of the gods intermixed with the images of common men. 

Meena Murugesan, for me her piece spoke the loudest. I loved the breakdown of adavus and the deconstruction of the history of Bharatanatyam. 

Ancient Innovation

Karana is defined by Bharata as the perfect combination of the hands and feet

Hasta-pada samyoga Nrttasya Karanam bhavet Natya Shastra Chapter 4, Tandava Lakshana

karanas.jpg

The flick of the wrist, the bend of the waist and the glance of the eye bring ancient sculptures to life in Ashwini Srivatsan’s “Decoding Indian Dance.”  Margi or Desi, what makes one different? What are they? What do they mean, where do they come from? These are just some of the things that are explained.  Since the renaissance of classical dance traditions of India, research is dedicated to uncovering the origins. Notably, Dr. Padma Subrahmanyam has uncovered and deciphered temple sculptures and reintroduced the karanas into the world.  Her disciples continue her work and today we see this work on display here in the Bay Area. Ashwini Srivatsan is the student of Sundari Santhanam one of the senior most disciples of Dr. Padma Subrahmanyam.  Sundari Santhanam’s greatest contribution is the book Neo Desi Karanas which goes in depth into the regionalized movements as derived from the Natya Shastra.

Dr. Padma Subrahmanyam, is a name that is synonymous with Karanas. Her work not only resulted in her doctorate, but also into a movement collection breathing life into the Karanas. What was once lost, has been found and revived. Dr. Padma Subrahmanyam has studied Margi karanas, the movement as depicted by the temple sculptures and detailed by Chapter 4 of the Natya Shastra. Margi karanas are considered the universal language of movement.

Desi karanas, unlike Margi represent the regionalized karanas movements. It is the regional application of karanas. Sundari Santhanam has revealed 76 Desi Karanas adding on to Sarangadeva’s Sangita Ratnakara’s 32. There are now 108 identified Desi karanas deciphered from temples in Karnataka. Sundari Santhanam has done the work of putting together the 3 elements, stana, chari, nritta hasta and Sanskrit shlokas were created by Shatavadhani Dr. R Ganesh to describe them. This is extensive work, and it brings out regionalized movements that were frozen in time.

Late Guru Sundari Santhanam

Late Guru Sundari Santhanam

Ashwini brings the karanas to life in the Bay Area. By attending this lecture demonstration, students and audiences got a taste of the vast movement collection that is delivered with the karanas.  Interested students can take advantage of the Bharata Nrithya lessons Ashwini provides at her school, Kanha School of Dance. This lecture demonstration serves as an introduction to an in-depth application and performance of Chapter Four of the Natya Shastra, “Unravelling Chapter 4” a performance of Margi and Desi karanas. Keeping in mind the knowledge base, this is a great start to the in-depth immersion into the karanas.

When watching the Karanas, practitioners of the Indian Classical dances are able to recognize the main elements of their own practices. It is believed that the classical dances are regionalized versions of the original work as described by Bharata Muni in the Natya Shastra. Today’s movements are directly correlated to the karanas.  To prove this point, Ashwini demonstrated one karana and explained which classical dances can be visualized in that karana. The beauty behind the Karanas is it can be tied to each one of the classical dances. The inclusion of karanas into classical dance really open up the possibility of movements, Expanding the movement vocabulary when many times, we are constantly searching for something new and innovative.

Why is the Natya Shastra relevant today when it celebrates evolution? Why is the study of Karanas important? Current practitioners look to find aspects to differentiate and delineate by bani, style, guru, and movement vocabulary. The karanas tie them and connect them together. Many are mixing styles and some are unaware of the foundations. Innovation is good, dance is intended to evolve.  Current practitioners of the Indian classical dances attempt to innovate however lose sight of the foundation. Dance from all parts of the world is in a constant state of evolution. While the karanas are a representation of the ancient, it is also an expression of dance and its evolution and can be utilized in innovation.

Ashwini Srivatsan, Gowri Kashyap, alongside Harini Santhanam, daughter of Late Guru Sundari Santhanam, all senior disciples of Sundari  Santhanam, bring the upcoming production of “Unraveling Chapter 4” to present a live performance of the karanas. The Natya Shastra has 36 chapters, the fourth chapter focusing on karanas. Temple structures once frozen in time will come to life through the movements of these artists. And hope to encourage innovation and the connection to the ancient. It is an amazing feat, it will bear witness to what dance was once like when it was created for the Gods.

"To be innovative is imperative for traditions to renew, but inventiveness needs to happen within the framework of basic principles defining each dance.” - Kapila Vatsayan






References:

Natyashastra" (PDF). Sanskrit Documents

Jafa, N. (2019, April 18). Indian Dance through the eyes of a Yogini - Kapila Vatsyayan. Retrieved April 19, 2019, from http://www.narthaki.com/info/articles/art452.html














Crunch Time!

My student is presenting her arangetram, her debut as as a Bharatanatyam dancer. We have worked really hard. And we have done it as a team. We went through many hurdles and the day is approaching! I am confident that she will rock the stage. I am so proud of her. I hope I'm not jinxing her performance. :-) But really, the past 4 weeks I have put her through the wringer. And she has been a trooper.

All this arangetram prep takes me back to my arangetram. A very long time ago. What could possibly go wrong? Oh... just a sprained ankle two weeks before the show. I don't remember panicking or stressing out. I do remember my mother going crazy. The day of the show my mom was the last person to get to the auditorium. She had spent the morning prepping the stage with her friends. I am so grateful because the stage was stunning. But in the end the show went off beautifully. I, however do not remember a thing. I don't remember how it felt to be on stage. I don't remember any of the choreography. It's all a blur. It is so true. The adrenaline kicks in and it's go time.

I see so much if myself in my student. She has beautiful expressions and she does the tragedy and loss the best. That is exactly how I am. She has adopted my style of dance and executed it beautifully. I am so honored to be her teacher. I hope that for her, it is an amazing experience and that we look back on the day and smile. Because we worked our tails off! Cheers to the last week of rehearsals and to the show. Cuz we are gonna sleep for a week after! 

Growth

At this moment, I am reflecting. And I am reminding myself that part of growth is out growing. No matter how much that outgrowing hurts. It is all a part of the process. It is growing pains. 

Taking a breath.

I've been overwhelmed with the amount of work and expectations of art making. And it's been great!  I'm also exuding positivity. :-) finally tonight I was able to take a breath and enjoy the fruits if my labor. I'm taking a minute to remember the reason why I love dancing. It amazes me that no matter the negativity that may surround me or whatever lemon may come my way, dance has always been my happy place. 
I am preparing a student for her debut. And she's working her tail off. And it had been wonderful for me to keep my creative juices flowing. I'm so proud for the hard work that she is putting in. It is reminding me to get back in the studio. While I am not dancing as much as I should be, I am always thinking and "meditating" about dance. 

The next part of this blog will be my expression of creative writing. Poetry, short stories, essays.  Let's see.  
Here's to overcoming my fears! #bindisandbruises #creativewriting #thankgoddess ;-)

Yes Universe, I hear you! I am dancing!!

I have been terrible about keeping up with this blog. The past year has been a whirlwind. Mostly I have shied away from writing because it scared me. I am overcoming that fear. And keeping up with this blog is a way of doing that. The past year, I have spent time in India, training and performing. I have attended an incredible master's program in Chicago that I am so thankful for. It really opened my eyes and boosted my confidence as an artist. Part of my practice as an artist will be contributing to this blog. I have lots to say and hopefully there are people out there who are interested. The universe works in magical ways. I never used to think this before. But now, after the past year's events have unfolded, I have become a firm believer in, if you want things to happen, go after it. The universe follows suit. The universe has been yelling at me since March of 2013. I have made the best decisions of my life. And I couldn't be happier. Most importantly I am dancing. All the time. Dance has and always will be part of my life. It has not disappointed me. And there has been plenty of disappointment. Dance has been the one thing in life that I have gone after with full force and passion and with that I am feeling bliss. I cannot ask for more. Be on the look out. There is more to come.

Guru- Shishya; A sacred relationship.

Madhushree, Pranita, Dilshad, Suparna. These people have impacted the person I have become. Each teacher from a different style of dance, influencing the artist I am today. So many different styles Bharatanatyam, Kuchipudi, and Kathak, I mix it all together, throw in some bollywood and bhangra and you have a Priya style! All of them have given me so much. I give credit to Madhushree for being a guru, but really, being one of us. As well as giving me a taste of how fun Bharatanatyam is. Pranita aunty, she is the epitome of an artist. She taught me how to carry myself as a woman of the arts and feel each story. Dilshad, Guruji, he taught me how to be sensual, to be a court dancer while being an artist of the stage. Suparna aunty, she taught me to be a complex artist while teaching me the history of dance. All of them have given me something to add to my talent. But more importantly they have given me perspectives of the Guru Shishya (student) relationship. These people have been my confidants, cheerleaders and my board of trustees. Without their love and support I would not be where I am, in Bangalore embarking on a new adventure. Being a dancer of the Indian classical traditions, the respect and admiration of a Guru goes far beyond that of mother and father. Not to say that it is more important, it's different. The things I share with my gurus, the emotions I feel, are my truths. I don't hesitate to be real and true in my heart with them. And best of all, they call me out on my BS. A guru knows their student's inner workings, emotions, triumphs and failures, all without uttering a word. I have walked into class with Pranita aunty and she has asked upon my entrances, "what happened?". No person, including my parents have been able to read me the way she does. She taught me how to channel my emotions and throw it into my dancing. Unlike parents, friends and siblings, there is an unspoken understanding between Guru and Shishya. It is a raw emotion necessary when sharing your art with the world. Gurus give everything they can to their students and vice versa. Students give their lives to their Gurus. We allow our gurus to say whatever they want. As students we take everything we can from our Gurus, and our gurus demand everything we have to give. Guru is always right. I would much rather argue with my parents then ever argue or disagree with my guru. The best relationships I have had, have been with my gurus. I recently visited Guruji after not seeing him for 6 months. I realized how much I had missed him. It is because of the training I have had with Guruji that I have improved my Bharatanatyam. My abhinaya has become more realistic because I learnt how to feel more, be more of a woman. And a lot of that I got from Guruji, in his mujra style of teaching. But when I spend time with Guruji, it's not just learning the dance form, it's talking about the philosophy and concepts that then translate into dance. I love our conversations; they incorporate the perspectives of the dance from Hindu, Muslim, Indian, and Pakistani views, the melting pot that we are living in here in America. Preserving our traditional and classical art. From the first cup of chai, spending time with Guruji is a whole experience beyond the dance form. I first found that I started to think like an artist from him. Now I seek this every mentor I incorporate in my life. The knowledge and love I have and receive from my gurus has given me the confidence to pursue my passion wholeheartedly. I took a step back from Kathak to focus on Bharatanatyam but I realize it's the mix in training of both dance styles that is giving me the edge that I have. If it wasn't for Pranita Aunty, I never would have considered myself a professional dancer a the age of 19, or applied for my Masters at 29, or auditioned for 'The Jungle Book'. Good things happen for a reason and circumstances occur for the reasons they do, to create the life you are to lead. I would not have found Pranita aunty if I hadn't picked up the newspaper at a restaurant on Devon. I would not have been doing the amazing things I am doing today if I didn't know she was behind me cheering me on. She made me a diva, good or bad ;). "Priya, every woman should want to be you, and every man should want you." Pranita Aunty is the one who introduced me to Suparna aunty. Both who encouraged me to make to this trip to India to perform in India. Now that's a compliment. Two gurus telling you that you are good enough to perform there. I am excited to start the training with Suparna aunty. The two weeks I had with her last year were just a taste of what the next 2 months are going to be. I loved every minute we had together and the beauty of the gurus I have in my life is that they fully respect that I am learning from all of them. In my preparation for this trip to India, quite a few questions have arose in my mind. This is a big deal, as I am going for the first time as a soloist to perform. I have never done anything like this before. First it was, am I talented enough to do this? Once I got over that fear, (well I haven't gotten over it entirely, I still think I'm crazy internally); will mom and dad let me do this? After much fight to leave, it was the initial shock! But to get through the initial shock... I had my gurus to give me the confidence to take this leap that I so desperately needed to do. I haven't taken myself seriously as an artist. It wasn't until about March/ April this year when I had a debut as a choreographer and became recognized for my talents. I always considered myself as someone who was good, not great. Semi talented, but not really "it". Taking this trip to India was going to legitimize my talent. Then all these amazing things started happening. I was being taken seriously, as an artist. This is a testament to my gurus. They gave me support I needed to believe that I am in fact, the real deal. For that I thank them and am truly grateful to experience this amazing Guru Shishya relationship.

Remembering Sumathi...


I saw this image at my Mamma's house. Which for me was very ironic, since I was there to perform my grandmother's death anniversary. My grandmother, Sumathi (Amma) was an amazing singer. This image is of M.S. Subbhalakshmi, one of the most famous Carnatic singers of all time, as a young girl. For my mom and I, M.S. Subbhalakshmi and Amma look and sound very similar. (I personally think that if give then opportunity, Amma would have given Katcheris and made a name for herself) I love this image because it reminds me of Amma's dedication to Carnatic music. I keep this image as the lock screen of my phone. It's the first thing I look at when I wake up and the last when I go to sleep. Amma, M.S. Subbhalakshmi, they devoted their lives to their art. Whether they had support or not. This image reminds me that dedication to your art is as simple as practicing. For these ladies, it is their Tamburi, for me it is my gejje.
Amma tried to teach me Sangeetha (vocal). But the month I'd have with her sporadically every 4 years wasn't enough. But she would take me into the back room of the house where she kept her tamburi and her Sangeetha books and she'd start singing. Sometimes it was humming to whatever had popped in mind or she would sit properly and belt out a beautiful devarnama. She became ill with cancer in 2002. My last visit with her, summer 2005, she took me to the back room sat me down and sang. I think she knew her time was up and this was the last time we'd have together. After singing one beautiful poem, she stopped and said, you know, "I don't sing for anyone, but Him. Sangeetha is my relationship with God." I have never forgotten those words. I hold them deep in my heart. I attribute the god given talent I have to Amma. I also understand what she means. When I am dancing, something comes over me. I am in a trance, lost in the music and movement. I am learning to express what that emotion is. I think it is that I am conversing with God, and I am showing my ultimate devotion. Amma, I miss you. I wish I had you now to talk about all the things that we love so much. I know you are speaking to me. I feel you when I dance. I hear your beautiful voice in my head. Thank you, for giving me this art. I am not alone, I have you with me.