Svam - My Own

On November 4th, come prepared for a memorable night of dance and discovery…. Alumnus Anuja Varaprasad brings to us -

Svam – my own

A personal and philosophical interpretation of a sacred and spiritual art form

Sunday, 4 November, 7.30pm, NUS University Cultural Centre

You dance inside my chest where no one sees you

but sometimes I do, and that sight becomes art.

- Rumi

Bharathanatyam has a codified structure and vocabulary, but the deeply spiritual and experiential nature of this vocabulary means that the dance form will resonate differently within each individual dancer. Each story is intrinsically personal, and Svam, which means belonging to me, or my own in Sanskrit, is one dancer’s attempt to put form to her own story. It is said that one can find in and through dance whatever one seeks deep within, and Svam endeavours to convey this dancer’s metaphysical search through music and movement.

Svam is an interpretation of dance as a personal philosophy, a subjective external depiction that this structured, sacred and spiritual form is bigger than the dancer and life itself. The production explores intangible concepts of perfection, worship, love, oneness and peace that are so intertwined with the tangible, physical art form. 

The music for this Bharathanatyam presentation has been specially composed by P.Sushanth, which is complemented by Shyamjith Kiran's insightful choreography. 

. . .

About the choreographer:

Shyamjithkiran is a young and vibrant Bharatanatyam artist from Kasargod, Kerala. He completed his three-year diploma course in Bharatanatyam Bhaskara, an institution founded by Guru V.P. Dhananjayan. He completed his diploma and post diploma in Bharatanatyam from the Kalakshetra Foundation securing a first class in both courses, and holds a Bachelor’s degree in History and a Masters degree in Sociology. He has been actively part of the Kalakshetra dance repertory, performing Bharatanatyam as well as Kathakali since 2004. His choreography for ‘Mudivil Oru Aarambam’, based on the present situation of dancers, has won critical acclaim. His recent work ‘Pareekshana’ brings a fresh approach to the usual orchestral accompaniment with the inclusion of a string section including violins, violas and cellos in addition to the traditional orchestra. Shyamjithkiran is presently working at the Singapore Indian Fine Arts Society as a member of the dance faculty and also performs and choreographs for the Society.

About the composer:

P. Susanth has a Diploma in classical music from the Kalakshetra Foundation. He also has a First Class certificate in Higher Indian Music from the Government of Tamil Nadu. Endowed with a meticulous voice, Mr. Sushanth is a very experienced vocalist for dance concerts and has been a regular performer for several arangetrams, and Bharatha Natyam programmes over the last 8 years in India and Malaysia. Mr. Susanth has been a vocal tutor with SIFAS since February 2010.

About the dancer:

Anuja Varaprasad has been learning Bharathanatyam since the age of six, and has been a student of the Singapore Indian Finer Arts Society (SIFAS) since 1994. Under the tutelage of Smt Sitaravamma Sandrasegaran and Sri V Balagurunathan, she completed the offered 8-year diploma course, and was awarded the 'Natyavisharad' for outstanding performance in both theory and practical examinations. She completed her Arangetram in 2006 and has performed in numerous dance dramas and solo productions in Singapore and India. Anuja continues her training with SIFAS, under Sanjit Lal, a graduate of Kalakshetra. She views Bharathanatyam as an intellectual and spiritual exercise and hopes to pursue a Masters in South Asian Studies one day.

Dance Review - Sacred Angkor by Roshni Pillay

Written by Seema Harikumar,  professional Bharathanatyam Dance Artiste with Apsaras Arts Dance Company, Singapore, this review of Sacred Angkor by Roshni Pillay, first appeared in the Apsaras Arts blog on 23rd August.

With Seema's kind permission, we reproduce it here for us to all share in the wonderful description of this production and appreciate Roshni's flawless performance and talent.

Roshni Pillay Kesavan is one of the SIFAS Alumni's senior-most artistes, who in spite of being a full-time professional, still pursues her passion and talent for dance with such distinction.

 

Dance Review - Sacred Angkor by Roshni Pillay

 

 

 Sacred Angkor by Roshni Pillai featuring Neewin Hershall

 

 

Sacred Angkor

 

The grandeur of ancient Cambodia is most beautifully experienced at Angkor Wat, originally named Vrah Vishnulok - the sacred abode of Vishnu. Sacred Angkor brings to life the stories behind the bas-relief carvings at Angkor Wat, through the dramatic Indian classical dance form of Bharathanatyam. Conceptualised by Roshni Pillay Kesavan who performed with Neewin Hershall with vocal accompaniment by U Nandakumar.

 
Performed at the LaSalle College of the Arts, Saturday 4 August 2012, 8pm

 

Review

A majestic yet soothing voice broke the silence in the dark theatre at the LaSalle College of the Arts, which was designed to draw an intimate familiarity between the artistes and the audience. The narrators had begun their tale of Angkor Wat, with some very apt visuals taken from the temple grounds themselves to give the audience a dimension to travel to this sacred place of worship.

 

The story of the Samudra Manthan (Churning of the Milky Ocean) was indeed a choice first item considering that it was the very first item that was presented to the Gods by Bharatha muni to inaugurate his Natyasastra. In respect to Angkor Wat, the magnificence of Vishnu in his koorma avatara could not have been better captured than through its visual representation of this story.

 
The scene had been set for the audience to experience the stories of the Sacred Angkor.

 
Then came the centrepiece of the production- the varnam. The artistes walked into every new light cue with a new sanchari, very effortlessly shifting roles from Rama to Sita, Lakshmana to Soorpanaka, Hanuman to Ravana and so on. Roshni's years of experience and the depth into which she dwelled for 'Baavayaami' showed up through her agility in shedding her previous sanchari role and walking straight into the next with a whole new aangika abhinaya. Neewin very cleverly injected drama into his characterisation of Soorpanaka, leading the audience to experience a moment of hasya as he depicted the various deviant acts of the ill-fated demoness before she got her nose severed by Lakshmana.

 

 

Throughout the production, every single one of the musicians accompanied the artistes competently and added just the right amount of embellishment with subtlety and perfection. The audience was reminded that the pinnacle of the production was drawing near, when vocalist Nandakumar rendered the Amirthavarshini raaga with such beauty and precision that he evoked a thunderous applause which fell like rain in that auditorium.

Our protagonists concluded the rasikas' journey that evening with an upbeat thillana, where we experienced moments of outbursts in energy, immaculate coordination and technical perfection that never fell below par. A very clever interplay between the deft fingers of the mridangist and the nimble-footed dancers swept a murmur of "sabaash" across the audience.

The artistes took their leave from us with a very pensive mangalam in Revathi raaga on the magnificence of Lord Vishnu. The performance had reinstated how rich an artform Bharathanatyam was, without the need for anything gimmicky and kept in its true sacred form, to relay messages that transcend space and time.


As the audience flocked their way to congratulate the artistes and thank them for such an artistic treat, both visual and aural, I could not stop thinking of how aptly Shakespeare had summed up what I thought of this production in two of his very famous lines:
"What's in a name? That which we call a rose

By any other name would smell as sweet."

The margam that which we saw so beautifully unfold in "Sacred Angkor" would have left just as sweet an aftertaste, if not sweeter, in the audience's mind even if it had gone by any one of Vishnu's names.


- Seema Hari Kumar, Singapore, 2012



Anubhuti by Dr K. Seshulatha

Samvaad Series

Sifas Presents a talk to be remembered and Cherished

by

Padmashri Dr Sunil Kothari

Lasya Kavya: The World of Alarmel Valli

Alarmel Valli in Lasya Kavya

Raaga Desh plays on in the background. In the foreground, the camera fades in and out as a dancer is picturised as she dresses for a performance. Muted light throws long shadows across her silk white saree and elegant jewellery. Her painted red hands fold into a lotus gesture. She turns around and her mega-watt smile lights up the screen. The dancer is none other than the eminent danseuse Alarmel Valli and the film is a homage to the brilliant legacy of her dance.

Lasya Kavya: The World of Alarmel Valli featuring the life of Alarmel Valli, was filled with the sophisticated grace that is synonomous with Valli herself. The 78- minute documentary film featured snippets of repertoire interspersed with interview segments from luminaries such as music conductor Zubin Mehta, film maker Arun Khopkar, agricultural scientist MS Swaminathan and musicians Bombay Jayashree and Chitravina Ravikiran. Conceptualised and directed by award-winning director Sankalp Meshram and cinematographer Vivek Shah, the film was a tribute to Valli’s artistry and heritage.

The lighting, angling and the idyllic way the camera framed each shot of Valli resonate with the life and temperament of the artiste herself. The only child born into a wealthy Mudaliar family, she has been singularly fortunate enough to have studied with great Bharathanatyam masters like Pandanallur Chokkalingam Pillai and his son Subbarayan Pillai as well as musical legends Brindha and Muktha, under whom she studied Carnatic vocal music. The biographical details of her life are brought to light with exquisite visuals of her parents’ sprawling bungalow, the casuarina groves which Valli used to
walk in, playing cricket as a child during the weekends at her grandfather’s house and the undulating spaces of nature that seem to be woven throughout her childhood. One is treated to the childlike grace captured in Valli’s arangetram video clip which has only blossomed and matured over the years making it a hallmark of her dance.

If the visuals were exquisite, the music and repertoire clips which were interwoven in the film only add to the onlooker’s joy. The close ups of abhinaya (facial expressions) which are a treasure trove for hardcore rasikas are nuanced and register shades of feeling effortlessly. Whether she is emoting the lines of a varnam, a padam, verses from the Madhurashtakam or depicting the nine emotions of Bhoja’s Shringarapraksha; the ease with which she conveys a myriad moods alternating between each one with practised ease is breathtaking. Challenging the regular boundaries of a traditional margam (repertoire), Valli has also collaborated with poet Arundhati Subramaniam to work on an English poem set to dance. The fluditiy with which she approaches such an item makes one forget that it is an English poem that is being played out and not Sangam literature in which she has carved a niche for herself. Truly dhrishta kaavyam indeed!

The sensibility and exacting standards which she brings to her dance can be seen in the manner in which she interacts with her musicians and nattuvanar. Practice sessions with her orchestra are held at the porch and are interrupted as she firmly but gently explains how a particular piece should unfold while concoting a complicated jathi on the spot.

Her sessions with her pupils from Dipashika, her long solitary walks, inspiration from Western and Eastern literature which would find their way into a new item for choreography, her mother's role in directing her attention towards the ancient Sangam poetry which has now become a part of her dance repertoire; these along with the immense accolades (Padmashri and Padmabushan from the Indian Government, ‘Chevalier des Arts at des Lettres' from the French Government) that her performances have created outside the country, complete the picture of Alarmel Valli for us.

The film helped to shed light on her style of dancing and the inspiration that has gone into much of her creation. Although one was treated to images of her as a student, teacher, performer and choreographer, one was left wondering about her personality, style, origins or personal beliefs which have moulded her into the dancer that she is today.

Music and lyrics are given utmost attention in Alarmel Valli’s dance. She evokes a style wherein the gamakas, swaras, trills and pauses in the music find its corresponding expression within the movements of the body. As quoted by her, “My ideal of dance is one where you can see the music and hear the dance. When I dance, I feel I sing- with my body.”

This was exactly was experienced by the audience in the second half of Lasya Kaavya which showcased a live performance by Alarmel Valli. She began with a special invocation to “Prakriti” based on verses from the Silapadhikkaram, Atharva Veda and Subramaniya Bharathiyar. This piece explored the dual-faced creative energy of the divine, tranquil at times and cataclysmic at other times. Nature was portrayed in various forms; as falling water, forests, peacocks and clouds set against the tempestuous crashing waves of the sea. This depiction of the spiritual, meditative, romantic and life-sustaining was woven through Valli’s excellent nritta and abhinaya. Music by Rajkumar Bharati helped set the mood for the evening.

Valli’s next item, Krishna: The Intimate and Infinite was a tribute to the multi-faceted Lord Krishna. As a toddler imploring his mother Yashoda to bring down the moon for him, to the cowherd boy who has captured the hearts of the gopis to Radha’s lover and Kaaliya’s destroyer; Krishna is at once infinite yet accessible, intimate yet omnipresent. Selecting verses from the Bhagavad Gita, Madhurashtakam, Narayaneeyam and the Yadavaabhyudaya; Valli captured the emotions, inflections and philosophies of each of the verses from these ancient texts, easily alternating from role to role in quick succession.

The evening ended with a Swaralaya in Abhogi Raagam. This brisk piece saw some interesting adavu combinations characteristic of the Pandanallur bani. After some geometric lines, flawless footwork and impeccable kalapramanam, the audience was left wanting for more as the pint sized dancer exited the stage to thunderous applause.

Alarmel Valli was excellently supported by Deepika Varadarajan (Vocal), Jayashri Ramanathan (Nattuvangam), Ranjini Ramakrishnan (Violin) and Lalgudi Ganesh (Mridangam).

Review by: Sangeetha Elango

Going Beyond - Dance India, Singapore

Written by Anuja Varaprasad – one of the Alumni (and our newly elected Treasurer!), who was an attendee at this year’s Dance India, Singapore

Going Beyond
Dance India, Singapore (Sept 1- 4)

Priyakka (centre) with alumni Anuja, Shruthi, Dhriti, and Sruti

Dance India is an exciting and visionary dance education programme for students, teachers, and performing artistes led and organized by Milapfest, UK. This year, Apsaras Arts in collaboration with Milapfest and supported by the National Arts Council and Esplanade, brought Dance India to Singapore for the very first time. Held over 4 days, the workshop comprised core classes, lecture demonstrations, panel discussions, and performances. The main highlight? Core sessions with Priyadharsini Govind and Leela Samson: renowned artistes and performers. Singapore was indeed fortunate to have such eminent Bharathanatyam gurus come down to teach its young and aspiring dancers.

It was a grueling 4 days – we would start with yoga every morning at 8am, and in spite of the core-strength building exercises we were subjected to, this was still the most relaxing class of the day. Priyakka would then put us through the paces with a Shatakshara Kautuvam (at what seemed like 6^th speed), forcing our feet to move at a speed and precision never imagined before. Even though all the participants were from different backgrounds, we brought with us a singular love for Bharathanatyam and pushed on. It was simply an experience observing Priyakka’s dedication in teaching and explaining the item to us. It was surprising how affable she was to our clarifications, patiently answering our queries.

A new item was not the only take-away from the lesson. Right from our namaskaaram, there were lessons on posture and stability, using our core muscles and breathing through the dance - things we dancers take for granted. There were reminders that nritta movements had their own set of expressions and that the smallest control over eye movements could have the biggest impact on an overall performance. No matter how many times we had to practice the new piece, she demanded 200% effort from us – no compromise. She remained encouraging, coaxing us firmly to try again, but each time with more aramandi or more expression.

The session with Leelakka was unforgettable. Without even trying, she commanded attention. Initially slightly terrifying when she begun the conversation with “So…tell me which adavus you all dislike doing”, she made us aware of even the smallest movement in our bodies. The perspective she brought through her years of experience brought new knowledge to our foundations. She described the namaskaaram as “unforgiving” as it requires the dancer to sit down in muzhumandi even before being warmed up. Her insights on the Alarippu were enlightening – she shared that the beauty of its choreography was its emphasis on the centre, the subtle use of bhedas, and the gradual build-up of levels and speed.

The various lecture demonstrations with prominent Kathak, Odissi and Kuchipudi performers contextualized Indian art forms from their temple origins intertwined with historical influences and revival personalities. These lecture demonstrations questioned our assumptions – Aditi Mangaldas, founder of the Dhrishtikon Dance Foundation, questioned the meaning and intention of an invocation. Going beyond an invocation as prayer, Mangaldas put forth the idea of an invocation as an attempt to still the mind, so that the dancer is immersed in a state of concentration and is able to let everything go and accept whatever may happen.

These lecture demonstrations also led to a discussion on what has changed between then and now, and what is next for these classical Indian dance forms. There was no argument on the survival of these dance forms, given their lasting current presence. However, there was extensive discussion on innovations in classical forms. Leelakka opined that aesthetics should be considered in depth, while Priyakka suggested that we relook at the way we understand the word ‘contemporary’. Contemporary means ‘of the present time’; in that sense, ‘traditional’ dance being performed now is essentially contemporary. The form has been adapted to be relevant to contemporary times, and is still accessible to a wider audience. She put things in perspective – Bharathanatyam performed now is an evolution from Bharathanatyam performed 50 years ago. Mangaldas spoke about adapting the form to suit the current context - in this case, a shift from the temple to the proscenium stage. She stressed the need for innovation to be organic and come from the fundamentals of the art form itself, without resorting to the western definition of contemporary, and for innovation with integrity and honesty.

On the whole, there was a bigger lesson in Dance India. The experience left us with a knowledge that Indian classical dance was beyond the physical. The art form is a life experience, with culture, history, and spirituality being equally important forces. It is an intellectual exercise, and it is imperative that a dancer constantly expands his or her knowledge of the art form. Through this, the dancer obtains a firm grasp of the origins of the art form, appreciates how far the dance has come, and is then able to take it lovingly into the future. It is a personal journey as much as it is a way of life.  

Meet Anuja, Priya, and Ganesh

....That is if you haven't already ;)

We are proud to announce the 3 newest members of our committee, elected at today's EOGM and holding the following positions:

Treasurer - Anuja Varaprasad
Asst Treasurer - Priya Dharshini
Events Manager - Ganesh Jayabal

To a wonderful term ahead of working together as a stronger, larger team!

                                                                             Anuja

                                                                           Priya

                                                                        Ganesh

EOGM Update

**Special attention to all those running for a position**

 Pls make sure to check out the below link from last year's elections for a full breakdown of the election procedure - this Saturday's EOGM will run in similar manner:

http://sifasalumni.blogspot.sg/2011/05/sifas-alumni-committee-elections-28th.html?m=1

All the best & we look forward to seeing you on Saturday!

EOGM (Extra-ordinary General meeting) on Saturday, 15 Sept at 4pm

Going out to all Alumni:

There will be an EOGM (Extra-ordinary General meeting) this coming Saturday, (15 Sept) at 4pm, at SIFAS.

Please note the primary agenda for this EOGM is the election of office-bearers to the positions of Events Manager and Treasurer.

For the full scope of duties for both these positions, please refer back to earlier articles from our blog (links below):

• Events Manager 
• Treasurer 

EOGM on 15 September!

Dear Alumni,

There will be an Extraordinary General Meeting for the Alumni
on Saturday, 15th September at 4PM.

Updates to follow soon, please watch this space!

-Alumni Comm 2012

SIFAS Alumni Navarathri Festival 2012

Dear Alumni Members,

We are recruiting performers for both dance and music performances as well as accompanying artistes for the SIFAS Alumni Navarathiri Slot on 20th October 2012 to be held at the SIFAS Auditorium.

Performers may either opt to perform solo, duet or in small groups with either live or recorded music.

All interested performers and accompanying artistes please get back to us by 17 September 2012 with the following details:

1. Name 

2. Type of performance (eg. Violin solo/Vocal duet/Dance group)

3. Number of performers and names (if group or duet)

4. Recorded or live music for dance items (names of accompanying artistes for live performance)

5. Contact number

Please refer to the poster attached for details.

Thank you.

Best Regards,

SIFAS Alumni Committee, 2012.

SIFAS Academy Day 2012

Dear SIFAS FAMILY,

Our Annual Graduation Ceremony - Academy Day 2012

Kindly RSVP to manoj@sifas.org or maha@sifas.org for entry passes.....AS THE CELEBRATION CLOSES IN!

Best Regards,
SIFAS Alumni 

SIFAS Website- Newer, Better, Cooler

Dear Sifas Family,

Our long time desire to promote our rich cultural events & activities at SIFAS has finally seen a dream come true, thanks to:

Mr Deva & Team, who have put in their valuable time & efforts!!!!

Aghila from the Secretariat who liaised non-stop with the relevant people on making this possible.

Thanks to Mr Shankar....who has as usual taken the lead to guide us through such times.

So here's another toast to SIFAS to see better times coming ahead.

We have just taken a huge step to move forward!

http://www.sifas.org successfully launched

Best Regards,

SIFAS Alumni

Auditions for SIFAS Festival of Music & Dance 2013

Dear ART-LOVERS!
The Local Artistes Auditions is back for:

SIFAS Festival of Music & Dance 2013

For your convenience we have added a link directly to google docs with the necessary forms to be filled. Click HERE for the forms for the Auditions. Please do not forget your performer write-up and photograph or your registration will be void.

Remember to submit these documents by Friday, 21st Spertember 2012, 5PM. Late and incomplete forms will NOT be entertained.
 
Thank you and we hope to see you at next year's Festival!