Dance Masterclass by Ms Nirmala Nagarajan

This two day workshop with be held on the 5th and 6th of June 2013.

• 9 am - 12 noon

• 4 pm- 8 pm

• Lunch and 2 teas will be provided

• Venue: SIFAS

FREE admittance ONLY to SIFAS students, Alumni & graduates.

Max intake: 25 students but registration may start closing at 20.

Deadline for registration: 15 May 2013. Acceptance on a 1st come, 1st served basis.

We hope you will find the time to attend & also pass the word on.

To register: Kindly follow the instructions in the eflier (as above). 

For enquiries: Please call jayasree at 62995929 ext 106.

Kumari J Jayaletchmi

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



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

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 

Dance India Showcase

The Singapore Culturists in Hat Yai

The Singapore Culturists in Hat Yai

They say art transcends language and this trip showed us exactly that. We were an odd group of young adults, each talented in our respective fields, coming together to put on a show on the world’s stage at the “Cultural Festival of the Southern Region”, in Songkhla Province.

Apart from Singapore, artists from the Philippines, Indonesia, Myanmar, South Korea and of course, Thailand were present for the event. 

One could see the brilliant mix of culture during the parade and it was nothing short of a grand event with the representatives of each country playing their instruments, dancing along the street, holding huge props all while dressed in the splendour of their cultural identities. The cultural procession took us to the festival venue, the General Prem Tinsulanonda Historical Park where we were to perform for the next three nights. It was fascinating watching the various countries performances which reflected a piece of their history, tradition and culture. 

On that same note, I am glad to say that our troupe put on a good show and impressed the audience as well as the dancers of the various countries.  

Overall, our itinerary wasn’t as hectic as we expected it to be and between our sound check rehearsals and travelling to the different tourist destinations in Songkhla Province, we spent most of our time bonding. Stories from ranging from normal to the most bizarre were exchanged, art and famous artists were discussed and people were teased. It astounds me how strangers could bond so strongly over a short period of 5 days. We got from barely knowing each other to feeling like we’ve known each other for years. During our exchanges, one thing that stuck with me was the richness of the sharing between the different disciplines.

The dancers were enthusiastic about learning a few steps of a different dance genre be it the Malay dancers’ Joget, Kathak or Bharathanatyam. 

The vocalist sang for the Bharathanatyam dancers as they practiced, the miruthangist put complicated thaalams for the vocalist and challenged the dancers to dance to the sollukattus he uttered. The Chinese Di Zi player and our Indian flutist exchanged notes on their wind instruments and these were but a few of the many cross discipline sharing that occurred.  

Not only did we learn from each other but also from the artists of the other countries. The very last night of our stay in Thailand is probably one of the highlights of the trip. Our vocalist had found an Indonesian dancer with good vocal range and started singing duets together. Hearing that, our Chinese flutist came out of his room and started playing his Di Zi. People slowly started to stream out of their rooms to join in the fun and a crowd began to form. A few Philippine dancers started dancing to the sound of the flute and soon the South Koreans joined us, amongst them a famous wind instrument player who we were fortunate enough to hear play. 

That night, I thought to myself that that truly was the cultural exchange we had come looking for, where a group of people from vastly different backgrounds came together, revelled in and appreciated each other’s talent, culture and art.

I and a few others who went on the trip still reminisce about the moments we shared in Thailand and I am truly grateful to SIFAS for having given me this opportunity. I also would like to thank Maha akka on behalf of the team for having taken care of us while we were there. 

To those who get this opportunity to go in the future, I highly recommend grabbing it for it was honestly a memorable and enriching experience.

Dhashayani Vallatharasu  

Poetry in Motion

A note from the organisers at SIFAS

Hi All,

As you must be aware, we are organising a unique show on August 10- a film screening on Alarmél Valli followed by a solo recital by the artiste herself accompanied by a live orchestra. The film examines how a dancer can be a writer, poet, painter, sculptor, actor and singer even as she dances. In some ways, Lasya Kavya is also a film about the pathway to greatness. Alarmél Valli’s story is an illustration of the fact that greatness comes only to those who relentlessly polish the gift of an inborn talent. It will be an inspiring film for our dance students- the film is a lyrical journey wherein she tries to share her joy of dancing with the viewers. And watching her dance will be inspiring too- a Padma Bhushan awardee, Valli has been performing for over four decades and is an effervescent dancer who brings out the joy of this art form.

We bring these programs to Singapore so that audiences in Singapore can also share in the latest happenings in the world of Fine Arts. While SIFAS is predominantly a teaching institution, these programs serve as part of the learning process for each and every student- watching great masters perform can inspire students to work harder to hone their craft. I would request your support in disseminating information about this show to members of the SIFAS family and also urge you all to buy tickets for the show-


Regards,

Renuka

As each Generation passes, we grow and learn together

In the last production, Saptha Sthuthi, some of you were the younger dancers in the group. If I am not wrong, that same group of you are now the senior dancers in krishNa bhAratam.

How has this different for you? When you now work with dancers younger than yourself, do you look at things differently?

Being the youngest in Saptha Stuthi, I literally had no responsibility but to dance. But in Krishna Bharatham I find the need to conduct myself better and lend moral support to the younger ones. It feels like a natural cycle of needing to initiate the younger alumni members into the SIFAS culture after having worked with many older alumni members previously.

I thoroughly enjoy working with our younger dancers. They keep the atmosphere very light hearted and have limitless energy which is much needed for us older ones with acheing bones (:

About krishNa bhAratam and working with the choreographer:

I believe the whole specialty of this production is Sheejith Sir himself and the journey he has brought us on. His achievements aside, his personality and view on life makes him a complete artiste in my opinion. It took him just 4 months of working with us and that too in short spurts to completely change the way many of us view dance. 

In between teaching us, he imparts such strong valuable knowledge on dance and connects it to the philosophy of life itself. He often stresses that apart from being a good dancer, good character is most important for an artiste.

Also, the choreography and concept is beyond my imagination. I have never done such a combination of steps ever. Many times we question ourselves whether we are cut out for this due to the level of difficulty and demands placed on us, but somehow Sir's "No-can't-do" attitude forces you to just get the work done. And we're also SINGING! Oh.My.God.

I have never seen this much discipline in a production before. All ten of us are there for practically all the rehearsals on time. Extra care has gone into looking presentable. And this discipline stays even during music rehearsals.

Lastly, as much as we sweat it out we also laugh just as hard. The teachers and Sheejith Sir have a remarkable sense of humour that cannot be forgotten!

Working with friends and SIFAS:

Sifas is like home to many of us. We have been learning at this institute since a young age and have seen many great teachers come and go. However, life-long friendships are fostered in SIFAS and such productions are a way for us to catch up and grow as artistes.

A note on 'Krishna in Mahabharatha' by the Choreographer:

As the Mahabharata is all about Dwaraka-Krishna (there is nothing in it about the Gokula-Krishna), we see Krishna here mainly as an eminent strategist, statesman and friend in need.

As I began investigating Sri Krishna's role in the Mahabharata, what emerged as most striking in his character is the complex blending of human and divine attributes.  In the unfolding saga of the Pandavas and the Kauravas, Sri Krishna appears throughout as a political agent, social reformer, and ambassador of peace.  Even when his divine aspect knows all too well that the outcome will be war, untold suffering, and bloodshed, the human Krishna—a figure of cautious diplomacy, razor-sharp intelligence, and limitless wisdom—is no stranger to the ways of the world in which he lives.  But he always acts or speaks in order to alleviate pain and arbitrate peace. Unlike the human actors in the scene, Krishna can see beyond temporal and material realms, but in no way does this vision allow him to step back, or to be a mere spectator. Vyasa's Sri Krishna is one whose participation is integral to the action.  He is a vital presence whose intervention allows Dharma to ultimately prevail.

                                                       Sheejith Krishna

Krishna, the Social Reformer

As we countdown to the event, we bring you another extract of our interview with Shri Sheejith Krishna, the Choreographer who shares his perspective on Krishna BhAratham.

"Social Reform

It is about the role of Krishna in MahabhArata. Usually we think of the gopis and dwarka. That is not here in this case. Krishna here is more of a social reformer, an ambassador of peace. That is his role, a complete man who talks about Karma.

Vision

Initially I started it as a solo performance in Chennai, doing all the characters. The music has been composed by my wife, Jyothishmathi and myself. The lyrics I chose from MahabhArata and edited it.

That production was more challenging as I had to be everyone; draupati, duryodhana etc.

As a group, we have the opportunity to depict each character. Here some girls are also depicting some of the male characters also; despite their being male performers in the group.

Unique

In one scene, I have also incorporated Kathakali. Krishna goes to Duryodhana’s court to negotatiate a share of the Kingdom on the Pandavas’ behalf. That whole sequence of the exchange between Krishna and Duryodhana is set in Bharathanatyam and Kathakali respectively. The negotiation proceeds from a high bid of 5 regions, to 5 house, to just 1 house. Duryodhana remains unwilling to budge. You will observe the difference in the energy of the 2 characters.

Krishna, the Social Reformer

In observing the Bhagavad Gita, I always look beyond the surface of the verse, at the dwani, the 2^nd or 3^rd layer, at the deeper meaning. When Krishna says that a real panditha will look at everyone equally, I observe that such impartiality is for the more spiritually evolved. Each one instead will have their own perspective as influenced by their experiences and karma.

We can’t do the whole Gita, but whatever messages Krishna shares with Arjuna is for the purpose of inspiring him to be a better human and that is what we are trying to share and show through this production. It is not what you do that is important but also the means through which you achieve this purpose.

  

I have chosen lyrics where Krishna does not insist that Arjuna fights. It’s a general perspective, but as mentioned earlier, each person will look at things differently in view of their own karma.

Krishna is not only a god but a teacher who is giving you the option of how to live a better life. This is the ultimate message."

You would agree, the discussion of the production was indeed a spiritual experience. This is only the tip of the ice berg. My words and pictures do not lend sufficient value to the visual effectiveness of the scenes. Be your own judge, join us and see for yourself.

Krishna BhAratham

8 pm, 8 April 2012 at the Esplanade.

For more details or tickets, do contact SIFAS at 6299 5929.

You may also wish to contact us at sifasalumni@gmail.com

Krishna BhAratham: A lesson in humility

My conversation with the Choreographer of Krishna BhAratham turned out to be quite the spiritual experience. 

Having approached him to discuss his experience with working with SIFAS and our dancers, the conversation instead took on an inspiring twist where he shared values he had learnt in his own life. I was beginning to understand why the performers were in such awe of him. He spoke little of himself and his achievements. Instead, his work and his subtle influence on those around him spoke volumes. He was indeed a unique presence in our Arts Festival atmosphere. Even I felt some regret that I had not been more involved with this project.

Having heard from some of the performers in prior articles, we have today, extracts of an interview with the Choreographer himself, a presence we affectionately address as Sheejith Sir. Having spoken to him and observed the rehearsal, it becomes obvious that this will be a production you will regret missing. Unlike most dance performances which tend to focus mainly on the dance and music (obviously), this production seems to be a subtle attempt at social reform utilizing the age old medium of the Bhagavad Gita verses.

Krishna BhAratham

8 pm, 8 April 2012 at the Esplanade.

For more details or tickets, do contact SIFAS at 6299 5929.

You may also wish to contact us at sifasalumni@gmail.com

Now, a little more from the man himself..

I learnt from Kalakshetra that an artiste should be humble; the better to learn and also to give

I tell my students to be like a sponge of good things; all aesthetic values included. What you learn, how you stand, mannerisms etc

In dealing with culture and tradition, we try to portray good things through the art. Show good things about your life, not vulgar.

You must also be approachable, then only will you become a complete artiste.

Even while working in a group, I tell the students that working in a group is always more difficult yet rewarding. In fact, I often make them stand together and hold hands before commencing.

Parasparam is very important to me. Even in relation to trees. In observing the child ( I believe he was referring to the dancers) their faces bloom a different way when we melt their hearts. (wow!)

Sometimes you forget why you are an artist. What is your duty as an artist? And it’s a journey. Just need to remind you not to hurt anyone. That will remain in your dance.

Logistics: The Alumni Journey

Sangeetha Elango is the General Secretary of the Alumni Committee and also part of its dance sub-committee. She has performed in nearly every performance of the SIFAS Alumni since it's formation; the first in house Arts Festival performance in 2009, Saptha Sthuthi in 2010, Academy Day 2010, Arts Festival and Navarathiri 2011 and now in Krishna BhAratham.

Sangeetha has also witnessed our struggles in getting musicians and dancers organised for each performance, and has herself been torn between focusing on her performance and the logistics aspects of a show that she is performing in. The Alumni has come along way in terms of man power and organising itself. I had a chance to ask her a few questions to ascertain if there indeed has been an improvement to our usual logistics dilemma.

"You worked on the last production, Saptha Sthuthi. How is this different?

Firstly, Saptha Sthuthi was of a margam concept, this is a dance drama. In a way, it’s a very universal theme, the MahabhAratha. Something everyone can relate to. A story everyone has heard in one way or another. The message is therefore very accessible.

I hope the audience will enjoy it as much as we have in being involved in this production.

This time you are also part of the organising committee. How would you say that this experience has been for you?

From the last experience, where everyone was running around doing everything, we have learnt to become more organised and delegate. We have received a lot of assistance from persons like tharmarai akka, gomathi akka and the festival committee. This way the dancers are able to concentrate on the production with the logistics being outsourced."

We are always looking for people to become a part of our little venture. 

If you feel like your performing years are behind you but enjoy being part of the buzz, do contact us. If you are an alumnus of SIFAS and have either graduated with SIFAS, completed up to 5th year or spent at least 5 years with SIFAS as a student, you become eligible for Alumni membership. Come join us and be part of the excitement which is most guaranteed to follow.

A woman aggrieved

She came with hope

She did not expect to become a victim

What does she now hold on to?

Who is this man who now torments her?

Will she escape him?

To know who she is, who he is and what becomes of them, do join us at Krishna BhAratham on 8 April 2012, at the Esplanade.

I can't see my life without Dance

Thank you everyone for your encouraging response to our series of updates and interviews leading up to SIFAS Alumni's presentation of Krishna BhAratham on 8 April 2012. Next in the series is a short interview with Dhriti Vaidyanathan, Marketting Club 21.

Having completed your arangetram sometime in 2006, you would have gained some experience over these years. How would you compare your prior experiences to your current involvement in the Krishna BhAratham production?

When I did my Arangetram, I was 15 years old and pretty inexperienced. My focus has since shifted. Before it had been on the technical aspects such as remembering the item itself. You could say that I was at a “beginner” stage then. Since then, I have learnt to place more emphasis on the songs; in understanding the raga, tala and intricate aspects. So I come across not only executing but also emoting the piece. This understanding of the relationship between the music and dance has also enhanced my presentation.

You have shared with us your growth as an artiste. Has this experience impacted you as an individual?

Living outside India and having that connection to your culture is a satisfying experience. I feel fulfilled. And it goes beyond learning and this experience with Krishna BhAratham. I now can’t see my life without dance. It has gone beyond being a hobby to now becoming a serious part of my life.

It seems to have been a life changing experience for you...

Sheejith Sir incorporated about 6-8 verses from the Bhagavad Gita. A lot of them impart general values, but the underlying message I get from it all is to do your best and there is nothing beyond that within your control.

I have had to struggle with balancing work and dance. Trying to plan my time in advance can be rather stressful, so I am taking each day as it comes. Putting my best foot forward.